#s y agnon

[surethingsis]

הסאגה ממשיכה- האדונית והרוכל פולס עדיין אוחז בי ולא משחרר שלחו חילוץ

חלק א חלק ג חלק ד

[power-chords]

As Moshe Idel points out, pardes, comprising the Hebrew consonants P-R-D-S, “stands for peshat or plain meaning, remez or hint, sometimes designating allegorical explanations, derash or homiletic exposition, and sod or secret (namely symbolic) interpretation of the text. In Kafka such fullness of interpretation counts as paradise—another meaning of pardes—as his aphorism on the coming of the messiah declares: “the messiah will come as soon as the most unbridled individualism of faith becomes possible.” Kafka's version of the Talmudic parable thus suggests that such fullness of interpretation is possible without the destructiveness that tradition assigns to the heretic other, and it quietly celebrates the multiplicity of the traditional Hebrew text.

Uncle Jakob's “intermediary trade” (Zwischenhandel) reflects this same kind of interpretive transaction, where respect for the law and love for interpretive freedom go side by side. The accurate transcription of messages in Jakob's office echoes this principle, evoking a modern form of the traditional copying of the Torah famously depicted in S. Y. Agnon's modern Hebrew tale “The Torah Scribe.” Thus in Jakob's New York office Karl is astonished to see how “Meldungen,” or “messages,” are “taken down by two other employees and then compared [verglichen], so that errors [Irrtümer] could be ruled out as much as possible.” In the Talmudic tradition, the same Rabbi Meir whom Kafka mentions in his pardes version was famous for strictly following the letter of the law, and with the same paradoxical effect. The more that literal correctness is valued, the more each word comes to be invested with a mystical, even world-changing significance, as attention to the letter eventually reveals potential “others” that open up the meaning of the text. As Rabbi Meir declares in the Talmud, here quoted in a version of Eruvin 13a that Gershom Scholem provides: “When I was studying with Rabbi Akiba, I used to put vitriol in the ink and he said nothing. But when I went to Rabbi Ishmael, he asked me: My son, what is your occupation? I answered: I am a scribe [of the Torah]. And he said to me: My son, be careful in your work, for it is the work of God; if you omit a single letter, or write a letter too many, you will destroy the whole world.” Fidelity to the letter and its “messages,” as Uncle Jakob practices this notion, leads to a flourishing “business” in New York in a more comic form. Scrupulous attention to the letter thus acquaints the reader with the infinite potential of its inferences, multiple meanings, and even secret combinations of the letters of the law. As a Jewish scholar who used Kafka's pardes passage for his commentary on Exodus once declared, “whoever believes only in the plain sense of the Bible, peshat, is indeed a fool,” playfully demonstrating his reading by rearranging the consonants of peshat to show that they also spell the Hebrew word tipesh, that is, “foolish,” meaning someone who misses the hidden meanings of the traditional text.

—David Suchoff, excerpted from Kafka’s Jewish Languages: The Hidden Openness of Tradition, 2012.

[gliklofhameln]

Chevra kadisha carriage, Szarvas, Hungary, 19th century

Accompanying the dead on their final journey towards burial is part of the tradition of honouring the deceased, and is already mentioned in Rabbinic literature as one of the essential deeds “for which one is rewarded in one’s lifetime and also earns a reward in the world to come.” Funeral processions were held with due ceremony, and the deceased was carried in a special vehicle, such as this majestic carriage from Hungary.

"Suddenly the gates of the palace opened, and men dressed in black brought out the bier and placed it on a black carriage pulled by four black horses..."

     — S. Y. Agnon, Oath of Allegiance, 1943

[weirdletter]

Hebrew Gothic: History and the Poetics of Persecution (Jewish Literature and Culture), by Karen Grumberg, Indiana University Press, 2019. Info: iupress.indiana.edu.

