Ja, ich darf sie ganz herzlich zu unserer Vorlesungsreihe und zu
unserem heutigen Vortrag begrüßen. I also want to welcome,
citra de covenessarchi, Tonight,
she came from,
she's just come from Israel,
like the lecturer from last week and this nights lecture will
be in English and but the whole lecture all together will be in several lang which is and so I will just switch to german one smore to introduce her, she
knows all the things,
I will be saying anyway and later on you will here
some quotes in hebrew and he will also
here a quotes in German but the main lecture will be
in English
So don't has itate, I've the words, if you have in understood anything.
Nochmal in Deutsch, wir werden jetzt diese Vorlesung in Englisch
hören heute Abend und es wird allerdings eine mehrsprachige Veranstaltung sein.
Sie werden das sehen und diese Mehrsprachigkeit hat natürlich auch ganz
viel mit unserem Thema zu tun. Exil, Judentum bedeutet natürlich,
dass man eine Tradition bzw. historische Ereignisse in den Blick nimmt,
in denen es vielfach mit der Überschreitung von kulturellen Grenzen,
aber auch Sprachgrenzen, in denen man es damit zu tun hat,
Und insofern stößt man natürlich, wenn man sich mit diesem Thema beschäftigt,
immer wieder auch auf eine Mehrsprachigkeit.
Sira, der Kurven, Estrachiver,
wurde in den USA geboren und ist dort auch aufgewachsen.
Sie hat dann dort auch angefangen zu studieren,
hat an der Brandas University einen PHD gemacht,
ist dann aber schon als Studentin sehr früh auch an der Hebro University gewesen,
als Austauschstudentin und hat später dann ihre akademische Laufbahn fortgesetzt,
vor allen Dingen an der Hebro University in Jerusalem
Dort hat sie am Institute Four of Contemporary Jury zunächst gelehrt,
auch an der Rothberg School for Oversie Students,
die ich auch einmal kennengelernt habe,
wenn man als nicht mit der hebräischen Sprache besonders vertraute Studentin nach Israel kommt,
ist die Rothberg School eine gute Möglichkeit mit Themen wie zum Beispiel jüdische Mystik oder so vertraut zu werden,
weil dort eben vor allen Dingen für amerikanische College-Studierende auf Englisch unterrichtet wird.
Hier hat sie eine Weile unterrichtet und ist seit Vor allen Dingen im
Department of Comparators, Literature tätig. Seit eigentlich 1978,
zunächst als Assisten-Professorin und später eben auch als Full-Professor. Ihre Forschungsschwerpunkte sind zum einen,
weil sie eben von der englischen und amerikanischen Literaturwissenschaft herkommt,
Komparatistik, vergleichende Literaturwissenschaft,
aber ihre Themen haben sich eben sehr früh auch jüdischen Studien zugewendet,
was sich dann auch daran niederschlägt,
dass sie in den USA mehrere Gast Dozentenpositionen innehatte,
nicht nur an Literaturwissenschaftlichen Instituten, sondern auch an Studien für Instituten für jüdische Studien.
Beispielsweise war sie in Duke, in Princeton,
am Darkmath College, im Yale und an der University of Michigan.
Ihre wichtigsten beiden Bücher zeigen schon ihre Hauptforschungsinteressen und das war
zunächst einmal zu einer Zeit, als dieses Thema noch sehr, sehr wenig behandelt wurde.
Die Frage nach der Holocaust-Erinnerung in der Literatur,
ihr erstes Buch was 1980 erschien, heißt bei Words Alone,
The Holocaust and Literature. Und das zweite Buch,
was sich in gewisser Weise aus der Beschäftigung mit der ganzen Frage,
nach der Möglichkeit der Repräsentation, der Katastrophe,
auf der Möglichkeit, eine spezifisch jüdische Geschichte,
auch gerade nach dem Holocaust als literarische zu schreiben,
verbindet, ist das zweite Thema,
was sie danach beschäftigt hat und das Buch,
was daraus hervorgegangen ist,
heißt Booking Passage
On exile and homecoming in the morder and juice immailtonation.
Und dieses Buch hat natürlich vor allen Dingen den Ausschlag gegeben, sie hier einzuladen.
Es geht in diesem Buch vor allen Dingen auch und immer wieder
um die Implikationen eines ziionistischen Projekts im Kontrast immer auch zu einer messianischen,
zu messianischen Entwürfen der Einlösung eines Versprechens,
was sich mit einem verlorenen Herkunftsort verbindet.
Und das Exil and Homecoming wird betrachtet als ein dialektisches Verhältnis als
ein Spannungsverhältnis zwischen Imagination und Realisierung zwischen dem memetischen und dem Originalen zwischen dem Wunsch und der Erfüllung
, wie sie im Eingangskapitel eindrücklich schreibt.
Sie hat seit etwa zehn Jahren jetzt ein neues Buchprojekt und
dieses Buchprojekt heißt Jerusalem and the Predicts of Return of the
Sacred to the Sacred
Und auf dieses Buch geht im Grunde genommen sehr logisch,
sehr konsequent aus den Studien zu dem Booking Passage Buch hervor.
