Hebrew Literature

In occasione dell’Anno Europeo del Patrimonio Culturale 2018 il Dipartimento di Beni Culturali dell’Università di Bologna ha promosso e organizzato un convegno internazionale, tenutosi a Ravenna nei giorni 21-23 novembre 2018, attraverso il quale, sotto l’umbrella subject del Grand Tour, indagare gli aspetti storici ed attuali relativi al valore
culturale e turistico delle diverse tipologie di beni rientranti nel largo concetto di ‘patrimonio culturale’. Il consesso, strutturato in cinque specifiche sessioni cui hanno partecipato studiosi italiani, francesi, spagnoli ed ungheresi, ha voluto anche dare avvio ad un percorso di valorizzazione delle diverse, ma integrate, competenze e attitudini di
ricerca presenti nel Dipartimento, evidenziando così la multidisciplinarietà che lo caratterizza e la trasversalità di talune indagini e riflessioni scientifiche. Con la pubblicazione degli atti del convegno ravennate non solo si è voluto approfondire storicamente i concetti di patrimonio culturale, viaggio, e turismo, distinti, o collegati nell'ambito del fenomeno del Grand Tour, ma si è inteso esprimere soprattutto la valenza del concetto di condivisione sociale e culturale, che ha permesso fenomeni di vasta portata e di grande incidenza nella storia pubblica come appunto questo del Grand Tour. La condivisione ha implicato nel tempo un percorso complesso di conoscenza dell’altro da sé e sia che si tratti di individui, che delle loro reti sociali, che ancora delle loro sovrastrutture culturali. La condivisione si rivela, così, il vero strumento attraverso il quale “spezzare il pane della scienza

By K.A. Kitchen -- In a detailed, comprehensive, and entertaining manner, Kitchen draws on an unprecedented range of historical data from the ancient Near East — the Bible’s own world — and uses it to soundly reassess both the biblical record and the critics who condemn it. Working back from the latest periods (for which hard evidence is readily available) to the remotest times, Kitchen systematically shows up the many failures of favored arguments against the Bible and marshals pertinent permanent evidence from antiquity's inscriptions and artifacts to demonstrate the basic honesty of the Old Testament writers.
(This text was made available at the following website: https://www.pdfdrive.com/on-the-reliability-of-the-old-testament-d188582318.html)

Exhaustive research of Angels and other biblical aspects. Further research from Dr. Michael Heisers Angels , Demons , Unsean Realm and further reading into Adam Godawa"s Giants on the earth in those days . This books does cover those titles stated above but gives you a deeper dive into those subjects that are very hard to find online! Enjoy!

