This essay explores a body of 340 poems created by political prisoners who were accused of and imprisoned for anti-state activity in late 1940s and 1950s Stalinist Poland. Evaluating prison poetry as a historical source, I understand the process of composing a poem as the result of a prisoner’s need to document the world around her/himself, as a psychological activity that contained diffi cult prison experiences, as a negotiation of emotional and often conflicting states, and as a social practice through which prison poets affected themselves and the people around them. Situated somewhere at the intersection of the personal and political, poetry became one of the most powerful sites of resistance. In addition to evaluating prison poetry as a historical source, this essay also explores gender differences and similarities in the body of 340 poems discussed here and in the social function of the prison poems.
The Poetry of Male and Female Political Prisoners in Postwar Poland
.95 (paperback). ISBN 978-1-941830-38-3 This small book of 78 pages including short essays and a few poems could easily escape attention if one did not recognize the authors’ powerful message. In short form, they present the essence of what unites indigenous
The Social Evolution of Alterman's “Don't You Give Them Guns”
Nathan Alterman's poem “Don't You Give Them Guns” echoed European post–World War I anti-war literature. Curiously, the poem turned into a key text in a ritual instituted by members of the elite Jewish underground fighting force, the Palmach, which was established during World War II. This article is an attempt to understand how a pacifist poem came to be used by Jewish-Israeli soldiers at the heart of the 1948 War of Independence. In terms of theory, the analysis dwells on the relations between text and social context, arguing that alternative social ideas conceal themselves in poetry and other literary forms. These texts can be likened to undercurrents that preserve hidden social concerns. To follow the changing role of such texts, the article considers the fate of “Don't You Give Them Guns” from its birth in 1934 to its later manifestations in the early twenty-first century.
After our Winter 2013 special issue, which contained 17 articles focusing intently on all (or almost all) aspects of the family in Israel, we have changed lenses and are presenting quite a bit of variety in this issue. We start off with Efrat Ben-Ze’ev’s provocative article “Hidden Scripts: The Social Evolution of Alterman’s ‘Don’t You Give Them Guns,’” which investigates the transformation in meaning of that single phrase in Israeli society as a whole, but particularly the poem’s significance in the annual commemoration ceremony held by a specific Palmach unit. It is a fascinating exploration of meaning using the tools of an anthropologist.
Markku Lehmuskallio and Anastasia Lapsui in Siberia and the Circumpolar World
Starting with instructional films about Finnish forestry in the 1970s, Markku Lehmuskallio has taken his cinematic vision progressively northward. After the fall of the Soviet Union, Leh mus kallio started intensive work among the Nenets, ultimately collaborating with Anastasia Lapsui to make remarkable “film poems“ among northern peoples at the edges of the world. Perhaps most impressive of their extensive Giron Film productions are the awardwinning Seven Songs of the Tundra (2000) and Earth Evocation (2009). This review essay focuses on their methods of representation of northern, native peoples over the course of their filmmaking career.
The Israeli Communist Commemoration of the Spanish Civil War, 1936–1986
as the Spanish war myth was disseminated in the West, local Communists in Palestine/Israel also used poems as a way to convey aspects of the war. The Poets of the War Myth The Spanish Civil War penetrated into the lives of Communists in Palestine
Demographic Decline and the Public Response in the Late Soviet Period
-grandfathers. A current rarity.” Notes 1 Boris Urlanis, “Beregite muzhchin,” Literaturnaia gazeta , 24 July 1968, 12. 2 See, for example, the poems by Iurii Blagov, “Beregite muzhchin!” Krokodil , no. 21 (1974): 12; and Vladimir Volin, “Beregite muzhchin
A Comparative View
the Rock] stands on our most sacred land, the place of the Temple, on the skull of the nation,” cried the poet Uri Zvi Greenberg in 1924 , adding in a poem ( Molcho 1924 ): Your head is gone Your head has been splattered A mosque has been attached to
Kendall House, Alexander King, and Karl Mertens
: a poem, an autobiographical sketch, and a hunting narrative. Taken as a whole, the contributors bring the difficulties of recent Ewenki history into sharp relief. It is helpful to sketch a thin outline here. After crossing the Amur River into
Translator : Jenanne K. Ferguson
be classified as service literature: “A Collection of Poem-Prayers” (in Buryat, Zunduy) , “Sanctuary …” (in Buryat, Etigel ; in Tibetan Skyabs’ gro sems bskyed ), “Eight Light” (in Buryat, Nayman Gegen ; in Tibetan, Snang brgyad) . These texts