Access

You are not currently logged in.

Access your personal account or get JSTOR access through your library or other institution:

login

Log in to your personal account or through your institution.

If You Use a Screen Reader

This content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.

Amir Gilboa's Poetry in Confrontation with Alterman's Poetics / 'לא לשורר — לעורר': שירת אמיר גלבוע בזיקה מתעמתת אל שירת אלתרמן

חיה שחם and Haya Shaham
Dappim: Research in Literature / דפים למחקר בספרות
כרך‎ 7 (1990), pp. 37-53
Stable URL: http://www.jstor.org/stable/23417556
Page Count: 17
  • Read Online (Free)
  • Cite this Item
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Amir Gilboa's Poetry in Confrontation with Alterman's Poetics / 'לא לשורר — לעורר': שירת אמיר גלבוע בזיקה מתעמתת אל שירת אלתרמן
Preview not available

Abstract

Already in the early stages of his poetic writing Amir Gilboa stood out as a poet with a unique personal style. In contrast to other young poets in the literary group to which he belonged, he was never considered an epigon or a successor to any of the great outstanding poets, despite his awareness of most of the poetic forms expressed in contemporary poetry, including the leading poetry of the Schlonsky-Alterman school. Nevertheless, in his earlier books of poetry there are indications of some kind of relationship to Altermann's poetry. A close examination of these early collections indicates that Gilboa actually refers to Alterman's poetry and its poetics, although his approach is one of confrontation. This article analyzes (a) actual ars-poetic expressions in Gilboa's poetry, which indicate that he suggested an alternative poetics to that of Alterman; (b) Altermanic motifs, such as the Journiyer and Suburb motifs, which undergo a mutation in Gilboa's poetry; and (c) the concrete textual relationship between Gilboa's and Alterman's poetry, which, though rare, extended over a long period of time, and therefore stands out. All these elements in Gilboa's works point to his constant reference to the Altermanic model, which in this case is of a confrontational character, emerging from the need to define his personal poetics and its limitations as against the dominant influence of Alterman.

Page Thumbnails

  • Thumbnail: Page 
[37]
    [37]
  • Thumbnail: Page 
38
    38
  • Thumbnail: Page 
39
    39
  • Thumbnail: Page 
40
    40
  • Thumbnail: Page 
41
    41
  • Thumbnail: Page 
42
    42
  • Thumbnail: Page 
43
    43
  • Thumbnail: Page 
44
    44
  • Thumbnail: Page 
45
    45
  • Thumbnail: Page 
46
    46
  • Thumbnail: Page 
47
    47
  • Thumbnail: Page 
48
    48
  • Thumbnail: Page 
49
    49
  • Thumbnail: Page 
50
    50
  • Thumbnail: Page 
51
    51
  • Thumbnail: Page 
52
    52
  • Thumbnail: Page 
53
    53