Beyond reconstructing the theo-political elements of early Shlonsky poetry, this research deepens our understanding of the theological undercurrents of ‘secular Zionist culture’ and demonstrates the contribution of the corpus of Jewish thought in its encounter with the “secular” Zionist culture.Ĭourse Description: Did Queen Vashti have a tail? and was that the reason why she did not agree to attend Ahasuerus' feast? Was the height of the manna in the desert 60 amah (about 30 meters!)? Was there a seven-headed crocodile in Abaye's Beith-Midrah (academy)? In other words, did the sages not have any logical limits, meaning that any fantastic statement could be uttered in the academy? Were R. Its radicalism lies within the subversive interpretation of the Ḥasidic mystical traditions, offering a vital and painful dialogue with God as well as a harsh criticism of the Zionist concept of redemption. However, close attention to the poems’ allusions exposes Shlonsky’s forceful critique of the Zionist Ḥalutz ethos.
Shlonsky crafts an intricate and critical dialogue with God and with the Jewish mystical-messianic tradition. Shlonsky’s poetry is steeped in theology and enriched by the Jewish traditional canon, particularly the Ḥasidic one.
Gilboa: the Rise and Fall of Shlonsky’s Messianic Ḥalutz This paper focuses on the theo-political aspects of Avraham Shlonsky’s volume of poetry Ba-galgal (1927).
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