Bedankt voor het vertrouwen het afgelopen jaar! Om jou te bedanken bieden we GRATIS verzending (in België) aan op alles gedurende de hele maand januari.

Afhalen na 1 uur in een winkel met voorraad
Gratis thuislevering in België vanaf € 30
Ruim aanbod met 7 miljoen producten

Bedankt voor het vertrouwen het afgelopen jaar! Om jou te bedanken bieden we GRATIS verzending (in België) aan op alles gedurende de hele maand januari.

Afhalen na 1 uur in een winkel met voorraad
Gratis thuislevering in België vanaf € 30
Ruim aanbod met 7 miljoen producten

Winkels

Verlanglijstje

Winkels

Verlanglijstje

Zoeken

Volg ons op

140 winkels

Wist je dat er in Vlaanderen voor iedereen een Standaard Boekhandel is binnen een straal van 7 km?

Vind hier een winkel

€ 55,45

+ 110 punten

Levering 1 à 4 weken

Eenvoudig bestellen

Veilig betalen

In januari gratis thuislevering in België (via bpost)

Gratis levering in je Standaard Boekhandel

Omschrijving

In 1937, the young Yiddish poet Berl Feldman bade farewell to his family in Radzivil and emigrated to the land of Israel, where he became the Hebrew poet Amir Gilboa. In this comprehensive study, Warren Bargad describes and interprets Gilboa's works at the various stages of his career and defines his place in the tradition of modern Hebrew poetry. Spanning nearly fifty years and collected in eight volumes, his works reflect the multiplicity of norms that dominated Israeli poetry in the thirties and forties as well as the personal artistic vicissitudes that moved Gilboa from one set of poetics to another in the course of his life's work. Bargad explains the romantic themes and lyrical style that characterize Amir Gilboa's early poetry as the combined result of his leaving behind the strident tone of Yiddish proletarian verse and his fervid enthrallment with the Land of Israel as a source of spiritual, ideological, and personal fulfillment. Later, Gilboa experimented with other approaches: the poetics of figurative profusion in the 1940s, the poetics of ambivalence in his Holocaust poetry, the poetics of ideological lyricism in the 1950s, and the poetics of ambiguity in his later modernist phase. From the late 1960s until his death in 1984, Gilboa created a highly idiosyncratic blend of romantic preoccupations and new modernist structures. Bargad addresses two additional dimensions of Gilboa's poetry: its multiple linguistic strata and its autobiographical nature. Although Gilboa's frequent borrowings from the language of Hebrew romanticism show his abiding attachment to the modes of expression of Bialik and his followers, the dominant narrative voice in all of Gilboa's poetry is his own. He describes past experiences and everyday incidents-his frustrations, his delights, his sorrows. Even in his poems on biblical figures, where the poetic voice is most distanced, a live image of the poet emerges. The result is an interweaving of autobiography, even if a mythical one, and ancient history. The poems on poetry and the poetic process go much further, disclosing a virtually unmasked autobiographical voice, one which provides much of the force, fervor, charm, and poignancy of Gilboa's unique style.