Denn Jerusalem ist eben der Ort der Topos,
der ja bereits im Zentrum der Überlegungen natürlich steht,
über Exil-Exil von einem Ort, Exile from Ware,
hieß übrigens auch mal die Konferenz,
auf der wir beide uns kennengelernt haben.
Das Buch, was da später als Sammelwand erschien,
heißt Placelist to Pographys. Also die Frage danach einer Verortung,
die gleichzeitig immer auf einen Ort bezogen ist,
der sich entzieht oder eben nicht entzieht, wenn man die zynistische Imagination ernst nimmt.
Für dieses Buch hat sie ein Guckenheim-Fellowship und when are you
going to finish the book and you say that already?
I hope with in a year. Also es wird nicht
mehr lange dauern, dann werden wir dieses Buch lesen können.
Was man jetzt allerdings schon lesen kann,
sind eine ganze Reihe von Aufsätzen, die sich mit diesem Feld beschäftigen,
was für uns jetzt besonders interessant ist,
weil einige von ihnen ja auch das Seminar über Jerusalem in der Literatur hier mit belegen.
Beispielsweise to watch sell I compare you, ein Aufsatz,
Jerusalem als Ground, as Ground Zero of the hear brew imagination,
ein anderer Aufsatz, Sven Exiles, Return,
Jerusalem as Topost of the Mind and Soil. Und ein anderer Aufsatz,
den ich jetzt hier stellvertretend für viele noch zitieren möchte,
ist our Homeland, the text, our tax the homeland,
zitiert sie George Steiner, denke ich, mit der These,
dass eben die Heimat des Judentums, die Schrift, der Text,
das Buch sei, exile and homecoming in the mortentuish imagination,
ein Aufsatz, der in den Kontext des früheren Buches gehört.
Zu, sie hat insbesondere publiziert zu Autoren,
wie Paul Zelan, da Deus Borowski, Ilona Karmel,
Philipp Roth, Shay Agnon, dann Pagis,
Aaron Appelfeld und insgesamt viel zur israelischen Gegenwartsliteratur und diese Aufzählung zeigt schon,
den komparanzistischen Ansatz, der eben Autoren verschiedener Herkünfte,
verschiedener verschiedener Kontexte,
aber auch Sprachen in den Blick nimmt.
Wir haben heute sie eingeladen,
um einen Vortrag mit dem Thema hier uns zu vorzustellen,
mit dem Thema The Jewish Asthetics and Ethics of Exile.
Und ich denke, gerade in diesem Spannungsfeld zwischen Ethik und Ästhetik
liegt ein auch eines ihrer Hauptinteressen,
was die drei großen Buchprojekte,
die sie verfolgt und verfolgt hat,
miteinander verknüpft
Herzlich Willkommen noch. So, first of all,
I want to think, do it it, so much for enviding me.
And sebastian and in Annika for all their help the invisible
people up their who are making this possible.
I'm going to try to speak slowly, your English is
much better than my German. If you're sitting here,
it means that you're in Better in Better and,
I've promised myself that in my next life,
my German will be fluent, it's very promised.
As dort, I think, indicated to you,
I two and a form,
I don't consider myself in exile
In Israel. Wir haben so viele different Namen für
eine Aktie von Migration. Und in Israel,
wenn du comedy israel in your assign aster you were sign
as you come in your earn or law or and all you know you go up you a sent,
it's a form of actually enhancing your life.
I can sider myself and expatriot in both countries and both
in America and in the United States whenever I'm in one
country I'm not an the other.
But I do really have to identities.
And I'm fortunated that neather country has expert me.
So that I don't have to choose between them
But I also living two languages. And moving between English and Hebel
has been one actually one of the great to lights,
at my life. So that my talk is as
you know call the esthetics and ethics of excite.
And please feel free if something that I say,
either isn't clear, or I'm speaking to fast,
just raiser hand and I be happy a clearify.
Even I'm reading a text, I can certainly stop.
We have lots of time
Arvid and Dante, like the is real
lights on the banks of the Rivers of Babylon,
road some of their most beautiful poetry and exile.
Actually in the case of the isreal lights,
it's not clear where they were, when there most elecquent
exile polym was ritten. By the waters of Babylon,
there we said, oh we we webbt,
when we remembered sign, is the way some one 30,
7 begins
Wir gehen mit unserer Art, die Gemeinde, mit ihm machen.
Bei uns zwingen wir. Unsere Peiniger erforderten Hunde, singen uns
wieder passieren. Wenn ich dich eh vergesse für Jerusalem,
dann soll ich die Echte haben. Die Zunge soll ich
am Daumen geben, wenn ich dich nicht bedenke.
Wenn ich Jerusalem nicht aus meiner Wissensrede gebe
And in hibory begins, allen Harold Bavelle,
Shamia Shavnu, Gambachino, Besachreno etceon.
The placeive excuse, Babylonia. And the existential center sign,
are both clear. But it is still not clear,
where the speakers are a low cated here, what there.
