|
|
well-known “ Odessa Style” ) , left its imprint on them . As is the case for such “ style ” terms , the concept of “ Warsaw Style ” or “ Poland Style ” cannot be clearly defined . It is best described by way of contrast with those features deemed typical of the competing Odessa Style : freedom and experimentation versus strict classicism ; formalistic openness versus the demand for “ sculpted ” formalism ; the emphasis placed on emotion and on the tempests of the character’s inner world versus a stress on description and mimetic realism ; the relatively broad use of modern Hebrew versus the “ synthetic ” Hebrew style , replete with references drawn mainly from the Rabbinic literature , that was considered to be the norm in Odessa ; a connection to modern , rebellious national thought ( Berdyczewski ) versus the Odessa’s association with the positivist Zionist thought of Ahad Ha-Am . Obviously , these characteristics correspond only approximately ( and at times even deceptively ) to the...
To the book |
|
|