De la Terre Promise à la Terre désolée : Paysage dystopique dans la fiction hébraïque /
From the Promised Land to the Waste Land. Dystopian landscape in Hebrew fiction, Raffaele Esposito, Università di Napoli L'Orientale

Résumé en français

La première littérature hébraïque moderne a dépeint Israël comme un « pays où coulent le lait et le miel », un lieu fertile symbolisant la renaissance nationale. La fiction spéculative hébraïque contemporaine propose d'autres images, mêlant des préoccupations globales telles que le changement climatique à des questions locales comme le conflit israélo-arabe.

Des romans dystopiques hébreux sont déjà apparus dans les années 1980, envisageant une apocalypse militaire (A. Kenan, La route d'Ein Harod) ou la montée du fondamentalisme (B. Tammuz, L'auberge de Jérémie ; Y. Ben-Ner, Les anges arrivent).

Les préoccupations environnementales se sont ajoutées à ces thématiques dans les œuvres du début du XXIᵉ siècle. Parcelles humaines (2002) d'O. Castel-Bloom représente Israël comme une terre plongée dans un hiver perpétuel où les désastres naturels se mêlent symboliquement aux attentats terroristes. Avec Hydromania (2009), A. Gavron dépeint Israël en 2067, souffrant d'une sécheresse mondiale et de la perte de son territoire. La novella Un bon endroit pour la nuit (2009) de S. Liebrecht se déroule dans un monde ravagé après une catastrophe mystérieuse. La représentation d'une nature hostile dans ces œuvres reflète des angoisses sociétales profondes et transforme l'image d'Israël de terre promise à lieu de conflit, de dévastation et d'incertitude.

Les enjeux écologiques marquent également des visions post-apocalyptiques récentes d'Israël, comme La rose de Judée (trilogie, 2010-2012) et Shadrach (2017) de S. Adaf, Imagine une montagne (2014) de R. Bet Levi, 2023 (2014) d'I. Sarna, Le Troisième Temple (2015) d'Y. Sarid, et Boue (2016) de D. Burstein, ces deux derniers mêlant passé biblique et futur dystopique.

Ainsi, la fiction spéculative hébraïque continue de s'interroger sur l'avenir d'Israël, mais les récits récents traduisent des perceptions changeantes des enjeux environnementaux et offrent des perspectives pertinentes dans les contextes tant israélien que mondial.

Résumé en anglais

Early modern Hebrew literature depicted Israel as a “land flowing with milk and honey”, a fertile and welcoming place symbolising national rebirth. Contemporary Hebrew speculative fiction offers different depictions intertwining global concerns such as climate change with local issues like the Arab-Israeli conflict.

Hebrew dystopian novels already appeared in the 1980s, envisioning military apocalypse (Amos Kenan's The Road to Ein Harod, 1984) or the rise of fundamentalism (Benjamin Tammuz's Jeremiah's Inn, 1984; Yitzhak Ben-Ner's The Angels Are Coming, 1987).

Environmental concerns added to these thematic lines in works of the early 21st century. In Orly Castel-Bloom's Human Parts (2002), Israel is depicted as a land in perpetual winter where natural catastrophes symbolically merge with terrorist attacks. With Hydromania (2009), Assaf Gavron portrays Israel in 2067, suffering from a global drought and the loss of its territory. Savyon Liebrecht's novella A Good Place for the Night (2009) is set in a ravaged world after a mysterious catastrophe. The depiction of hostile nature in these works reflects deeper societal anxieties and transforms Israel's image from a promised land to a site of conflict, devastation, and uncertainty.

Ecological issues play a role also in more recent post-apocalyptic visions of Israel, such as The Rose of Judea Trilogy (2010-2012) and Shadrach (2017) by Shimon Adaf, Imagine a Mountain (2014) by Roi Bet Levi, 2023 (2014) by Igal Sarna, The Third Temple (2015) by Yishai Sarid, Muck (2016) by Dror Burstein, the last two blending biblical past and dystopian future.

Hebrew speculative fiction remains thus concerned with the future of Israel, but recent narratives reflect changing perceptions of environmental issues and offer insights relevant to both Israeli and global contexts.