There, what's the word in the German?
There can see. There. Dort. It's repeted again
in the second verse, on the publisher there,
we hung up alliers
When way a resolving this is to presume that the some was ritten retrospectively,
long have to the destruction of the tempel of sulluman and the exile
of the enhabitance of the Russellum per happs after after are
remindent head return and rebuild the tempel in 5 308 BCE,
under the benigned rain of cyrus of persia.
They are in that case would be in index of the
memory of exile
But is robert all the confirms in his translation and commentary
on the book of somes. The consensus a monk scarlers
is that indeed. Someone 37 was all more certainly composed,
shortly after the deportation of the due deans by the Babylonians
in 580, 6 BCE.
The experience of excite is fresh and a cutely painful and
the some form is a vehicle for the expression of spontainious
emotion.
In this case collective emotion
Whatever the providence of the some, the supperful with there, actually signals,
a basically the elogical tenet in the culture of exile,
to be in exile is never to really be here,
but to be forever, elsewhere.
Someone 37 proceedes by egnology, the centrality of the politic
act and questioning with their thinking is at all proceble in exile.
The captives hangup their eliers, after their capters,
demanded pointingly that they think Science,
How can we sing a song of the Lord on For
and Soil, they respond? Et na sure,
it sure don't know, I let mat need car.
The song of the Lord is of course not any song,
not poetry at large, but cultic poetry performed as integral to the tempel rights.
But is a turns out these selebritory lyrics can give way
to an other poetic form, the song of exile.
Out of this spear come nimenic versus,
articulated as a vout
to memory
Should I forget you, Jerusalem, may my right hand wither,
may my tank cleave to my pellet,
if I do not recall you, if I do not said Jerusalem,
above our my chief joy, we that last said,
the last said Jerusalem, above my... ... vergiss,
that do it, that do it, that do it,
that do it, that do it,
that do it.
Well come back to the temptations of my chief joy later
The embodied memory of the hand, that strong the liar,
and the town that saying the song,
is intensified by the fact it this vow, is taken in the first person singular.
Moving from what alter cause collective emotion, to a very personal commitment,
reader rated in a minor court for over a thousand years.
And there every wetting cannoby, just before the breaking of the glass.
And those of you have been to juish wetting,
you know, that just before the glasses broken,
which is the end of the ceremony,
there's a very mornful singing of he mäsh cache,
he rusha leihm tisch, ach he me,
and the more papers, the stronger the experience.
These richuals, reminders of both the tempel and of its distruction,
are ment to keep the culture of excite all life
and every heart and every household.
But someone 37, also in Capsulates,
the efficult danger of any excited people with a long memory and the hope of restauration to the homeland.
Namily, the danger of Total Recall. Few people who
are familiar with the sweet some remember how it ends.
And I went to how many a view remember
how it ends
But the end is not very sweet. The vow to remember
gives way to a curse. Man to be for filled
when they excites return. I see they end of the
song. What the vown, zerschnurren. Oh je,
der eine zahlt, was du uns getan hast.
Oh je, der deine Kinder packt. Recall or lore
the idemights and the day of the Russell and saying,
raised, raised to it spoundations.
Dodder of Babylon that the spoiler, happy is he who pays
you back and kind for what you did to us.
Happy is he who seasis and smashes your infinse
aregainst the rax
Rabbert All to says, no more ald justification can be
afford for this notorious concluding line. All one can do
is to recall the background of outraged feeling that Triggers the conclusion.
The Babylonians have late ways to jurassalon, excited massive,
much of its population, loot it and massacred.
The power less captives ordered to saying,
respond with a blood curdling curse prenounced on their capters,
who fortunately, do not understand the hebrow in which it is prenounced on quote.
So the good news is, that the Babylonians personally don't
understand the hebrow
In if one can understand and maybe go so far us to
for give they outraged feeling of these refugees, assooming that this
text was and deed composed in real time.
Still the song with it's vous and it's curses,
is not limited to the generation in which it was composed.
As we have not it the plage to remember
jurasely and it's dessolation enters every wetting sara money.
The vengeful curse that concludes the song can be seen,
I think, as a Form of collective post
throw matic stress this order, that will a flick the hebra
magination from this point on
And we can see it making its way
through out the generations on till the moment of return.
One of the first textual stations and what I will call the discourse evengence
is the book of Esther. And I don't know how
many view from million with the book of Wester in the bible.
But I've just tell the story briefly. King, I has schwerers,
ruled ruled over a 100 and 2027 provances or states,
he gives a party that lasts a 1080 days,
he summons his wife wasted to come in front of
all his dronken
Revellars and she reviews is to come. And so he
has a banist or killed, it's not clear. And which point,
of course, he has to choose a new queem.
So he has a beauty contest and the beautiful esther,
who is the needs of the do more the high,
what come back to that the minute,
wins the beauty contest and she is made queen.
Then we discover a plat to kill of the juice by Hayman,
the evil, they are the villain of the story.
Esther's feminine charms win over the king, who decrease that
Hayman and his 10 suns are to be strong up and a gallows.