Sinister tales written since the early 20th century by the foremost Hebrew authors, including S. Y. Agnon, Leah Goldberg, and Amos Oz, reveal a darkness at the foundation of Hebrew culture. The ghosts of a murdered Talmud scholar and his kidnapped bride rise from their graves for a nocturnal dance of death; a girl hidden by a count in a secret chamber of an Eastern European castle emerges to find that, unbeknownst to her, World War II ended years earlier; a man recounts the act of incest that would shape a trajectory of personal and national history. Reading these works together with central British and American gothic texts, Karen Grumberg illustrates that modern Hebrew literature has regularly appropriated key gothic ideas to help conceptualize the Jewish relationship to the past and, more broadly, to time. She explores why these authors were drawn to the gothic, originally a European mode associated with antisemitism, and how they use it to challenge assumptions about power and powerlessness, vulnerability and violence, and to shape modern Hebrew culture. Grumberg provides an original perspective on Hebrew literary engagement with history and sheds new light on the tensions that continue to characterize contemporary Israeli cultural and political rhetoric.

Contents: Acknowledgments Note on Translation and Transliteration Introduction. Gothic Matters     Part I. A Spectralized Past 1. Always Already Gothic: S. Y. Agnon's European Tales of Terror 2. Maternal Macabre: Feminine Subjectivity at the Edge of the Shtetl in Dvora Baron and Ya’akov Shteinberg 3. After the Nightmare of the Holocaust: Gothic Temporalities in Leah Goldberg and Edgar Allan Poe     Part II. Haunted Nation 4. Dark Jerusalem: Amos Oz's Anxious Literary Cartography between 1948 and 1967 5. Historiographic Perversions: Echoes of Otranto in A. B. Yehoshua's Mr. Mani 6. A Séance for the Self: Memory, Nonmemory, and the Reorientation of History in Almog Behar and Toni Morrison     Coda. "Here Are Our Monsters": Hebrew Horror from the Political to Pop Bibliography Index

[trulyafrasian]

REFERENCES

Israel. (n.d.). Retrieved from https://www.britannica.com/place/Israel

Israeli democracy & elections. (n.d.). Retrieved from https://embassies.gov.il/pretoria/AboutIsrael/State/Pages/Israeli-democracy.aspx

Janzen, J.H.A. & Lewis, I. (n.d.). Somalia. Retrieved from https://www.britannica.com/place/Somalia

Jerusalem-Capital of Israel. (n.d.). Retrieved from https://mfa.gov.il/mfa/aboutisrael/state/pages/jerusalem%20-%20capital%20of%20israel.aspx

Jordan. (n.d.). Retrieved from https://www.britannica.com/place/Jordan

Kahlil Gibran. (n.d.). Retrieved from https://www.poetryfoundation.org/poets/kahlil-gibran

Kahlil Gibran’s philosophical quotes. (2017, January 13). Retrieved from https://www.indiatoday.in/education-today/gk-current-affairs/story/kahlil-gibran-953527-2017-01-06

Kuwait. (n.d.). Retrieved from https://www.britannica.com/place/Kuwait

Language in Israel. (n.d.). Retrieved from https://berkleycenter.georgetown.edu/posts/language-in-israel

LaRock, H. (n.d.). The five most famous landmarks in Israel. Retrieved from https://traveltips.usatoday.com/five-famous-landmarks-israel-105379.html

Lebanon. (n.d.). Retrieved from https://www.britannica.com/place/Lebanon

Libya. (n.d.). Retrieved from https://www.britannica.com/place/Libya

Malta. (n.d.). Retrieved from https://www.britannica.com/place/Malta

Mauritania. (n.d.). Retrieved from https://www.britannica.com/place/Mauritania

Morocco. (n.d.). Retrieved from https://www.britannica.com/place/Morocco

Oman. (n.d.). Retrieved from https://www.britannica.com/place/Oman

Qasr Al Muwaiji. (2019, January 7). Retrieved from https://abudhabiculture.ae/en/experience/historic-landmarks/qasr-al-muwaiji#historic-landmarks

Qatar. (n.d.). Retrieved from https://www.britannica.com/place/Qatar

Ravikovitch, Dahlia. (n.d.). Retrieved from https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/ravikovitch-dahlia

Religion and politics in Israel: 7 key findings. (2016, March 8. Retrieved from https://www.pewresearch.org/fact-tank/2016/03/08/key-findings-religion-politics-israel/

S.Y. Agnon. (n.d.). Retrieved from https://www.britannica.com/biography/S-Y-Agnon