Alphabetical Order of Some Described-
A -
Aamon/Amon (Christian demonology)
Abaddon/Apollyon (Christian demonology)
Abezethibou (Jewish demonology)
Abraxas (Gnosticism)
Abyzou (Jewish mythology)
Achlys (Greek mythology)
Adrammelech (Assyrian mythology, Christian demonology)
Aeshma (Zoroastrianism)
Agaliarept (Jewish mythology)
Agrat bat Mahlat (Jewish demonology)
Agares (Christian demonology)
Agiel (Jewish mythology)
Ahriman/Angra Mainyu (Zoroastrianism)
Aim/Haborym (Christian demonology)
Aka Manah/Akem Manah/Akoman/Akvan (Zoroastrianism)
Akuma (Japanese Buddhism, Japanese Christianity)
Al Ana (Turkish folklore)
Ala (Slavic mythology)
Alal (Chaldean mythology)
Alastor (Christian demonology)
Alloces/Allocer (Christian demonology)
Allu (Akkadian mythology)
Amaymon (Christian demonology)
Amdusias (Christian demonology)
Amy (Christian demonology)
Anammelech (Assyrian mythology)
Anqa (Arabian folklore)
Ancitif (Christian demonology)
Andhaka (Hindu mythology)
Andras (Christian demonology)
Andrealphus (Christian demonology)
Andromalius (Christian demonology)
Anti (Sumerian mythology)
Antichrist (Christian eschatology)
Anzu (Sumerian mythology)
Apaosha (Persian mythology)
Apep or Apophis (Egyptian mythology)
Armaros (Jewish demonology)
Archon (Gnosticism)
Arunasura (Hindu mythology)
Asag (Sumerian demonology)
Asakku (Babylonian mythology)
Asb'el (Jewish mythology)
Asmodai/Asmodeus (Jewish folklore, Christian mythology, Islamic folklore)
Astaroth (Christian demonology)
Asura (Hindu mythology, Buddhism, Shinto)
Azazel/Azaz'el (Jewish mythology, Islamic folklore)
Azi Dahaka/Dahak (Zoroastrianism)
B-
Baal/Bael (Christian demonology)
Babi ngepet (Indonesian mythology)
Bakasura (Hindu mythology)
Baku (Japanese mythology)
Balam (Christian demonology)
Balberith (Jewish demonology)
Bali Raj (Hindu mythology)
Banshee (Irish mythology)
Baphomet (Christian folklore, Islamic Folklore, Jewish Mysticism, Satanism, Thelema)
Barbas (Christian demonology)
Barbatos (Christian demonology)
Barong (Indonesian mythology)
Bathin/Mathim/Bathym/Marthim (Christian demonology)
Beelzebub (Jewish and Christian demonology)
Belial (Jewish Christian demonology)
Beleth (Christian demonology)
Belphegor (Christian demonology)
Berith/Beherit (Phoenician mythology, Christian demonology)
Bhūta (Hindu mythology)
Bifrons (Christian demonology)
Boruta (Slavic mythology)
Botis (Christian demonology)
Buer (Christian demonology)
Bukavac (Slavic mythology)
Bune (Christian demonology)
Bushyasta (Zoroastrianism)
C-
C-Caim/Camio (Christian demonology)
Charun (Etruscan mythology)
Chemosh (Moabite mythology)
Choronzon (Thelema)
Chort (Slavic mythology)
Cimejes/Kimaris/Cimeies (Christian demonology)
Corson (Christian demonology)
Crocell/Procell (Christian demonology)

D-
D-Daeva (Zoroastrianism)
Dagon (Semitic mythology)
Dajjal (Islamic eschatology)
Dantalion (Christian demonology)
Danjal (Jewish mythology)
Decarabia (Christian demonology)
Demiurge (Gnostic mythology)
Demogorgon (Christian demonology)
Dev (Persian, Islamic demonology)
Devil (Demonology/Diabology)
Div-e Sepid (Persian mythology)
Djall (Albanian mythology)
Drekavac (Slavic mythology)
Dzoavits (Native American mythology)

E-
Eblis/Iblis/Ibris (Islamic demonology)
Eligos (Christian demonology)
Eisheth (Jewish demonology)
Erlik (Turkish mythology)