And the juice can defendomselves by a pre-emptive strike.
A massacre in suice in which nearly 100.000 people are cult.
That's the way the story. It's again,
something like someone 37 people tend to forget the ending.
The only historical rereference. In what should other wise be
red as and orientalist fantasy, remember the 1080 days of the party and the 127.
Everything is exactly rated. The only historical reference and watched
other wise be red as and orientalist fantasy is the geniality of more the high.
Asters Uncle, who was introduced in the following way
In Showshawn the Palace, there was a certain juy who's
name, was more chai. The sun of year,
the sun of Shimai, the sun of Kish, a Benjamin Knight,
who have been carried the way from Jerusalem with the capitivity,
which had been carried the way with the econia,
king of Juda, whom the bohut, the bohut nature,
the King of Babylon, had carried the way.
And this is the King James Version,
King James Translation and English paytens of a carried,
how many people were carried the way in this translation,
but in any event, that put's more the high,
for generations away from the explosion of Jerusalem,
from Jerusalem,
bless you,
but clearly defined by it
This first, by the way,
for any you who have been in a cinegogg on the Festival of Purem,
is chanted in a Jali, the, sorry, this first,
by the way, is in town in mornful cadencies,
sort of like, hi mesh cache,
you was a line, there's a special melody,
to read these versus that introduce more the high,
because we're talking about the distruction of Jerusalem.
When all the rest of a scroll of aster,
is chanted in a Jali, even playful melody.
We should remember you also know that Purem is the Festival that,
you know, the marty grow the Festival and which juice
dress up and castums and take on,
altern it identities
We should remember that it is more to high,
who puts into motion through Western,
the venue for massaker, that concludes the story.
By not only preamting the slotter of the juice plant by Hayman and his henchmen.
But by visiting accessive rage on the innocent citizens of the
city of shoe shan and the other propences.
In my reading of the science of PTSD had you say
it and for German, also PTSD, posttraomatic stress discorder.
Haddy would. Yeah. In my reading of the science,
given the reference to more the high as decendent of the Benjamin Night,
who was excited to babyline,
this rage,
I've believe is displaced and different
The end of the book of aster actually ruins,
the rest of the book,
which is not only and orientalist fantasy, but a slapstick comedy.
Eric grew in orguse it this text reflex,
the comic emagination of the juice living in the person diasper.
We are this improbable story as said.
Quote. It's composition came in the person area,
or early in the hellinistic age, per helps
casting and influence and subsequent works in a comprobable vain.
And comic elements recurred through out,
he argues
Other one can bring the ordinary argument for do his humor,
that these people are smiling through their tears,
that left to serves a persecuted people to mask a grimm
reality are kind of compensation.
Grew and claims that these tax actually leave a different empression.
The impression of a folk unburden by a precarries existence and comfortable with the human comedy.
Even if we do smith the bloody madsacred at the end
as part of the fantasy of a power
list people taking revenge and it's an ancestral animes,
we can still see that the conflict that the conflicting genres that it in harbit,
the book avestor, reflect a perfound and bivilence in the hibrior mergination.
Which we already sign, someone 30,
7. And this can be trace to the very beginning.
Some by local stories are inherently employed as comedy or tragedy.
And of course, the tragedy is are not all reevenge tragedys.
The distruction of the temple of sullivan as represented in the
book of Jeremiah and the book of lamentations is clearly
traject eligirec
The book of ruth is comic in all its dementions.
In the poetics and rederic of the pastoral in the romance.
But also in its entacipation of messy any times.
Since rooth is a progenider of King David.
Who in the juice do you enough,
Ginny allogical emergination is the fourbär of the messaia?
But there are other narratives, that are not so easily categorized,
is the story of the Gard Neviden comedy or a tradeday.
That depends on where you put the emphises on the Gardon
or an the expolsion from
the Gardon
Is the Arcade that, the Binding of Isaac,
from Genesis 2022, a tragedy or comedy.
That depends again on where you put the emphises and senturies
of missreading the text and appropriating it as the template for do as self-sacrificial impulses in times of persecution,
this is also the nature of Christian readings,
which label the story, the sacrifice of Isaac,
prefiguring, the criss of fiction.
Or an a close reading of the bibligal text as a
classical comedy, which is after all,
tragedy plus,
they were sex markiner
Nein. Moving from do is myth back to do is history.
Was the spanished juice experience are tragedy or a comedy.
Again, it do pens on whether your everysis is on
the florishing culture and what is call tour has a half,
the golden enage and undalucia in the 90 to the 13 centeries,
or and geroussfarad. The 15 centery exposion from spain and
the fate of juice on the the inquisition.
I need heardly mentioned the European Gallude,
specially the German juice diasper in this context
So can we say that exile it's self is an
herrendly a comic or a tradic condition?
Again, it depends on how you construct the story of exile.
And the preserved or pickled memory of destruction and explosion
or is Eric a grown and I do on the flourishing
cultures and comic presctices in Diasper.
Even the terms matter, gallot exile,
has very different connotations from the word, Diasper.