Le berceau d'une société exemplaire ou d'un désastre écologique - le désert du Néguev entre utopie et dystopie/ The Cradle of an Exemplary Society or an Ecological Disaster – The Negev Desert Between Utopia and Dystopia ; ערש חברת מופת או אסון אקולוגי – מדבר הנגב בין אוטופיה לדיסטופיה Ilanit Ben-Dor Derimian, Université de Lille, Centre d'Etudes en Civilisations, Langues et Littératures Etrangères (CECILLE, ULR 4074)

Résumé en français

Le Néguev a retenu l'attention des politiciens sionistes tels que David Ben Gourion avant la création de l'État d'Israël. Même après l'inclusion de cette vaste zone dans les frontières de l'État, l'attitude à son égard varie entre les chances d'établir une société exemplaire sur ses terres vierges et la peur d'être englouti par les forces naturelles sauvages du désert. Ces motifs apparaissent dans les œuvres d'auteurs canoniques tels que Shulamith Hareven, S. Yizhar, Amos Oz et Meir Shalev. Cette dualité entre utopie et dystopie existe toujours à propos de l'image du Néguev. Elle se reflète dans les œuvres faisant référence aux crises écologiques, à la pénurie d'eau et au changement climatique (de jeunes écrivains comme Tamar Weiss Gabbay et Roi Bet Levi). Ces images impliquent un changement des perceptions idéologiques qui dominent le discours public et influencent les pratiques du peuplement et les relations entre les groupes sociaux.

Résumé en anglais

The Negev has attracted the attention of Zionist politicians such as David Ben-Gurion even before the establishment of the State of Israel. After the inclusion of this vast area within the state's borders, attitudes towards it still vary between the chances of establishing an exemplary society on its pristine lands and the fear of being demolished by the wild natural forces of the desert. These motifs appear in the works of canonical authors such as Shulamith Hareven, S. Yizhar, Amos Oz, and Meir Shalev. This duality between utopia and dystopia still exists in the image of the Negev. It is reflected in works referring to ecological crises, water scarcity, and climate change (by young writers such as Tamar Weiss Gabbay and Roi Bet Levi). These images imply a change in the ideological perceptions that dominate public discourse and influence settlement practices and relations between social groups.

Résumé dans une autre langue

הנגב זכה לתשומת לב מצד מדינאים ציוניים כדוד בן-גוריון עוד טרם הקמת מדינת ישראל. גם לאחר הכללת שטח נרחב זה בגבולות המדינה היחס אליו נע בין הסיכויים להקמת חברת מופת באדמותיו הבתוליות לבין החשש מהיבלעות בכוחות הטבע הפראיים של המדבר. מוטיבים אלה הופיעו ביצירותיהם של סופרים קנוניים כמו שולמית הראבן, ס. יזהר, עמוס עוז ומאיר שלו. דואליות זו בין אוטופיה לדיסטופיה עדיין קיימת לגבי הדימוי של הנגב. היא באה לידי ביטוי ביצירות שמתייחסות למשברים אקולוגיים, למחסור במים ולשינויי אקלים (אצל סופרים צעירים כמו תמר וייס גבאי ורועי בית לוי). הדימויים הללו כרוכים בתפיסות אידיאולוגיות משתנות השולטות בשיח הציבורי ומשפיעות על פרקטיקות התיישבות ויחסים בין קבוצות חברתיות.

Le salut par la science dans Hydromania et Ha-Melet d'Assaf Gavron / Salvation Through Science in Assaf Gavron's Hydromania and Ha-melet, Anna Lissa, Université Paris 8, Cermom-Inalco

Résumé en français

Souvent perçus par la critique et le public comme des romans dystopiques, les œuvres d'Assaf Gavron, Hydromania et Ha-Melet, décrivent un État d'Israël qui a cessé d'exister – que ce soit à la suite d'une guerre perdue contre les Palestiniens (Hydromania) ou d'un nouvel ordre politique et territorial restructuré au Moyen-Orient (Ha-Melet), en plus des effets de la crise climatique. Cependant, ces deux romans présentent avant tout une vision du savoir scientifique et de ses applications pratiques qui s'apparente davantage à une utopie technologique.

Plutôt que de se concentrer sur les questions politiques, considérées comme une situation de facto immuable et pourtant non centrale, les deux romans mettent en avant les préoccupations écologiques comme défi principal. Hydromania imagine une innovation technologique permettant à tous d'accéder à l'eau de pluie, tandis que Ha-Melet tourne autour d'une formule secrète pour un mélange de béton répondant à la pénurie de logements. Dans les deux cas, la solution ultime à la crise écologique réside dans l'innovation scientifique.

En adoptant cette approche, Gavron revient à la démarche utopique d'Altneuland de Herzl, où le savoir, la science et la technologie constituent les fondations d'un État juif idéal et harmonieux. En même temps, il déplace le centre narratif, s'éloignant de la politique et de l'écologie pour proposer une critique du capitalisme et plaider en faveur d'un accès libre et démocratique au savoir scientifique.

Résumé en anglais

Often perceived by critics and the public as dystopian novels, Assaf Gavron's works Hydromania and Ha-Melet depict a State of Israel that has ceased to exist—whether due to a lost war against the Palestinians (Hydromania), or to a restructured political and territorial order across the Middle East (Ha-Melet), together with the effects of the climate crisis. However, both novels primarily present a vision of scientific knowledge and its practical applications that aligns more closely with a technological utopia.

