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Additional resources for Bemerkungen zu Martin Heideggers Kantinterpretation (1931)
The artist presents a complex series of turns to the verbalvisual events that carry us with him into the period of the Holocaust. In the lower right hand corner of the image we read in Yiddish that it is all drawn by El Lissitsky. Indeed, at the upper left of the poster there is an entire description (in Yiddish) of how good it will be for the mishpucheh (family). The issue was not just the dichotomy between official and unofficial art — between conformist and nonconformist selfexpression — but the added question of where to place one's Jewish identity within either of these modes of creative behavior.
The translation is as yet unpublished. 8 Jacob Glatstein, "Good Night, World," American Yiddish Poetry, 3047. Roskies (Philadelphia: Jewish Publication Society, 1989), 49596. Wolf, Prooftexts 9 (1989): 12. 11 In Cynthia Ozick, The Pagan Rabbi and Other Stories (London: Secker and Warburg, 1971), 41100. 68, and the relevant notes. The University of Syracuse Press is soon to publish a collection of Miron's essays on Yiddish and Hebrew fiction. Peretz and the Making of Modern Jewish Culture (Seattle & London: University of Washington Press, 1991), 16.
The music is silent. Everything is indeed topsy turvy, upside down — moyshe kapoyre, although Chagall might not yet have been familiar with this phrase growing out of the Yiddish Theatre on this side of the Atlantic (with which he was presumably not yet familiar at the time when he painted this version). Indeed, I am not suggesting that one interpretation should stand in lieu of the other, but that the Red Angel represents a paradox, an internal contradiction consistent with the contradictions rampant in shtetl life as an intense microcosm of the human, and certainly Jewish, condition generally.