In my book booking passage, exile in homecoming in the
modder and juice imagination.
I trace the esthetic implications of 20000 years of juice exile
Briefly for those of you not familiar with my this is,
I will outline, the sailion features of what I call,
the politics or ethic or esthetics of exile. With then
a short period of time, after the destruction of Jerusalemit,
the end of the first centery, CEE.
The rebinic of 30s, reinvented the religion of a people,
the private of their cultic center and their homeland.
What a merged was a new paradime, we call do the ism.
With in this paradime exile to gone the status of both
and ungoing condition. And one that would eventually be
resolved by a return to the point of origin
But the return with cast in metter historical, mercianic terms,
return and the abolution of the condition of golood,
would happen with the advent of the messaia,
who would resolve history by overcoming it?
Once we have added the messaia to the equation
that begins in distruction and in the anamory of exile,
we've have a horizon that existence from the beginning to the end of time.
The closers that juice come to a creedo or doxology,
is a statement of face in the cumming of
the messaia
Claimed by generations, sometimes under be 9, but off
an under difficult conditions. It is based on the 12
of the 13 principles of faith articulated by my moneties,
rumbam, who lived in e-jiped in the 12 centery.
And nima Armeen beemonatially my my bewährter mascheach,
the afape pechet, my may, im colse,
a haccello, becholyon, sharevour.
I believe in perfect faith in the coming of the messaia.
And even those he terries with all that,
I are wait him
every day
Besides the beauty in the Pathos of the simple statement of Faith,
especially when we factor in the 100, who we are told chanted this
frace in a calo car. And the way to
there are a too the extermination camp at trablinker.
And are name are a mine are mine are name a Armin.
Ah, nee, ma, Armin, Mähämona Schlehemer,
bewährter Mascheeach, bewährter Mascheeacher, Nemahamin.
The story is that this melody actually happened in the Cablecar,
there was say canter, who just,
it just world up from within him.
And then all the people in the car started singing.
But besides the beauty in the Pathos, there's a country
diction in the as assumption that he will tary,
he will take his time. And I will a way
him every day. Default time, the time of gallood
is the time of the messaiast terrian.
By extension than personal by a graphical time is provisional and
has know in transic value
But it is this very anormaly that gives lacence to act enpastors,
that are free of anythy elogical burden or ultimate accountability.
Galuth is historical time. In the this taring time,
the meantime, historical time, we can play.
Text replace territory as George Steiner, reminders,
as the called textory place territory as the cultic center.
And the mediated poetics or a poetics of mediation,
replaces the encounter
with the real
Substitution similar lack room the principle of bemcom,
rains in the juice culture of exile. We are always reminded
that we are not, we are we should be.
We are always there, not here. The Cineguard is
a Migdashima at a small temple, a riplica of the temple.
But also, the not temple,
just is the passover sader is a reminder and the symbolic rean enactment,
but never a sacramental mental mental merging with the events or
the places recall
The most powerful human expression of the principle of substitution is the similary or metter for.
The juice in 200 years of excited learn to live in
their metter force, in the not Jerusalem, well,
reveling in the freedom of their emagginative acts.
The most liberated of these acts in the Ancient World,
the Song of Songs, is a string of metter force and similaries.
It is actually placed in Jerusalem and may very well have been written in Palastine,
but was probably composed on the influence of greak poetics,
around the third century,
BCE,
and reflects what I'm calling the poetics
of diasper
Most interesting aspect of this similarly laden text in your remember
if you can remember the text without all the commentaries,
both by rabbies and by the church fathers.
And just read the bear text, you know,
your hair is like a flag of goats flow flowing down for maingetting.
And your throw this like the tower of David. And you know,
just imagine the picture of the woman with the flags of
goats and the tower and then doubs and her eyes and the,
you know, it's actually so real.
The most interesting aspect of the similary laden
text is the fact, that there is no mentioned of
the sacred sights in Jerusalem
There is no tempo. Sauerman is mension,
but not his tempo. It would seem that the one
imaginative freedom and the other sacred sides are mutually exklusive.
The license to invent to create fictions and matterforce is after
all the license to play at a safe distance from the
real at a safe distance from the real, the sacred center.
The poletics of exclusion in conditions such is those those described
by grew and in the angied person and helonistic diasper,
is remember a comic poletics,
what he calls the impression of a folk unburdant
by a precarious existence and comfortable with the human comedy
One can say the same of 20 ecentury America, which was,
I believe the matter and the heather of the juice carmedy.
We can can come back to that, if the subject interest you,
I want go one, without American, like juice permanent.
There's something else that relates, not only to the Januar,
but also to the texture of the politics of excite.
In the beginning of my remarks to night,
you're recall, I mentioned over it and danta.
In the last 10 years of his life,
beginning around 8CE, about 60 years,
before the destruction of the second tempel in Jerusalem,
and the second excite of the hebraries
from their secret center
All that road tristea and expertuly exponto. Well,
in exile from room in adasily town call Thomas on the
showers of the Black Sea. He was very graphic and
representing the deprevation that he experienced in what Marley Myer,
which discribes as a time defined as exile and the place defined as Barbaras.