F-
Focalor (Christian demonology)
Foras/Forcas/Forras (Christian demonology)
Forneus (Christian demonology)
Furcas/Forcas (Christian demonology)
Furfur (Christian demonology)
G-
Gaap (Christian demonology)
Gader'el (Jewish demonology)
Gaki (Japanese mythology)
Gamigin (Christian demonology)
Ghaddar (Islamic folklore)
Ghoul (Arabian and world-wide mythologies via adaptation from arabs)
Glasya-Labolas/Caacrinolaas/Caassimolar/Classyalabolas/Glassia-labolis (Christian demonology)
Gorgon (Greek mythology)
Gremory/Gomory (Christian demonology)
Grigori (Jewish demonology)
Gualichu (Mapuche mythology)
Guayota (Guanche mythology)
Gusion/Gusoin/Gusoyn (Christian demonology)
H-
Haagenti (Christian demonology)
Halphas/Malthus (Christian demonology)
Haures/Flauros/Flavros/Hauras/Havres (Christian demonology)
Hinn (Islamic folklore)
I-
Ifrit (Islamic demonology)
Incubus (Christian demonology)
Ipos/Ipes (Christian demonology)
Jinn (Islamic demonology)
Jikininki (Japanese mythology
Kabandha/Kabhanda (Hindu mythology)
Kara İye (Turkish mythology)
Kasadya (Jewish demonology)
Kokabiel (Jewish mythology)
Kore (Greek mythology)
Kroni (Ayyavazhi demonology)
Krampus (Germanic-Christian demonology)
Killakee Cat (Hell Fire Club)
Kukudh (Albanian mythology)
Kulshedra (Albanian mythology)
Kumbhakarna (Hindu mythology)
Lamia (Greek mythology)
Legion (Christian demonology)
Lechies (Slavic mythology)
Leviathan (according to certain interpretations of Jewish, Gnostic and Christian mythology)
Lili/Lilin/Lilim (Jewish mythology)
Lilith (Akkadian mythology, Jewish folklore)
Ljubi (Albanian mythology)
Lucifer (Christian theology)
Lucifuge Rofocale (Christian demonology)
Marid (Islamic demonology)
Malphas (Christian demonology)
Mammon (Christian mythology)
Mara (Buddhist mythology)
Maricha (Hindu mythology)
Marax/Morax/Foraii (Christian demonology)
Marchosias (Christian demonology)
Mastema (Jewish demonology)
Mazoku (Japanese folklore)
Mephistopheles (Christian folklore, German folklore)
Merihem (Christian demonology)
Moloch (Jewish, Pagan and Christian mythology, Scientology)
Murmur (Christian demonology)
Naamah (Jewish mythology)
Naberius/Cerbere/Naberus (Christian demonology)
Ninurta (Sumerian mythology, Akkadian mythology)
Namtar (Sumerian mythology)
Nar as-samum (Islamic folklore)
Oni (Japanese folklore)
Onoskelis (Jewish mythology)
Orcus (Roman mythology, later Christian demonology)
Orias/Oriax (Christian demonology)
Orobas (Christian demonology)
Ose (Christian demonology)
Ördög (Hungarian mythology)
O Tokata (Indonesian mythology)
Paimon (Christian demonology)
Pazuzu (Babylonian demonology)
Pelesit (Indonesian and Malaysian mythology)
Phenex (Christian demonology)
Penemue (Jewish and Christian mythology)
Pithius (Christian demonology)
Pocong (Indonesian & Malaysia mythology)
Pontianak (Indonesian and Malaysian mythology)
Preta (Buddhist demonology)
Pruflas (Christian demonology)
Puloman (Hindu mythology)
Rahab (Jewish folklore)
THE ANGELIC SCRIPT 335 THE ORDERS OF THE CELESTIAL HIERARCHY 336 THE SEVEN ARCHANGELS 338 THE RULING PRINCES OF THE NINE CELESTIAL ORDERS 339 THE ANGEL RULERS OF THE SEVEN HEAVENS 340 THE THRONE ANGELS 340 THE SIXTY-FOUR ANGEL-WARDENS OF THE SEVEN CELESTIAL HALLS OR HEAVENS (HECHALOTH) 340 THE GOVERNING ANGELS OF THE TWELVE MONTHS OF THE YEAR 341 SPIRITS, MESSENGERS, INTELLIGENCES OF THE SEVEN PLANETS 342 THE ANGELIC GOVERNORS OF THE TWELVE SIGNS OF THE ZODIAC 342 THE ARCHANGELS AND ANGELS OF THE SEVEN DAYS OF THE WEEK 343 THE ANGELIC GOVERNORS OF THE SEVEN PLANETS 343 THE GOVERNING ANGELS OF THE FOUR SEASONS THE ANGELS OF THE HOURS OF THE DAY AND NIGHT . C O N T E N T S THE SEVENTY-TWO ANGELS BEARING THE MYSTICAL NAME O F GOD SHEMHAMPHORAE THE SEVENTY AMULET ANGELS INVOKED AT THE TIME OF CHILD- BIRTH THE NAMES OF METATRON THE GREAT ARCHONS THE CHIEF ANGEL PRINCES OF THE ALTITUDES THE TWENTY-EIGHT ANGELS RULING IN THE TWENTY-EIGHT MANSIONS OF THE MOON THE ARCHANGELS OF THE HOLY SEFIROTH THE UNHOLY SEFIROTH THE WATCHERS THE SARIM THE ANGELS OF PUNISHMENT (MALAKE HABBALAH) THE ARCHANGELS OF PUNISHMENT THE NAMES OF LILITH THE FALLEN ANGELS THE YEZIDIC ARCHANGELS THE SEALS OF THE SEVEN ANGELS THE MAGIC CIRCLE THE TEN RULING ANGELS AND THEIR ORDERS SIGILS, CHARTS, PACTS.The idea of fallen angels derived from the Book of Enoch, a Jewish pseudepigraph, or the assumption that the "sons of God" (בני האלוהים‎) mentioned in Genesis 6:1–4 are angels. In the period immediately preceding the composition of the New Testament, some sects of Judaism, as well as many Christian Church Fathers, identified the "sons of God" of Genesis 6:1–4 as fallen and  angels. Rabbinic Judaism and Christian authorities after the third century rejected union betweendjs angels and women producing giants. Christian doctrine states that the sins of fallen angels start before the beginning of human history. Accordingly, This book is a awesome work!! I. Seraphim 2. Cherubim 3. Dominations 4. Thrones 5. Principalities 6. Potentates (Powers) 7. Virtues 8. Archangels 9. Angels ST. JEROME 1. Seraphim 2. Cherubim 3. Powers 4. Dominions (Dominations) 5. Thrones 6. Archangels 7. Angels GREGORY THE GREAT (in Homilia) 1 . Seraphim 2. Cherubim 3. Thrones 4. Dominations 5. Principalities 6. Powers 7. Virtues 8. Archangels 9. Angels

