From shiln to shpiln in Max Perlman’s Songs

Linguistic and Socio-cultural Change among Ashkenazi Jews in Argentina

Bibliographic Data

ID17823983
AuthorsSusana Skura (0000-0003-3622-1852, Universidad de Buenos Aires, corresponding author), Lucas Fiszman (Universidad de Buenos Aires, corresponding author)
Year2016
Volume4
Issue2
Pages231-251
Publication date2016-06-25
Open AccessNo
TypeARTICLE
VenueJournal of Jewish Languages (JOURNAL)
Journal identifiersISSN: 2213-4387 • E-ISSN: 2213-4638
PublisherBrill (PUBLISHER • NL)
DOI10.1163/22134638-12340072
OpenAlexW2475162053
LanguageEN
Citations received1
References cited4

This article analyzes the stylistic and linguistic resources used in three songs of musician Max Perlman, written in Argentina in the 20th century. The main focus is code mixing: Yiddish, Castidish , Spanish, and Argentine slang. A close examination of these pieces led to several findings: the use of linguistic and discursive elements like rhyme, mixing language, Jewish traditional names, and references to Jewish life in the local milieu, are facts that can be understood as a continuity of a tradition of artistic production influenced by Yiddish’s contact with other contextual languages. Perlman’s language shift and references to cultural activities emphasize moral criticism about aspects of the daily life of middle and lower class Jews in Buenos Aires in that moment of transition. The incorporation of Spanish into an immigrant’s Yiddish repertoire demonstrates multilingual language competences that were an important resource for his audience’s empowerment within and outside Yiddish theater

Art · Judaism · Linguistics · Literature · Repertoire · Slang · Sociology · Yiddish · Borges, Kipling, and Jewish Identity · History · Music History and Culture · Philosophy · Translation Studies and Practices

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