And we have a rother old German Translation.
I'm not responsible for the actual see of the translation,
but sebastian please. Welche schwieriger Lade zu machen?
Bitte nicht die erste Ruhe bedenken
Verwandelte Stimmung im Erwarten. Einer mit dir,
wenn er das Tier in die Meinungstiere. Wir schauen,
Es ist tief ins Tor. Es ist tief.
Es scheint, dass nicht Jesus ist, es scheint.
Ich rufe jetzt ab. The most precious position of a poet
his language is it stake here. Indeed other rights,
if anyone hit said homer in this land,
homer to believe me with turned geton
In fact as a turns out,
are it even it mids with some grugging pride,
to having molded the barbaric getting tank into a polem in latten measures.
And I quote. Red faced I eat midded. I road a little
booking getting and said there's a savage words to my own rhythms.
The work was favorably receive you may congratulate me.
I'm mong the barbarer's gettings, I became a famous
power it. Is it from export to like exponto?
So we see the process of a culturation at work,
even in a latten of this fairstly proud roman
Nearly 14 years later danta and is excellent from Florence,
in numerate some of the other, even more material effects of displacement.
In the 70 canto of the Paradies,
so here rights, you would schlag in the power.
Adam, das ist der gute Ende, der auf Heizen springt.
Mit welchen Atmen? The pain of Exile is palpable,
the bread is salty are and the stears are steeper
This like the violution of one's native tong,
but the language of the host country,
the Barbaric Language, is true for the exile himself.
It was surely true for the first generation in Babylonien,
in the 6 century BCE, who as we sar express,
there are palpable saro, by the waters of Babylon.
But what happens to those future generations borning to exile,
who acclimate to their new home, and come to view,
it as there own. As every immigrant knows,
the language of the new country always profails,
and to once children,
it is the native tong,
as natural is natural is the taste of the taste of
the bread and the curve of
one stare case
When excited, becomes a collective condition than,
a discinence evolves between the ground forces of personal naturalization,
and the deep forces of elianation, transmitted through collective memory.
And this informs, the poetry of even those was very
self-definition, is that a excited. The best known of these in hebra
is the 12 century spanish hebrapoit, you down lavy,
who's polems design and pilgrammage to the holly land,
earn time the title of the first producianists.
But even is he was preparing to leave his
appuelant life in Andalusia,
the year
slipt by
Even and his most famous powerm,
there are science of his embivalence. We have,
you read it first in German and I read it in hibro.
Schmeckt dran, wie uns speichert. Weil wir all die,
die von denen nicht gefüllt sind, die meine Weihnachten.
Sio, die römischerweise. Wo ich mir im Auge
alles gut speichere. Oll auf meinem Auge der Staub
Just one have say that distranslation that sebastian found is by Friends Rosens feig.
I think you good see it there. And just two words of explanation,
when he says, the otsy one bechavel addom,
there are need to chavela raph,
when sign is the domain of Addom,
which he puts romination right.
Addom is a the biblical tribe of a dom,
which is ususually usually refers to Christindom.
So romination would be correct here.
And he have a larrove is, you know,
in I'm in the hands of the Arab Domain
The reason that this is important is.
I know some of view red or all of view red
high ness point and you down lavy,
they someone this room who red that point in your seminar.
Well, anyway, high nexclaims that you do a lavy
was killed in this point by Assassin and Arab.
And it's importantly member that the Crusader is were in the holyland at that time.
So we don't have to play in the Europe for everything.
Our read it now in the hebrow and in the English translation.
We're going to be coming back to
this powermagain
Lieb biba misraach, wer nochi besoffener rauf. Ich,
et a ma, et a shir ochal, der Echi, erauf.
Ich habe ein Chalem nicht dabei, wie Esserei,
Beozion bekävele dom, der Annie bekävele rauf.
Je kalt been naya solve call toofs verraten, cameo you carb,
being naya ot, o front vir, nicharalf.
My heart is an the east and I am at the edge of the West,
how can I taste what I eat,
how can I enjoy it,
how can I for film my vous and pledges,
well sign is an the domain of ad dom and I
am in the bands of a rabi
It will be easy from me to leave behind or the good things of spain.
It would be glorious to see the dust of the ruin schreien.
And I just want to point out that good things
of spain is in hebrid cultives verrate.
And what you have in the German is a little different.
It's more material right, it's more the grounded.
We're got a comeback to that call tools verrated in a minute.
Once again, there is a reference to food.
But hear the investment so the point declares is insign.
The objective yearning and the center a value
Still, the repeated readyness to relink with the place,
which is efficially exile, how can I taste what I eat,
how can I enjoy?
And then it would be easy for me,
the leave behind of the good things of spain.
Sick just that the poet, enjoys his bread, very much.
And that it is not easy all to leave behind
all the good things of spain, call tooves verad.
Again, the material and emotional pleasures of life can only
be associated, where the place where one lives
How else to explain that after here it vout to make the pilgrammage to the Holyland,
it took the powered another 15 years to actually in Bark on the Journey.