In An Introduction to the Old Testament Historical Books, incredible events, amazing love stories, larger-than-life personalities and deep theological implications and themes are just part of the treasure that awaits readers. These books tell the story of the nation of Israel and the God who loves her, punishes her, and always brings this recalcitrant people back to Himself.

In An Introduction to the Old Testament Poetic Books, C. Hassell Bullock, a noted Old Testament scholar, delves deep into the hearts of the five poetic books, offering readers helpful details such as hermeneutical considerations for each book, theological content and themes, detailed analysis of each book, and cultural perspectives.

In An Introduction to the Old Testament Prophetic Books, C. Hassell Bullock presents a clear picture of some of history's most profound spokesmen--the Old Testament prophets--and the God who shaped them. Our generational distance from the age of the prophets might seem to be a measureless chasm. Yet we dare not make the mistake of assuming that passing years have rendered irrelevant not only the Old Testament prophets, but also the God who comprehends, spans, and transcends all time.

In An Introduction to the Old Testament Pentateuch, Old Testament expert Herbert Wolf provides layreaders and scholars alike with a strong undergirding of understanding and knowledge in this introduction that reveals both the seriousness and excitement of the Pentateuch. 
(This text was made available at the following website: https://www.pdfdrive.com/introduction-to-the-old-testament-set-of-four-books-prophetic-poetic-pentateuch-historical-d194272786.html)

The Hebrew translation of the Quran by Uri Rubin, (1944-2021) was first published in 2005. In 2016, the translator after 11 years, published its edited version. The importance of this translation, regardless of linguistic
debates, is the existence of a lot of footnotes under the verses; the content of some of them will definitely help interpretive-Intertextuality
discussions, but in some cases the footnotes have conflict with the Muslim views. In fact, the final text is something beyond translation,
but a commentary.
The content of the footnotes can be categorized in four main parts: I. Purely explanatory texts for literal explanation of the meanings of verses; II. Referring to exegetical views and disagreements of commentators; III. Referral to similar verses in the text of the Qur›an; IV. Referring to the similar concepts in Torah, and Midrash. The present article focuses on this new version and its changes in two subjects of basic issues and its references to pre-Islamic texts.

The article discusses thirteen modern Hebrew poems written during the 20th century at the center of which is the image of Ruth the Moabite. Ten of the poems were written by male poets, and three - by female poets. The article addresses the two main issues that concern contemporary poetry, with a biblical female figure: the gender issue and the issue of dialogue with the Bible: the various ways in which the poems relate to the underlying biblical stories.