Spaulding, J. et al. (n.d.). Sudan. Retrieved from https://www.britannica.com/place/Sudan

Talbi, M. et al. (n.d.) Tunisia. Retrieved from https://www.britannica.com/place/Tunisia

The Bible. (n.d.). Retrieved from https://www.bbc.co.uk/religion/religions/christianity/texts/bible.shtml

The Khamriyyat of Abu Nuwas: Medieval Bacchic Poetry. (n.d.). Retrieved from https://www.amazon.com/Khamriyyat-Abu-Nuwas-Medieval-Bacchic/dp/1784623164

Western Sahara. (n.d.). Retrieved from https://www.britannica.com/place/Western-Sahara

[jewishbookworld]

Agnon's Tales of the Land of Israel; Edited by Jeffrey Saks, Shalom Carmy

Agnon’s Tales of the Land of Israel; Edited by Jeffrey Saks, Shalom Carmy

Foreword: Steven Fine “As a result of the historic catastrophe in which Titus of Rome destroyed Jerusalem and Israel was exiled from its land, I was born in one of the cities of the Exile,” S. Y. Agnon declared at the 1966 Nobel Prize ceremony. “But always I regarded myself as one who was born in Jerusalem.” Agnon’s act of literary imagination fueled his creative endeavor and is explored in…

[timetunnelcollective]

Shmuel Yosef Agnon, born in 1887, was a Nobel Prize laureate writer and one of the central figures of modern Hebrew fiction. In Hebrew, he is known by the acronym Shai Agnon (ש"י עגנון). In English, his works are published under the name S. Y. Agnon. His works deal with the conflict between the traditional Jewish life and language and the modern world. They also attempt to recapture the fading traditions of the European shtetl (village). In a wider context, he also contributed to broadening the characteristic conception of the narrator's role in literature.  https://en.wikipedia.org/wiki/Shmuel_Yosef_Agnon Illustrated by Shimon Engel This piece is now part of our ongoing exhibition at Hansen House in Jerusalem. You are welcome to visit it. the show closes on July 30th 2019.

[kraken-spines]

Hi! I couldn't find the original post, but I remembered that in a post about 'Signs and Symbols' you mentioned that you felt as if the POV was a bit weird, that you felt as if it should be told from the mother's POV but it wasn't being. So I wanted to say that from the stories I read from S.Y. Agnon, the only other short story writer I've read from that time period (I mean from their births to their deaths), I also got that same sort of feeling-that the story is being told from the wrong POV

Oh no! My original post is: here. And I’ve been trying to make things easier to find by making a page: here. 

That’s interesting, I never read anything by S. Y. Agnon. But yeah, I don’t know why that happens. Maybe some stories feel more like you need internal thoughts of a character and others feel more “third person” and rarely, I guess “second person”. Then again, we have third person omnipotent and close so… there are branches of that. 

Feel free to join in however you like Anon! :) 

[albertomansur]

The Lord will no doubt have mercy on me, and if the Lord does not, maybe the Neighborhood Council will, but I fear the bus cooperative is stronger than both. — S. Y. Agnon.

The Lord will no doubt have mercy on me, and if the Lord does not, maybe the Neighborhood Council will, but I fear the bus cooperative is stronger than both. — S. Y. Agnon.

— Alberto Mansur (@AlbertoMansur) April 19, 2020

from Twitter https://twitter.com/AlbertoMansur April 19, 2020 at 05:11PM via IFTTT

[surethingsis]

שלום, אני לילוש ואני סיימתי תיכון לפני יותר משמונה שנים.

בכל מקרה הנה האדונית והרוכל פוגש את גרוויטי פולס.

חלק ב חלק ג חלק ד

English under the cut

Theres this short story by S Y Agnon called The Lady And The Peddler in which a jewish peddler and a goy lady start a relationship. The peddler is sure he is so lucky to live under the lady's care but actually she has nefarious plans with him (spoiler- shes want to eat him).

Its an allegory for the relationship of Jewish culture and goy culture but im too tired to explain.

It's really cool how well the themes fit with the story of Bill Cipher and Ford.

The lines written in the pic are form the story-

"you want to know what I eat and drink?"

"I drink human blood and eat human flesh"

Thanks for caring bye#