And then another half your terrying on the way and Alexandria.
Other poms do hell upon what seemingly this missing,
the ebundance of family and material pleasures. The powered the scribes himself,
the nining myself are partying kiss for my child,
family companions,
not even shading a tear over my orchered planted water and
ampruned to belast him and ebundance,
not a letting myself to well on the memory of you
who do and asrial two levely flowers
I know actually very little about you do lavies, biolography.
And this is one of the few places that mentions, you would there would preservably
was his grandson. And and low places emensions is other.
So we actually learn about call tools verrate,
but all the all the briginess of his life, from the problem,
which is is I won't spent any time thinking about this.
But of course, he does. One things at
the powered really does protests too much.
The rich life of the cordio powered in Under Lucia,
the familieur emotional and material world,
is wait against the millennial yearning and the memory of
addessel at Homeland
I've swaped my home for a shadow other shrub.
The bold it security of my gates for a lowline thing it.
I've could a past in the heart of the sea.
My sites as set on the lords thanktom.
Call tooves far out, remember my chief joy from some someone
37. The pledge to memory is to remember to Russellum up
ove my chief joy. In their first traumatized moments of exile,
the ancient hebres know, there would be joy even in Babylance.
There was certainly much joy in Andalucia
When the power of a vails himself of the collective
memory embedded in the engine some,
the residences are always local as well as remote.
Look at two can temporary examples of this with completely different residences.
First, the quintessential excellent polselant, one of his reliest polems,
originally named Chanssange weeve and then rename an den wasseren bubbles.
Again at dark anding pools, you memermor, wellow,
grieving, wonded or wonders equal to non
Sorry, that last kind of toglishing is kind of interesting,
because it both echnologies the active comparison, but also questions it.
Once again, the willow greeves at darkening pools,
but the willows are both the topus of ancient exile,
and specific to the poets native lands cape for which he has been exiled.
And in which his family has been murdered.
Here is another hebra adaptation of the same some,
that demonstrates the many ways the collective exile,
and once personal journey off and just oligance
teach other
Ist raily powered ronny somemac, with borning back that,
and came to is reals a child,
road a power im call, back that, february,
91. The reference of course is to the Goalfore,
when the city of his birth in modern Babylonia,
with Barming the City of his adult for it.
He recalls is a child in a stroller,
the maidens of midens of Babylon, holding their date branches above his blind here.
And the hebra, it's not a road, buffale,
zapf toovenoff a full kaputt, Marie, me alpium,
matsa aray, sari, ha blondini,
that's free your sake,
You can hear thought even if you don't understand the heybrew,
the play on not around perfell,
which means the girls with the maidness of Babylon and naharot perfell,
which was in someone 37, all now how road babel,
at by the waters of Babylon, there we said,
and he's talking about the girls of Babylon,
that he remembers is a tyle than a stroller,
who were waving their date branches.
Again, war in displacement collective and personal memory,
make the landscape unheimliche. It's a rivers,
and it's maidness our the science of both my homeland and
my tara,
ancient impresent
This power me should make it clear,
if it wasn't clear to assal ready from reading the daily newspapers,
that the journey from exile to redemption, or from Babbelant Design, is not linear.
There is first of all, the very danger of arrival.
You would how lave you, the first to pilgram,
how ola Harry Shorn, did shortly after arrival,
and not a natural death in all likely hood in,
there's a mentioned before,
there are many stories about how he did,
we just know that he may have a ribeed in in perostyned,
but he did soon
after his
all traces relast
There is a kind of terrible logic in even you down
lavies excidental death. The errors of exile,
it's earning for the desired object, is result,
internators, death as arrival. But this is only so,
if we except the paradime of gallalud vegetola,
exile and redemption as closed, if we we got the
messi anic thrust in and judy is am oransign as as a resolution.
And that's and overcoming, aufhebung of history,
it's self
And this brings me finally back to the ephical dimension of exile.
And you member in the title of my talk you want to go back to the title.
I road. The ethics, the esthetics and effics of exile.
Why the perent this is? Is it,
because as a deefault state,
exile can not be a platform for ethical responsibility,
because exile is defined as an enormaly,
always and reference to an enother center of gravity.
Beyond the lessons of human mility and security and all territy,
that matter and thinkers from George Stiner to homey bababa,
have help this to see as the
existential whysdom of the exile or the refugee
Ethical Lessons that juice are in a unique position to there are ethical lessons,
that the juice are in a unique position to practice and to teach.
However, at a historical moment,
when much of the world is experiencing the impact of migration,
either is hosts or is rerefugees, asylum seekers,
immigrants, or just the globally moble, which includes,
most of us.
Juice are in a prolong state of in term taxication.
Over the events that made return necessary and possible in our
After 2000 or you would even say
3000 years if you go back to the Babylonian exile.
Living as a disburst people having talk the world, the lexic
kind of exile. Having perfected a culture based on centrifical forces, differed decire.
And the complex paradime of substitution and similar lackroom,
living as it were in the the light and the spare of text in place of territory,
of similarly as a placeholder for the real.
