![]() (I don’t remember if they wrote that in a poem) Dan Miron’s comprehensive essay “The Score to the Poetic Speech” which appears at the beginning of Halfi’s selection of poems “Shirim” in two parts (1986, 1998) But I develop and expand on it here. My father didn’t get this idea out of nowhere, it is found in Prof. Halafi beautifully demonstrates in “Ator Mtsachach” how stylistically he lives in between, between the generations and between the groups. The first of the group of “writers”: Avraham Shalonsky, Natan Alterman and Leah Goldberg in the 1930s, to which Halafi clearly belonged generationally, socially and even to some extent stylistically And the second is the “Lekarat” group, also called the Madinah generation, which came after “Ketubim” in the 1950s and renounced its predecessor and sought, after World War II and the establishment of the state, a different kind of poetry, and the most famous of its poets are: Natan Zach, Yehuda Amichai, David Avidan and Dalia Rabikowitz. The poem itself, especially at the beginning, stands in the middle between the two revolutions in Hebrew-Israeli poetry. Song duration: 3:59 minutes Change of connector between the “Ketubim” group and the “Lekarat” groupīut it is appropriate to look poetically at this song as a revolutionary song in another way as well, without the melody and without the words of love, but on the form and style of writing. From the book: “As strangers in the rain”, 1958įrom the album: “The Old and Good Land of Israel Part III” from 1977 ![]()
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