The best examples of its literary use so far are the German novel The Golem, by Gustav Meyrink, and the drama The Dybbuk, by the Jewish writer using the pseudonym “Ansky”. Pushing back against this dichotomy and the past cult surrounding his works in German-Jewish circles, Agnon’s mid-twentieth-century writing reveals the ongoing presence, and even preservation, of German language and culture within modern Hebrew.Jewish folklore has preserved much of the terror and mystery of the past, and when more thoroughly studied is likely to exert considerable influence on weird fiction.

Through translations of his stories into German in the 1910s, Agnon found himself hailed as the “authentic” chronicler of East European Jewish life, particularly as contrasted with the “inauthentic” Meyrink. Agnon’s rich rewriting of the golem story, a narrative of animation through language, establishes an unholy alliance between Hebrew and German and invites a reconsideration of Gustav Meyrink’s occult bestseller, Der Golem, first published in 1915. As his “golem,” Agnon casts a brain-injured German soldier who has forgotten his name, family, and home. For this meditation on language, creation, and destruction, he draws on the golem tale, which had become a mainstay of German-language literature in the nineteenth and early twentieth centuries. He uses this setting to reflect upon the modern status of Hebrew-the sacred language of creation-in a world ravaged by war, including the more contemporary, 1948 battles. In this work, Agnon, who had lived in Germany between 19, revisits the German home front during World War I. Agnon’s later fiction, particularly Ad henah (To this Day, 1952). This essay discusses the interplay of German and Hebrew in S. Their twin story is a fascinating example of early Renaissance Neoplatonic mysticism which synthesized high religiosity with classical philosophy and a fervent desire for the deification of man. In my paper I introduce this text and point out the decisive meeting of Lazzarelli with Giovanni “Mercurio” da Correggio, whom he identified as the reborn Hermes Trismegistus, while he styled himself as a reborn Enoch. 1493), he contributed to this intellectual trend with a passionate and poetical vision of ascension, the technology of which he partly borrowed from the mystical Judaica, at the same time creating (according to Wouter Hanegraaff) a particularly pure form of ecstatic Christian mystery. Like Pico, he became attracted to Jewish mysticism and the Kabbalah and in his work Crater Hermetis (c. While the rise of Florentine Neoplatonism is usually associated with the philosophers Marsilio Ficino and Giovanni Pico della Mirandola, Lodovico Lazzarelli also made important contributions to the forging of Christian Hermeticism.

Golem gustav meyrink