By Lital Levy
A Palestinian-Israeli poet publicizes a brand new country whose language, “Homelandic,” is a mix of Arabic and Hebrew. A Jewish-Israeli writer imagines a “language plague” that infects younger Hebrew audio system with previous global accents, and sends the narrator looking for his Arabic history. In Poetic Trespass, Lital Levy brings jointly such startling visions to provide the 1st in-depth learn of the connection among Hebrew and Arabic within the literature and tradition of Israel/Palestine. greater than that, she offers a charming portrait of the literary imagination’s strength to transgress political barriers and rework rules approximately language and belonging.
Blending historical past and literature, Poetic Trespass lines the interwoven lifetime of Arabic and Hebrew in Israel/Palestine from the flip of the 20th century to the current, exposing the 2 languages’ intimate entanglements in modern works of prose, poetry, movie, and visible paintings via either Palestinian and Jewish electorate of Israel. In a context the place extreme political and social pressures paintings to spot Jews with Hebrew and Palestinians with Arabic, Levy unearths writers who've boldly crossed over this divide to create literature within the language in their “other,” in addition to writers who carry the 2 languages into discussion to rewrite them from within.
Exploring such acts of poetic trespass, Levy introduces new readings of canonical and lesser-known authors, together with Emile Habiby, Hayyim Nahman Bialik, Anton Shammas, Saul Tchernichowsky, Samir Naqqash, Ronit Matalon, Salman Masalha, A. B. Yehoshua, and Almog Behar. via revealing unusual visions of what it potential to write down in Arabic and Hebrew, Poetic Trespass will swap the best way we comprehend literature and tradition within the shadow of the Israeli-Palestinian conflict.
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Additional resources for Poetic Trespass: Writing between Hebrew and Arabic in Israel/Palestine
5, “Old Languages, New Models”; and Yildiz, Beyond the Mother Tongue, 4–10. 21 May (2001) reports on the historical processes that made certain language varieties gain the status and prestige of national languages “while other languages have been ‘minoritized’ and, most often, ‘stigmatized’ ” (May, Language and Minority Rights , 127, cited in Shohamy, Language Policy, 27). It became accepted to perceive all “other” languages as threats. 22 See Segal, New Sound, 4. 23 Equally devastating, but hardly acknowledged, is the eradication of Arabic-based Jewish culture following the mass emigration of Jews from the Arab world.
11 Critics for Israel’s major dailies celebrated the film and lavished praise on its language. . . our language: Israeli Arabic” are anchored in underlying assumptions about community, identity, ownership, and power. Whose language, whose reality, are “we” speaking about? In context, the phrase “our language” (ha-safa shelanu) is intriguingly ambiguous. It subsumes the Arabic-Hebrew patois of ‘Ajami’s characters into an imagined national language that contains Hebrew and Arabic; at the same time, the lives of Arabic-speaking characters in Jaffa are recoded as a part of “Israeliness,” potentially opening a new discursive space of representation.
Moreover, Hebrew is now spoken by nearly a million and a half Palestinian Israelis, in addition to thousands of foreign “guest” workers, making it impossible to define it as a strictly Jewish language. Yet the blinding success of Modern Hebrew masks another, far less triumphant tale: the fate of all other languages in Israel. Hebrew hegemony was realized through the persistent stigmatization and suppression of “Diasporic” languages. In many respects, this scenario is not without historical precedent.