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 subtle heritage is the 1st book-length exploration of the sexual politics underlying the "marriage" of Hebrew and Yiddish, and it has profound implications for figuring out the centrality of language offerings and ideologies within the development of recent Jewish identity.Seidman quite examines this sexual-linguistic process because it formed the paintings of 2 bilingual authors, S.Y. Abramovitsh, the "grand-father" of recent Hebrew and Yiddish literature; and Dvora Baron, the 1st smooth girl author in Hebrew (and a author in Yiddish as well). She additionally presents an research of the jobs that Hebrew "masculinity" and Yiddish "femininity" performed within the Hebrew-Yiddish language wars, the divorce that eventually ended the wedding among the languages.Theorists have lengthy debated the function of dad and mom within the kid's dating to language. Seidman provides the Ashkenazic case as an illuminating instance of a society during which "mother tongue" and "father tongue" are sincerely differentiated. Her paintings speaks to big matters in modern scholarship, together with the psychoanalysis of language acquisition, the feminist critique of Zionism, and the nexus of women's reviews and Yiddish literary historical past.
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Extra resources for A Marriage Made in Heaven: The Sexual Politics of Hebrew and Yiddish (Contraversions, 7)
Ch more associated with the male world, it is also more an acquisition of the male in the family, the father. For women the role of Loshn-koydesh was more marginal, although there were a considerable number of women who also knew Loshn-koydesh. In the case of a boy, his knowledge of Loshn-koydesh grows in direct proportion to his physical development. Before he leaves his mother's domain and is being carried to kheyder, Loshn-koydesh plays a minimal role in his life: the prayer Moyde ani, a few benedictions.
Blumele, reading aloud to her sick husband from a popular bilingual ethical text with the Hebrew above- and Yiddish below, is reminded of her work as a small produce seller. Her small shriveled head is buried in the large, yellowing pages, which are separated into two by a black line. Above is the Loshn-koydesh, beneath is the ivre-taytsh. This reminds Blumele of the rich produce dealer's house. On the upper floors he lives with his family in a lavishly furnished apartment. Whenever she goes up there, she has to wait in the foyer like a beggar; and she is frightened by the incomprehensible foreign language that the wholesaler's educated daughters and daughters-in-law speak among themselves.
12 The woman is redeemed, then, because there are children born of this union, the works that grant Abramovitsh fame and provide his "wife" with respectability. " . . From that time on I longed for "Yehudi"t" and wedded her forever, providing her with perfumes and worthy goods and she became a fine-favored and beautiful matron and bore me many childrenY Abramovitsh's saga of the anxiety and shame of "consorting" with Yiddish appears to reach a satisfactory conclusion: overcoming the beloved language's degradation and the writer-lover's claustrophobic social environment, the couple are betrothed, marry, and bear many children.