The Confessions of Saint Augustine, here translated into Hebrew from Latin by Paul Philip Levertoff, is considered one of the most influential masterpieces of European literature, modern philosophy, and Western culture in general. Before us lies the spiritual autobiography of Augustine, the hedonist in pursuit of pleasure who became a visionary saint. It is an expression of the man in search of God who did not find what he sought in the world of philosophy or the academy. The estranged and wandering Augustine, yearning after tranquility and rest, finally finds his place of repose in God – not through critical contemplation but through an existential-mystical experience. The first Hebrew translation, by the convert Paul Philip Levertoff (1878-1954), was composed under the influence of the early writings of Martin Buber. Levertoff, a quintessential Hebrew author, could be seen as one of the younger members of the circle of Yosef Hayyim Brenner, Uri Nissan Gnessin, and Gershon Shoffman. However, after he converted to Christianity, he was rejected and forgotten. Nevertheless, his influence on Jewish thinkers like Hillel Zeitlin, Brenner, and Rabbi Binyamin was significant. In his translation, Levertoff wanted to present the modern Jew with a way to search after God in places which were invisible to philosophers, as well as to influence the formation of a new Jew; a Jew who, alongside the Hasidic tsaddik, could receive religious inspiration even from a Christian saint. The introduction to the book locates the translation in its historical and literary contexts, and views it as an expression of contemporary intellectual trends related to Orientalism and mysticism. The tension in the text between the Christian original and the Jewish translation give it a unique literary potential and opens a fascinating window onto the world of Jewish thought at the beginning of the 20th century.


Order The BOOK
https://goo.gl/7XiSTh

This article seeks to define one of the main challenges of Modern Hebrew literary writing. Many of the 19th century modern Hebrew writers encountered difficulties in writing realistic fiction in a non-spoken language. Mendele Mocher-Sforim (Sholem Yankev Abramovitsh) found a solution in form of a fictional spoken language. He transformed the historical difference between the written and the spoken into a poetical principle I suggest calling "the poetics of distance". 
The poetics of distance joins the most recognized author of the Modern Hebrew Prose, Sh.Y. Abramovitsh together with David Vogel, one of its most controversial figures. The term "Mendele's era" refers to the period starting with Mendele's Hebrew fiction and ending with the revival of the spoken Hebrew in Palestine during the 1930's. The symbolic closure of this era is marked by the literary work of David Vogel, which is one of the last European-Hebrew writers. Vogel insisted to write a European-Hebrew Prose based on the poetics of distance during the 1920's-1930's, when the historical and ideological reality of his time already permeated (and even demanded) to adopt a new poetic of adequacy between the Hebrew literary expression and the social reality of a growing Hebrew speaking community in Palestine.

People are kind and loving to each other in the Book of Ruth. So God blesses everyone.
The Book of Ruth is pivotal in our human evolution, as discussed in the forthcoming Red Line of Hope.
This is an appendix for that book; it is a (nearly) line-by-line commentary on the Book of Ruth

This paper offers a critical analysis of Rabbinic sources concerning the the history of Loshon HaQodesh. The paper first attempts to define the language known as "Loshon HaQodesh" and then trace its origins through Midrashic and Talmudic sources. The paper also follows the rise and decline of this language.
A more complete version of this paper was printed in Nov. 2014 under the name Lashon HaKodesh: History, Holiness, & Hebrew (Mosaica Press, 2014).

