Traditions of Translation in Hebrew Literature

The centrality of translation in the history of Hebrew literature cannot be overstated. Scholars of Hebrew translation history often attribute the fact that Hebrew writers have steadily relied on translation for enriching and sustaining the Hebrew literary canon to Hebrew’s long-standing existence in a state of diglossia or multiglossia: a condition in which a community habitually uses two or more languages or several forms of the same language for different purposes. Jewish communities from antiquity to the present have generally used Hebrew alongside other tongues, even after Hebrew’s reinvention as a modern vernacular, its so-called revival, in the 20th century. It is possible that Hebrew served as a vernacular in antiquity, but sufficient proof of this possibility has never surfaced. Nevertheless, in late-19th-century Eastern Europe, Jewish thinkers and lexicographers began promoting the idea of resuscitating Hebrew. They often articulated this goal through the metaphor and practice of translation, borrowing from European cultures the notion that every modern nation is defined by a shared vernacular, while also translating into Hebrew a cornucopia of texts—scientific, poetic, journalistic, and philosophical. This enabled those late-19th- and early-20th-century Jewish thinkers to enrich, expand, and test the limits of Hebrew in a modern context. If the modern Hebrew literary canon includes the Hebrew Bible, as many Hebrew writers and scholars believe, then it consists of the most frequently translated and widely circulated text in the world. Yet Biblical Hebrew differs from later formations of the language, and traditions of biblical translation in and outside the Jewish world call for separate bibliographies. The following bibliography focuses on central theoretical questions relating to traditions of translation in Hebrew literature, foregrounding the intensifying debates on Hebrew’s spiritual and national status from the 19th century onward. Translation has often served as a unique arena for such debates, acting as a vehicle for transforming Hebrew literature from within, while allowing for its venturing out. It has frequently allowed its practitioners to define the imaginary boundaries of Hebrew literature and delineate the contours of Hebrew culture as primarily Jewish-national.

Imaging dragons in the Old Testament: Were Leviathan and Behemoth Mesozoic monsters?

ABSTRACT For much of the nineteenth century, the majority of respected stratigraphers were serial creationists who read the rocks as recording successive extinctions followed by new creations, a process that generated progress in vertebrate structure. Beginning after World War I, Leviathan and Behemoth were cited by Young Earth Creationists—a minority among anti-Darwinians—as Mesozoic species observed by humans. This view spread rapidly after World War II. However, the anatomy and behavior of these beings, as portrayed in Ugaritic and Hebrew literature, leads to a firmer identification. The Leviathan of Job has powerful jaws armed with great teeth; skull armor renders hooks impotent; body armor of scales set so close together that they repel spears; water is thrashed into foam by twisting death rolls; this is altogether an accurate rendition of the Nile Crocodile. The Behemoth is a young, adult male African Elephant distinguished by grass-eating habits and an enormous, uncontrolled male organ: “tail like a cedar tree.”

Hebrew Literature Outside of Israel Since 1948

Hebrew literature, defined expansively, has existed outside of the land of Israel since at least the first millennium of the Common Era. Hebrew religious, liturgical, and poetic works were composed in Europe, the Middle East, and North America for a thousand years before the establishment of the State of Israel in 1948. The presence of vocabulary, grammar, and genres that were adapted from non-Jewish-dominant cultures are a testament to the long imbrication of Hebrew in the Diaspora, the areas of Jewish dispersion outside the land of Israel. Hebrew literature in its modern form originated in the cities of Europe in the 19th century, drawing on European languages and literatures, historical layers of the Hebrew textual tradition, and Yiddish for inspiration. In the early 20th century, the Tarbut Ivrit (Hebrew Culture) movement, a deeply Zionist group made up of American Hebraists, most of whom had immigrated from the Russian Empire and been influenced by Ahad Ha’am’s idea of a national Hebrew culture, created another center of Hebrew literary production in the United States. At the same time, the center of Hebrew culture was shifting from Europe to Palestine, and after the establishment of the State of Israel in 1948, Palestine rapidly became the main center of Hebrew literary production. Nonetheless, even since 1948, there has always been a small but significant amount of Hebrew literature written outside of Israel, whether by translingual Hebraists or Israeli expatriates. While most of the American Hebraist movement had died out by the 1960s, a few writers continued to produce Hebrew literature in America until the 1990s. And since that time, Israeli expatriate writers in the United States and Europe have begun to create a contemporary Hebrew literature outside of Israel, with its own idioms and ideologies. Unlike the American Hebraists of the Tarbut Ivrit movement, these writers often see Hebrew in apolitical terms or are explicitly anti-Zionist in their use of Hebrew in the Diaspora. This contemporary Diaspora Hebrew literature has also been accompanied by the rise of multilingual Israeli literature, often with overt references to Hebrew but written in other languages. These Hebrew and multilingual literary cultures are also strongly tied to art in other forms and media, which are essential to understanding contemporary Hebrew culture in a global context.

Putting “the Torah” back into “the Book of Moses” in Miqṣat Ma‘aśe ha-Torah: A new proposed reconstruction of 4Q397 14–21 6

In this article, I build upon observations by Émile Puech regarding the available space in 4Q397 14–21 6, one of the manuscripts of Miqṣat Ma‘aśe ha-Torah (MMT), in order to propose an alternate reconstruction of the middle of this line. I suggest emending the earlier reconstruction of בספר מושה‎ “in the book of Moses,” which is found in numerous editions of 4Q397, with בספר‎ תורת מושה‎ “in the book of the torah of Moses.” I argue that this new proposed reconstruction is plausible given the context of this line, the available space on the line, and the appearance of the phrase elsewhere in other Second Temple period Hebrew literature.

The Dual Attitude towards the Arab Personality in the Contemporary Hebrew Children's Literature: A Critical Analysis of Ronette Gettleman's 'On Her Way

Having received a noticeable stature in the contemporary Hebrew children’s literature, Ronette Gettleman is one of the most renowned authors who have addressed the issue of hate speech and the culture of peace in contemporary Hebrew children’s literature. Hate speech is considered part of Zionist literature. Gettleman’s story On Her Way is a prominent piece of prose that depicts the Arabs and their image in Israeli children's minds. Hence, the story On Her Way was chosen as an attempt to identify, through selected excerpts from the story, how the Arab person is negatively portrayed in contemporary Hebrew children’s literature. The author, through some Israeli children, expresses the concepts of hostility and hatred in their conscience towards the Arab character. Like other Israeli authors, Gettleman shows that the image of Arabs in Hebrew literature raises fear, anxiety and terror whenever Israeli children hear the word "Arab". It also makes the culture of hatred and hostility a headline for the Israeli child. In contrast, the author highlights the culture of coexistence and peace among some Israeli children towards the Arab character. The story demonstrates that there are some Israeli children who are willing to coexist and live peacefully with Arabs. This story with its focus on both hatred and hostility on the one hand and coexistence and peace, on the other, shows the dual attitude of Israeli children towards Arabs. This is a new trend in contemporary Hebrew children's literature towards the Arab character and its positive outlook. Keywords: Contemporary Hebrew Children’s Literature, Hate speech, Culture of peace, Ronette Gettleman, On Her Way.