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- W1977459503 abstract "This paper approaches the critical oeuvre of Gershon Shaked, with particular reference to his writing on Agnon’s fiction, in light of the complexity of Jewish responses to the Enlightenment. The ironic tensions that shape Agnon’s fiction and Shaked’s criticism can be read in light of the conflicting identifications that shaped Jewish responses to anti-Semitic themes in European culture. Agnon’s novella, Shevu’at emunim, and Shaked’s essay on it, exemplify the value of literary response in exposing the conflicting trends that subtend culture and ideology. I want to begin by acknowledging a deep personal debt of gratitude to Gershon Shaked for his warm support of my own work on Agnon. Gershon Shaked’s readerly passion enabled him to draw out the social and historical implications of literary works in a manner that continues to enrich our reading. In the cultural politics of modern Jewish identities, literature allows us to focus on individual expression amid rising nationalisms and other forms of collective identity; precisely here I hope to use Gershon’s work to explore further the intersection of gender and generation in narrative structure. Agnon’s fiction and Gershon Shaked’s critical work each exemplify the complex responses to Enlightenment of Jewish writers who encountered new cultural opportunities and forms of exclusion, new modes of expression, and persistent forms of marginalization. In his early book on Agnon, Omanut hasippur shel Agnon (1973), Gershon explores the double reading—the tension between two levels of plot that are at odds with each other—in Agnon’s fiction. 1 That sense of a central and unresolved tension opened the way to the larger question of the writer’s location on the map of modern Jewish writing. In his English-language study of Agnon, subtitled A Revolutionary Traditionalist, Gershon examined the relations of texts to historical contexts, taking up six major novels of Agnon—Hakhnasat kala (The bridal canopy), Oreah nata lalun (A guest for the night), Sippur pashut (A simple story), Tmol shilshom (Only yesterday), and Behanuto shel mar Lublin (In Mr. 1 G. Shaked, Omanut haSippur shel Agnon (The narrative art of Agnon; Merhavia and Tel Aviv: Sifriyat Poalim, 1973)." @default.
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- W1977459503 date "2008-01-01" @default.
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- W1977459503 title "Inter-Generational Portraits: Agnon, Shaked, Gender and Narrative" @default.
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- W1977459503 doi "https://doi.org/10.1353/hbr.2008.0045" @default.
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