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Agnon and Appelfeld

Agnon and Appelfeld T H E J E W I S H Q U A R T E R LY R E V I E W , Vol. 103, No. 4 (Fall 2013) 469­474 ARNOLD J. BAND UCLA T H E P L AC E O F A G NO N , the man and the author, in the writing career of Aharon Appelfeld is still a conundrum for serious students of Appelfeld's writing. It has recently been documented in an article by Dan Laor (I too have dealt with this phenomenon tangentially several years ago in an article subtitled: ``The Paradox of the Missing Intertext'' [Mikan 5 (2005): 9­15]). At the end of his article, after analyzing six instances where Appelfeld refers to Agnon, Laor sums up this relationship as one of hashra'ah (inspiration) rather than hashpa`ah (influence), two terms that are explained in note 26: ``Hashra'ah is like the opening of a door or gate, that awakens and liberates a fragment of dimayon (imagination) in the author, while hashpa`ah (influence) relates to the materials that are absorbed within the work of art and color its character and style.''1 Unwittingly, perhaps, Laor follows a critical tradition in Israeli literature that http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Jewish Quarterly Review University of Pennsylvania Press

Agnon and Appelfeld

Band, Arnold J.
Jewish Quarterly Review , Volume 103 (4) – Nov 15, 2013
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Publisher
University of Pennsylvania Press
Copyright
Copyright © Center for Advanced Judaic Studies, University of Pennsylvania.
ISSN
1553-0604
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Abstract

T H E J E W I S H Q U A R T E R LY R E V I E W , Vol. 103, No. 4 (Fall 2013) 469­474 ARNOLD J. BAND UCLA T H E P L AC E O F A G NO N , the man and the author, in the writing career of Aharon Appelfeld is still a conundrum for serious students of Appelfeld's writing. It has recently been documented in an article by Dan Laor (I too have dealt with this phenomenon tangentially several years ago in an article subtitled: ``The Paradox of the Missing Intertext'' [Mikan 5 (2005): 9­15]). At the end of his article, after analyzing six instances where Appelfeld refers to Agnon, Laor sums up this relationship as one of hashra'ah (inspiration) rather than hashpa`ah (influence), two terms that are explained in note 26: ``Hashra'ah is like the opening of a door or gate, that awakens and liberates a fragment of dimayon (imagination) in the author, while hashpa`ah (influence) relates to the materials that are absorbed within the work of art and color its character and style.''1 Unwittingly, perhaps, Laor follows a critical tradition in Israeli literature that

Journal

Jewish Quarterly Review – University of Pennsylvania Press

Published: Nov 15, 2013

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