כפר אוסטרי נידח, וינה הקיסרית של ראשית המאה העשרים, האיסט-אנד הלונדוני רוחש המהגרים, עיירת מרפא מנומנמת באלפים השווייציים, לצד דגניה וכינרת, פתח תקווה ותל אביב בראשיתן – כל אלה הם רק אחדים מייעדי המסעות הספרותיים המרתקים ועתירי התגליות בעקבות ג' שופמן, יוסף חיים ברנר, תומס מאן, רחל המשוררת, אסתר ראב ויעקב שבתאי.
יוצרים אלה ואחרים קמים לתחייה ביד האמן של חיים באר, הקרוב אל הספרות העברית, ומאפשרים לקוראים להתוודע מקרוב אל זמנם ואל תחנות חייהם.
בספר כונסו לראשונה מיטב רשימותיו ומסותיו שפורסמו בעבר בעיתונים ובכתבי עת ושקנו להם חוג קוראים נאמן. הספר משיב אל קדמת הבמה פן אחר בכתיבתו  של באר, מחבר הרומנים 'נוצות', 'עת הזמיר', 'חבלים', 'לפני המקום' ו'אל מקום שהרוח הולך' וספר העיון 'גם אהבתם גם שנאתם: ביאליק, ברנר, עגנון – מערכת יחסים'.

The article discusses Alter Druyanow’s popular work: The Book of Jokes and Witticisms (Sefer habediha vehahiddud, Frankfurt, 1922) as a turning point in the development of modern Jewish humor. The acceptance of the book is ascribed mainly to its Zionist agenda expressed not only in the formation of its repertoire, but also in the censorship of a large collection of sexual jokes. Following a discussion of Druyanow’s main motives and anthologizing principals, the article includes a first exposure of these jokes, aiming to analyze their social roles. The comparative reading of the jokes in their historical and cultural contexts points at what the Jewish society of that time considered as its “other” – from competing religious groups to other threatening reference groups within this society, such as women and assimilated Jews. In this way, the censored jokes shed light not only on the marginality of the East European Jews and their feelings of inferiority but also on their creative response to them, and their ideological horizons.

בקרב המסורת הפרשנית של הרומן "סיפור פשוט" מאת שמואל יוסף עגנון, חוקרים רבים ראו באהבה הרומנטית של הירשל העשיר לבלומה קרובתו הענייה כניגוד למוסכמות הבורגניות והקפיטליסטיות של החברה היהודית בתחילת המאה העשרים, שמנהגיה מגולמים בדמות אמו של הירשל, הסוחרת הממולחת, צירל הורוביץ. דיכוטומיה פרשנית זו נובעת מהגישה הרווחת לפיה בעוד הספירה הציבורית מבוססת על סחר חליפין, אינטרסים ושוויון ערך, הרי שאהבה רומנטית מצויה בספירה האישית שמושתתת על רגש, ספונטניות וסינגולריות. בהתאם, מרבית הקריאות הפסיכואנליטיות ברומן של עגנון ראו באהבה ובמכאוב הרגשי של הירשל כחתירה תחת המבנה החברתי-כלכלי המיוצג ברומן.
בניגוד לפרשנויות אלו, הקריאה הנוכחית בסיפור פשוט מניחה שפסיכואנליזה וכלכלה אינם נפרדים, אלא שלובים. באמצעות פענוח התפיסה הכלכלית המכוננת את הפסיכואנליזה הפרוידיאנית, הקריאה שלי מראה כי הפרקטיקות הקפיטליסטיות של צירל והאהבה הרומנטית של הירשל מבוססות על מודל כלכלי זהה: תשוקה לצבירה אינסופית המבוססת על גירעון שאינו ניתן לאיזון. בעוד שתשוקתה האינסופית של צירל לכסף מדגימה את טענתו של מרקס כי הקפיטליזם הוא מערכת המועדת למשבר בגלל נטייתה להתפשטות בלתי מוגבלת, קריסתו הרגשית של הירשל חושפת כי אהבתו לבלומה משמשת כפיצוי למלנכוליה, שהוגדרה בידי פרויד כפתולוגיה המרוששת את האגו. במובן זה, האהבה הרומנטית שמציע הירשל אינה משמשת מפלט מהמערך הקפיטליסטי אלא למעשה משעתקת אותו. בדומה לנוסחה הפרוידיאנית של אהבה רומנטית, פשיטת הרגל הרגשית של הירשל נובעת מתפיסתו את האהבה כמצרך מוגבל, משחק סכום אפס שבו נתינה לאחר נתפסת כהפסד לסובייקט. המודל לאהבה רומנטית שמצליח לפרוע את התשתית הכלכלית של הפסד ורווח אישי מתגלה ברומן של עגנון דווקא בעיצובה של מינה צימליך, אשתו של הירשל ואחת הדמויות המבוזות ביותר בידי מבקרי עגנון. בעוד האהבה של הירשל נובעת ממלנכוליה שמכחישה את קיומו של האחר כנבדל, מינה— שאהבתה מבוססת על היכולת להתאבל על אובדן האחר כמי שאיננו אני—מציעה כלכלה אחרת שבה הנתינה לאחר מגלמת רווח לסובייקט.

