By Naomi Seidman
With remarkably unique formulations, Naomi Seidman examines the ways in which Hebrew, the Holy Tongue, and Yiddish, the vernacular language of Ashkenazic Jews, got here to symbolize the masculine and female faces, respectively, of Ashkenazic Jewish tradition. Her refined heritage is the 1st book-length exploration of the sexual politics underlying the "marriage" of Hebrew and Yiddish, and it has profound implications for knowing the centrality of language offerings and ideologies within the development of recent Jewish identification. Seidman quite examines this sexual-linguistic procedure because it formed the paintings of 2 bilingual authors, S.Y. Abramovitsh, the "grand-father" of contemporary Hebrew and Yiddish literature; and Dvora Baron, the 1st sleek girl author in Hebrew (and a author in Yiddish as well). She additionally offers an research of the jobs that Hebrew "masculinity" and Yiddish "femininity" performed within the Hebrew-Yiddish language wars, the divorce that finally ended the wedding among the languages.
Theorists have lengthy debated the position of dad and mom within the child's dating to language. Seidman provides the Ashkenazic case as an illuminating instance of a society within which "mother tongue" and "father tongue" are basically differentiated. Her paintings speaks to special matters in modern scholarship, together with the psychoanalysis of language acquisition, the feminist critique of Zionism, and the nexus of women's stories and Yiddish literary heritage.
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Additional info for A Marriage Made in Heaven: The Sexual Politics of Hebrew and Yiddish (Contraversions: Critical Studies in Jewish Literature, Culture, and Society)
The dialogue is provided underneath: Copynghted matenal Engendering Audiences I HEBREW: Who's that, Chayim Nachman, an illegitimate (or "left"] love? YIDDISH: Don't get upset, madame, Chayim Nachman knows me since he was a child! 33 The cartoon presents visual dues to differentiate the two types of women/languages: the biblical headdress for Hebrew, the apron for Yiddish. The artist also uses wordplay to make a point about the political affiliations of the languages. When Hebrew asks the poet if Yiddish was a "Iinke Jibe," she is not only asking whether his affair was clandestine (link literally means "left," but also "wrong" or "seamy") but also implying that Yiddish is a leftist radical.
The agode (legendary) material was more likely derived from the mother, that is, in Yiddish, from the Tsenerene and the moralistic books; the father had no time. But biblical passages and Loshn-koydesh sayings were more likely to come from the father, and the boys accompanied their father to synagogue. We have here explicitly a long-lasting attachment of Yiddish to the mother and Hebrew to the father. 37 Weinreich's description of Hebrew-Yiddish acquisition traces the language system to childhood development and illuminates the anxiety a male writer "regressing" to Yiddish might experience.
She says! . and meL .. My heart is breaking too ... nevertheless she's a noblewoman . but my child! love! a young heart . young blood-don't take notice ... it rages ... fire and flame ... torches! you are mine ... come! we will ride in the chariots of time ... we will spin gold and silver ... we will build palaces of marble- come! This cartoon shows Peretz moving from Hebrew to Yiddish, the reverse of Bialik's abandonment of Yiddish for Hebrew. " Peretz's turning to folk or popular motifs in his writing, the cartoonist implies, is equivalent to his turning from the elitism of Hebrew to a love for the Jewish folk.