Between Exile and Return: S.Y. Agnon and the Drama of by Anne Golomb Hoffman PDF

By Anne Golomb Hoffman

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Behind him: Most opinions were divided about that book. There were Wise Men who said that all that was written in it had been written by Yequti'el Ne'eman from the mouth of the Lord ( .... ) and he had not added to his words and he had not taken anything at all away from his words. And there were those who said, no, that Ne'eman had written it from his own mouth and had credited his words to a Lord whom nobody had ever seen. [Agnon 1970, 81; 1968,6:144-45] On the horizontal axis, it begins to look something like this: Sender message intermediary message receiver(s) Lord( ....

It is the Traveler who survives in the ambivalence of his reading, an ambivalence that combines elements of attraction with civilized horror in reaction to the writing machine. He offers the middle ground for a range of subject positions in relation to the writing machine; these range from the virtual noncomprehension of the condemned man to the off-the-scene new Commandant whose interests are so far removed from the old order that he is only interested in "harborworks," or links to the world beyond the penal colony.

16:8]. On the opposite wall hangs a mirror. Within this highly emblematic structure, a drama ofthe gaze is enacted: When Miriam visits the bathhouse Raphael remains in the House of Study. When she returns home she dresses in fine clothes like a bride on her wedding, and stands before the mirror. [ ... ] and at that moment the thought enters her mind to make herself beautiful for her husband. " . And when Raphael returns home after the prayers and sees his wife in her true beauty reflected in the mirror, he is immediately attracted to her.

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