This article discusses the style of Rabbi Chaim Yosef David Azulai (Ha-Ḥida) in the introductions he wrote to other authors’ books. In these introductions Ha-Ḥida refrained from using his own words and expressed his thoughts by embedding expressions from biblical and rabbinic sources. He deliberately made multiple changes to the sounds and meanings of his sources, thus creating surprise, challenge and pleasure for his readers. At the beginning of the article there is an overview of the development of the calembour style based on the allosemic appropriation from its inception to its spectacular development by Ha-Ḥida. The main part of the article is devoted
to the analysis of Ha-Ḥida’s usage of allosemic appropriations. The analysis is carried out on the first introduction he wrote when he was 22 years old; this introduction appears in the book Neḥpah Ḇakkesep̄ by Rabbi Yonah Navon (Constantinople 1748). The entire introduction is given at the end of the article and is accompanied by a full commentary.

הקריאה באוטופיות ציוניות מאה שנה אחרי (ראו רחל אלבוים-דרור להלן), מעוררות תגובה אמביוולנטית. בתחילה מעלה הקריאה חיוך, שכן מה מופרך יותר מאשר לזהות בין המדינה היהודית האידילית כפי שנצפתה ועוצבה באוטופיות של סוף המאה ה-19 וראשית המאה ה-20, ובין דיוקנה המציאותי של ישראל בת זמננו. אבל התובנה המצטברת משמונה האוטופיות במוצעות כאן, בספרה של רחל אלבוים-דרור, הולכת ומוחקת את עקבות החיוך ואת מקומות תופסת תחושה של כשלון המחר לנוכח ציפיות האתמול. שהרי למקרא הבטחון הלא מסוייג במחר הציוני האוטופי, ישראל של היום מצטיירת כדיס-אוטופיה (גם אם ישותה המדינית-החברתית צמחה והתגבשה על פי המודלים המופתיים שהופנמו בתודעתה הקולקטיבית -  מראשוני מתיישביה וחלוציה, ועד לוחמי ומשחרריה, מייסדיה ומחוקקיה).  כך בחיים וכך בספרות, וכמו אובריאן בדיסטופיה של ג'ורג' אורוול ("1984"), שהציג את עולמו המסוייט כ'היפוכן של האוטופיות האווליות, ההדוניסטיות שהציעו מתקני עולם מיושנים', כך דולי, בדיסטופיה של אורלי קסטל-בלום ("דולי סיטי"), מציגה את תל אביב , ההישג הציוני המפעים של עיר עברית ראשונה - כפרי יצירתם של אבות 'משולהבים', ש'סבלו מהיפר אקטיביות' ולא היה להם 'על מי להוציא את האגרסיות שלהם'.

רחל אלבוים-דרור, המחר של האתמול, יד יצחק בן צבי, ירושלים 1993, כרך א - 246 עמודים
כרך ב - 247 עמודים

