Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Sholem Aleichem
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Еврейское измерение Киева в „Кровавой шутке” Шолом-Алейхема

100%
Bortnowski A.
Kultury Wschodniosłowiańskie - Oblicza i Dialog
|
2017
|
issue 7
23-34
PL
Sholem Aleichem is one of the authors of modern Jewish literature in Yiddish, and most of his works are closely related to the realities of Eastern Europe. In his books the writer presents, among others, images of life of the Jewish community in pre- revolutionary Kiev. His novel, The Bloody Hoax, is particularly noteworthy in this case and it has become the main object of research in this paper. The story of the novel mostly takes place in an unnamed city, the prototype of which has become a historical Kiev. The Bloody Hoax, the plot of which is largely based on real events, shows the specificity of life of the Jewish community in the big city, and the problems its representative shave to face.
2

Żydówka – żona i matka. Wizerunek kobiety żydowskiej w powieściach Szołema Alejchema, Szaloma Asza, Isaaca Bashevisa Singera

100%
Leśniak E.
Rocznik Przemyski
|
2014
|
vol. 50
|
issue 2: Literatura i Język
121-145
EN
In his work titled Wymiary dzieła literackiego (The dimension of a literary work) Henryk Markiewicz wrote that among the issues related to literary characters there is a function of the protagonist towards “other elements of the work, characters from other works, extraliterary reality”. The subject of this article are women in the work of Jewish writers. The deliberations based on anthropology concern the following works: Satan in Goray and The Magician of Lublin by Isaac Bashevis Singer, From the Fair by Sholem Aleichem and The Nazarene by Sholem Asch. The beginning of the article, showing the social standing of Jewish women, dictated by the Torah and other sources of Israeli law as well as social conventions, introduces the reader into various ways of realization of the invariant dependent on those rules. The characters described have been presented in the way that makes it possible to discern both similarities and contrasts.
3
Publication available in full text mode
Content available

Several Narrative Strategies in Yiddish and Czech Stories

75%
Holý J.
Poznańskie Studia Slawistyczne
|
2023
|
issue 24
295-315
EN
This article deals with six short stories written in Yiddish and Czech analyzing their narrative strategies. In The German by Sholem Aleichem the limited first-person perspective of the story makes it impossible to look into the inner world of the German. Similar characters are presented in Aleichem’s Hard Luck and Elijah the Prophet. At the end of Hard Luck a dialogue breaks the limited perspective. The main character of Isaac Leybush Peretz’s The Shtrayml seems to be a type of naive narrator; in fact, in the last part of the story, he expresses the author’s irony and social criticism. The German by Aleichem probably inspired The Miracle with Julčaby Czech author Ivan Olbracht. Here, however, the protagonist’s perspective is sometimes extended by the author’s perspective. In Ladislav Grosman’s The Bride the contrast between the characters’ and the readers’ expectations is presented by the significant change of the narrator’s point of view. The peripheral narrator concentrated on private life becomes the author’s narrator who knows the future.
4
Publication available in full text mode
Content available

Kijów początków XX wieku w twórczości pisarzy pochodzenia żydowskiego

63%
Bortnowski A.
Przegląd Środkowo-Wschodni
|
2017
|
vol. 2
183-198
PL
W niniejszym artykule zostaje podjęta próba przedstawienia specyfiki postrzegania przedrewolucyjnego Kijowa przez pisarzy pochodzenia żydowskiego. Przedmiotem badań stały się utwory autobiograficzne Szolema Alejchema (Z jarmarku), Irenè Némirovsky (Wino samotności) oraz Ilji Erenburga (Ludzie, lata, życie). Pokazują one zupełnie różne spojrzenia na Kijów początku XX wieku, wynikające w dużej mierze z kwestii tożsamości narodowej wymienionych twórców.
EN
The theme of the article is to present the specifi cs of perception of Kiev by writers of Jewish origin living in the city at the beginning of the twentieth century. Based on the analysis of autobiographical works by Sholem Aleichem (The Great Fair), Irene Nemirovsky (The Wine of Solitude) and Ilya Ehrenburg (People, Years, Life) the author shows how diff erent the perception of the city was, depending on the issue of the writers’ ethnic identity.
5
Publication available in full text mode
Content available

«Rozsiani i rozrzuceni» («Cezejt un ceszprejt») Szolem Alejchema w Warszawie (1905 i 1910)

63%
Szmeruk C.
Pamiętnik Teatralny
|
1992
|
vol. 41
|
issue 1/4
253-272
EN
The article reconstructs the history of Sholem Aleichem’s forgotten play Tsezeyt Un tseshpreht [Scattered and Dispersed], which, since its publication in the weekly Jidisze Folkscajtung (1903) and performances in theatres from Kovel to New York (1903–1905), was regarded as reflecting current social, national and cultural tendencies. The Jewish community received it enthusiastically. It was performed in Yiddish, Polish, Russian, and Hebrew, in professional and amateur theatres. After the First World War, it disappeared from the stages. It had several authorized versions. Its theme is the generational conflict between parents and children; after a small-town family moves to a city, the children all too soon succumb to city life’s temptations and become involved in political activities. The family disintegrates and the comedy turns into a tragicomedy. The reception of the play is also discussed at length in the context of the relations between Warsaw Jews and the Polish theatre.
PL
Historia zapomnianej sztuki Szolema Alejchema Rozsiani i rozrzuceni, która od publikacji w tygodniku Jidisze Folkscajtung (1903) i realizacji na scenach teatrów od Kowla do Nowego Jorku (1903–1905) była uznawana za odzwierciedlenie aktualnych prądów społecznych, narodowych i kulturowych. Społeczność żydowska przyjęła ją entuzjastycznie. Grano ją w języku jidysz, po polsku, rosyjsku i hebrajsku na scenach zawodowych i amatorskich. Po pierwszej wojnie światowej zniknęła z repertuarów. Miała kilka wersji autorskich. Jej tematem jest konflikt pokoleniowy między rodzicami a dziećmi, które po przeprowadzce rodziny z małego do dużego miasta zbyt szybko ulegają wielkomiejskim pokusom i angażują się w działalność polityczną. Rodzina się rozpada, komedia przekształca się w tragikomedię. Recepcja sztuki zostaje szeroko omówiona również w kontekście kontaktów między warszawskimi Żydami a polskim teatrem.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.