And If there having suffered the demize of a third of
its people, at the hands of those whose culture they
had so inriched
The Hybrid, the QR-App, after all celebrating in the seminar.
After all this, the juice have return home.
The centripidal forces of ingathering, of returning to the land,
are simply earsistable, after all this.
Those have us who are passionately defending the cultural and efficultlations, learned in the Diasper.
The human value of living at a matterforcical distance from the real,
the paradigm of substitution and otherness,
that godges from the sacrificial demands of prax,
prax seminity to the sacriod.
Even the delights of Diasper, girls as well is the
rivers of Bambalon. We are powerless in the face
of reterritorialized text and literalized matterforce of sameness and homogeneraty.
Of total recall that remembers Babbelance, Babys and feeds the
culture evengence. In wrestling with the linieur tilly allogical schemes
that project both religious and sectual evisions of redemption,
that close history and a raise the open horizon of the present.
Walter Benjamin and Jacques therey da,
have a dress some of the issues,
I am raising here
Butters by the recovery of a letter, that was
first sent from Gershaw im Sholom to Friends Roses fight in
1926. And that in this apated the disasters consequences of
the messionism in herent in design is project.
I some you know, about that letter and if not,
you can talk about it later and I can say more about it.
The concerns of two German juice, Sholom im Benjamin.
And one el Gerry and Ju, there it are.
Provider response to the challenges that the new messionismismism presents,
as specially in israel and the Akipie territories today
Quote, by negating the heterogenity of the future to come,
such messianisms, most offen proposed and image of you topia,
secular or religious, which marks the end of history.
So road therey dar. There it us messianisity with out messianism,
messianiscity with out messianism, as I understanded,
takes the epical lessons of nearly 33.000 years of exile.
And applies, I'm to around danger is moment.
Messianism loses it's messiah, loses it's claim to for filmen
What there is a firms is the very heterogeneraty of what he calls,
the future to come love in year and the rights that in Apastrophy are vanyar.
The future to come. And he does so
as own where road in a very interesting article,
through the concept of the promise.
The very structure of the promise is futurity, futurity.
I eit is impossible to promise anything that does not
relate to the future. So by a firming the promise
itself, we indirectly a firm the future
There are by approaching with out appropriating of the future as other,
that's, you know, therey does speak,
but one can try to unrevel it.
In Suchal Landsgate, there are no circles to be closed.
No, babys to smash against ancient rocks.
Just in emblished open whister of promise.
And open ended comedy of a commodation and reconsiliation.
I love me to can clou by quoding from the powered
of Jerusalem who succeeded in bringing the desire home with out
giving up desire itself
By staying in the non literalized header or genius space of metter for.
I'm we foring of course to you that my high.
And I have two pomes but on fortunately,
I don't have the hebright, didn't know with there.
Any if you would be responding to the hebry so,
I will just read, these poms in English Translation,
we don't have the German eather.
One of them is called you're shalime or a earm is
a hecket macht bei ihm.
Talking about justalm and a very play for way
playing high and seek how this he hiden seek in German
Ja, ja. Among her names. The city place
high and seek a mong her names. Your shalligh,
elcodes, shallem, jerou, jerou,
all the wild whispering her first, jeb your side name,
you vous, your vous, your vous in the dark.
She weeps with a longing, Elia Capitolina, Elia,
Elia, she comes to anyman who cause her at night
alone.
But we know who comes
to home
This is a pom, of course, which is also somewhat mysterious,
we don't know, who comes to home, right?
But what the pom preserves is all of tour russlems
name, names, with no exclusive claim to ownership.
And the sensive desire of eras with out without without,
yeah, without any, any ultimate fulfillment,
which involves, the,
what without offen involves death,
but also involves a kind of exclusivity
And this is a palm of Jerusalem, as an inklusive place,
a place that enclude, all of its names,
all of the people who have every your in for her.
And finally to take a spack to the beginning,
here is just part of, I mean,
has wonderful palm, which is called, emerged cache,
you always, if I forget the oaddrew zone.
If I forget the Jerusalem,
then let my right we forgotten, emerged cache,
you always,
emerged my right be forgotten and my left remember
That my leftery member and your right close and your mouth of open new the gate.
I show remember your ruselum and forget the forest,
my love will remember, will open here here,
will close my window, will forget my right,
will forget my left, not readings a whole polem,
but is a very play for polem.
And whenever, I teach this polem and my students,
try to figure out, who is the love.
And where, what is he talking about an what forest?
And what I try to to convade of them is,
it doesn't netter,
because I mich high is in system on opening the gate
to the city but closing the window
So that privacy is possible. So that are one memorys are our personal
lives and decires and memorys are safe guard it in the most public city.
So that we can actually live with the scense of hetero-generate
of otherness and not of a sense of the sort of claim,
the other of home orgenerate and they kind of transparent position,
that we associate unfortunately with religious claims.
And exclusive plurgle claims to this city. So the cidea,
if I forget the our drosal that my right forget,
but my left remember.
Thank you