This article tracks the development and nature of literature written by women in the kibbutzim in the years before the establishment of the state. It distinguishes three periods, in the years between 1920 and 1950, in which the ideological and aesthetic formation of a " kibbutz literature " were explored and discussed, during which, alongside men's literary production, women's narrative writing was developing as well, following a conditioned rhythm of its own. The article discusses the women's literary leadership in the labor settlements, as well as the leadership that dictated and encouraged non-canonical forms of writing while simultaneously repressing women's canonical aesthetic-literary production. It concludes that even if women's narrative writing in the kibbutzim was shunted aside and forgotten over the years, it constituted an alternative to the literary model revolving around the male pioneer and filled in the blanks on the kibbutz literary map with its own distinctive and different revelations, both informational and poetic. Prologue: Toward the emergence of a women's learning and writing community in the kibbutzim The year 1944 saw the publication of a weighty collection of writings by kibbutz women, collected and edited by Lilia Bassevitz and Yocheved Bat Rachel, both members of Kibbutz Ein Harod. Women in the kibbutz (Bassevitz et al. 1944) was meant to be the first of two volumes, 1 and Bassevitz and Bat Rachel explain in the preface why they saw fit to publish it even as World War II was raging: There has been little participation by women in the literature of the kibbutz. While, in the practical activities of the kibbutz, the areas in which men and women members share the 1 The volume has 421 pages, with writings by about 100 women from 28 kibbutzim. It includes some 124 essays and poems, of which 90 were published in it for the first time. The remaining 34 were drawn from kibbutz publications, such as settlement diaries, Tzeror mikhtavim (an internal newsletter of Ein Harod), Mibifnim and Devar hapoʿelet.

לצד שיריה פרסמה דליה רביקוביץ במשך כיובל שנים רשימות ומאמרים בעיתונים ובכתבי עת, במגוון נושאים: החל בביקורות ספרים, עבור בתגובות על אירועים אקטואליים ופוליטיים וכלה ברשימות אישיות על ילדותה ועל משפחתה.
הרשימות שניתנו בספר זה מביאות קול מרתק שלה, המפתיע בידענותו, בסמכותיותו ובגילוי לבו.
מֵעֵבֶר לַהיכרות המחודשת עם המשוררת הנודעת, מזמנות הרשימות שנאספו כאן גם מסע בתרבות העברית והישראלית מבעד לעיניה של יוצרת דעתנית ומעורבת.

המאמר דן ברומן "הוא הלך בשדות" של משה שמיר וכן בסיפורים "אפרים חוזר לאספסת" של ס. יזהר ו"מעשה בלתי רגיל" של אהרן מגד. הדיון מציג את הנוסטלגיה לימים ההירואיים של העבר, שאופיינה על ידי מבקרים כסימפטום למלנכוליה של שנות ה- 50, אחר הקדמת המדינה, כמאפיין קבוע של ספרות "דור בארץ" מראשיתה. התשתית לחוויה הנוסטלגית ולדיכאון ההווה נקשרת גם להיביטים לאומיים
אידיאולוגיים ולאתוס של החלוציות, וגם למשברים הקשורים לזהות הגברית במחסום המעבר מנער לגבר מבוגר.

The article traces the development of the women's community in the beginning of the Jewish colonization in Eretz Israel, through the writings of women of the first aliyot (immigrations): Women-settlers of the First Aliya and the women-laborers of the Second Aliya.
Reviewing the writings of these women (documents, diaries, letters, memoirs, short stories) exposes other sectors of women whom they encountered in daily life: Women born in the old Jewish Yishuv (Jerusalem, Safed, Tiberias), Oriental-Sephardic as well as European-Ashkenazi; Yemenite women immigrated to Eretz Israel (1882, 1908, 1912); Arabic women with whom relationships were either commercial or domestic (employment).   
The article studies the activity and solidarity among the new comers women seeking their identity as the 'New Woman' in the national life of the country and in their struggle for equality and rights (in the private and public spheres). Two basic questions are addressed: to what did women's marginal status in all areas of male society motivate them to act as a united force regardless of their religious. ideological, ethnic, or national affiliation; and, did the level of their activity proceed according to Carol Gilligan's 'developing moral model' (in the sense of communication and giving) or Phyllis Chesler's 'ambivalent subversive model' (based on competition and 'indirect aggression')?
The conclusion drawn is that even if the women's community in the early waves of Zionist immigration managed to create a socialization of 'women for women', it generally remained in either internal, separatist collective frameworks or on parallel competitive tracks. In reality, it remained perpetually stuck in a kind of dialectical linkage between Gilligan's and Chesler's models. Despite the efforts that went into meetings and discourses for boundary crossing, women were constrained by ideological and socioeconomic tensions to remain loyal to the dominant male hegemony, even though this hegemony excluded them from its affairs.