In this interview with Full Stop magazine editor Michael Schapira, I introduce my Full Stop fellowship project on translation & activism.

King Manasseh of Judah is blamed for the destruction of Jerusalem and the Babylonian exile, a heavy mantle to carry. But as a character, Manasseh is boring—he looks like the other ordinary bad kings, even described as a “cardboard cutout,” that Kings has little literary use for. Wouldn’t we expect a more colorful villain? Is there anything in the…[Read more]

Many of the feminist readings of the Dinah story in Genesis 34 in recent years have focused on the question of whether Dinah is raped. The interpretations that perhaps Dinah was not “raped” span the spectrum from a teenage love affair between Dinah and Shechem, to a case of statutory rape, to a marriage by abduction. Guilty of exploring this que…[Read more]

In spite of renewed scholarly interest in the religion of Judeans living on the island of Elephantine during the Persian period, only one recent study has addressed the religious significance of the fired clay female figurines discovered there. The present article seeks to place these objects back on the research agenda. After summarizing the…[Read more]

D. Kruisheer, ‘A Bibliographical Clavis to the Works of Jacob of Edessa (revised and expanded)’, in B. ter Haar Romeny (ed.), Jacob of Edessa and the Syriac Culture of His Day (Monographs of the Peshitta Institute Leiden 18; Leiden: Brill, 2008), 265–293.

D. Kruisheer, ‘Ephrem, Jacob of Edessa, and the Monk Severus. An Analysis of Ms. Vat. Syr. 103, ff. 1–72’, in R. Lavenant (ed.), Symposium Syriacum VII (Orientalia Christiana Analecta 256; Rome: Pontificio Istituto Orientale, 1998), 599–605.

D. Kruisheer, ‘Reconstructing Jacob of Edessa’s Scholia’, in J. Frishman and L. Van Rompay (eds.), The Book of Genesis in Jewish and Oriental Christian Interpretation. A Collection of Essays (Traditio Exegetica Graeca 5; Leuven: Peeters, 1997), 187–196.

in: Ilse Müllner/Barbara Schmitz (Hg.), Perspektiven. Biblische Texte und Narratologie (SBB 75), Stuttgart 2018, 131-173.

Exodus 15, the Song at the Sea, appears to be triggered by the
divine victory over the Egyptians at the Sea, but the poet draws on other
literary images of destruction, images that are incompatible, in order to
express exuberance over divine victory. This seemingly rudimentary technique
is adroitly deployed in tandem with strategies of…[Read more]

In the wake of modernism studies’ global turn, this article considers the role of translation in fostering Iranian modernism. Focusing on the poetic translations of Bijan Elahi (1945-2010), one of Iran’s most significant poet-translators, we demonstrate how untranslatability becomes a point of departure for his experimental poetics. Elahi used pre…[Read more]

Bijan Elahi, “Five Scenes from Icarus,” The Kenyon Review issue XLI (2019): 75-77.

This essay offers an autobiographical account of reading across literatures and languages. I compare the selves that I have developed in each of three languages—Russian, Persian, and Georgian—over the course of many years of reading. Refusing to make literary traditions coterminous with national identities, I reflect here on love through lan…[Read more]

Behind the literary form of testament and expressions memorializing the dead is a concept of how objects, rights, and speech pass from one generation to the next: transmission. This essay examines two interrelated phenomena that give filial succession in the biblical and Ugaritic literature its contours: first, the discourses surrounding…[Read more]

Gino Bonichi, better known as Scipione after the Roman general Scipio Africanus, was born in Macerata in 1904. He moved to Rome in 1909, where
he studied for a short period at the Academy of Fine Arts. Together with Mario Mafai and Antonietta Raphaël he was one of the founders of the so-called ‘Roman School’ or ‘Via Cavour School’, a group of…[Read more]

Three Poems by Bijan Elahi in the 25th-anniversary edition of Two Lines:

“My Scent that Doesn’t Pass” [بوی من که نمیآید]
“Dupin Detects” [Dupin Detects]
“Song of the Moon Hanging over the Fields of Damascus”
[معلقه‌ی ماه روی دشت‌های دمشق ]

Jorgenrique Adoum (translated by Katherine M. Hedeen and Víctor Rodríguez Núñez), ʿĀ’ishah al-Bāʿūnīyah (translated by Th. Emil Homerin), Rachel Tzvia Back, Dan Bellm, Luis Enrique Belmonte (translated by Guillermo Parra), Daniel Borzutzky, George Economou, Sa rah Tuss Efrik (translated by Johannes Göransson), Paul Éluard (translated by Carlos L…[Read more]

Qurʾān in Samaritan cursive script produced for a students’ exercise in a seminar entitled “One Language, Many Scripts: Allographic Traditions Used for Writing Arabic” with reference to Johannes den Heijer, Andrea Schmidt and Tamara Pataridze (eds.), Scripts Beyond Borders: A Survey of Allographic Traditions in the Euro-Mediterranean World (…[Read more]

Qurʾān in Samaritan script produced for a students’ exercise in a seminar entitled “One Language, Many Scripts: Allographic Traditions Used for Writing Arabic” with reference to Johannes den Heijer, Andrea Schmidt and Tamara Pataridze (eds.), Scripts Beyond Borders: A Survey of Allographic Traditions in the Euro-Mediterranean World (Louvain: P…[Read more]

Review of Ali-Akbar Dehkhoda, Charand-o Parand. Revolutionary Satire from Iran, 1907–1909, Translated by Janet Afary and John R. Perry, in Iranian Studies

Developments in Early Judaism research since the publication of the 1986 first edition of Early Judaism and Its Modern Interpreters