Rather than focusing on political issues, which are considered as a de facto unchangeable situation and yet not the most important issue, both novels emphasize ecological concerns as the central challenge. Hydromania envisions a technological innovation that makes rainwater accessible to all, while Ha-Melet revolves around a secret formula for a concrete mix that addresses the housing shortage. In both cases, the ultimate solution to the ecological crisis lies in scientific innovation.

By adopting this approach, Gavron goes back to the utopian approach of Herzl's Altneuland, where knowledge, science, and technology are foundational to creating an ideal and harmonious Jewish state. At the same time, he shifts the narrative focus away from politics and ecology, offering instead a critique of capitalism and advocating for free and democratic access to scientific knowledge.

Utopie/dystopie en littérature juive et hébraïque / Utopia/dystopia in Jewish and Hebrew literature, Hagit Arieli Chai, Hebrew Union College - USC

Résumé en anglais

In modern Hebrew literature, particularly during the revival of the Hebrew language and the emergence of Zionism, utopian visions centered on the establishment of a Jewish homeland. Conversely, dystopian works emerged in response to disillusionment, exploring themes like exile, persecution, and the fragility of idealistic dreams.

Utopia and dystopia in Hebrew literature reflect the Jewish and Israeli collective experience, whether through hopes for repairing the world or warnings about dangerous directions. Both serve as powerful literary tools for expressing ideas, offering social critique, and inspiring change. The Hebrew language used in utopian and dystopian literature is a powerful tool for shaping the reader's experience and understanding. While utopian works inspire hope and highlight possibilities through idealistic and elevated language, dystopian literature uses dark, critical, and fragmented language that alludes against potential dangers and failures. Together, these contrasting styles offers a comprehensive exploration of human aspirations and fears, reflecting the complexities of Jewish and Israeli identity.

A Day Will Come" by Aharon David Gordon, Gordon's utopian essays and stories use elevated Hebrew to describe a spiritual and agricultural revival of the Jewish people in their ancestral land. While in "He Walked Through the Fields" by Moshe Shamir (1947) its not explicitly dystopian, Shamir's critique of Sabra culture hints at a breakdown of idealistic Zionist language and the emergence of disillusionment.

In poetry Shaul Tchernichovsky's poem "האדם אינו אלא" ("Man is But"), elevated Hebrew is used to emphasize a deep connection to nature and the homeland, embodying Zionist ideals of renewal. While Dalia Ravikovitch's poems depict a fractured world where individuals feel disconnected from themselves, others, and the land—a hallmark of dystopian settings.

The corner stone of the concept of utopia was formed through the connection of Hebrew to the ancient texts. The inherent connection between utopia and dystopia in the history of Hebrew literature is preserved in the Bible. The first example is found in Moses' speech to the people of Israel in chapter 28 of the Book of Deuteronomy, in the portion known as “The Portion of Blessing and Curse.” This speech, delivered in future tense despite being spoken in a defined present moment—on the threshold of entering the Land of Israel—paints two contrasting visions of the future. In one (verses 1–14), the vision is utopian, while in the other (verses 15–68), the vision is dystopian.

Another remarkable literary example is preserved in the books of the major prophets: Isaiah, Jeremiah, and Ezekiel. Isiah (2:2-4) prophesizes “Sword and spears will be converted into plows and pruning hooks. War will end, and nobody will prepare to go to war against anyone else”. Isaiah describes the Jewish and, later, the Christian version of utopian peace on earth, a time believer is convinced will come to pass. Jeremiah grounded his claim about God's faithfulness (30:3)” For days are coming—declares GOD—when I will restore the fortunes of My people Israel and Judah, said GOD; and I will bring them back to the land that I gave their ancestors, and they shall possess it.” Ezekiel's vision (28:23) “You were in Eden, the garden of God; Every precious stone was your adornment” that at the time was radical; calling for the union of each tribe to prevent rivalries. All three prophets included dystopian visions in their prophecies of admonition and utopian visions in their prophecies of consolation.

While Hebrew literature throughout the generations, following the canonization of the Bible, continued to face with the fundamental questions of Jewish identity, values, and way of life, one can find in the works of later generations a continuation of this departure from existing reality toward a vision of a future world along its two opposing paths—both utopian and dystopian.

Following the canonization of the Bible, Hebrew literature across the centuries continued to explore the duality of utopia and dystopia. Writers and poets expressed the utopian ideals of a redeemed world and the dystopian fears of existential crises, often reflecting the historical and social challenges that the Jewish people face. For example: in Medieval Poetry and Mysticism: Yehuda Halevi and the mystics of the Kabbalah often expressed utopian longings for spiritual union, messianic redemption, and the rebuilding of Jerusalem “I am in the west but my heart is in the east” לִבִּי בְמִזְרָח וְאָנֹכִי בְּסוֹף מַעֲרָב

Modern Literature: In modern Hebrew literature, particularly during the revival of the Hebrew language in early 20th century along the emergence of Zionism in the late 19th century, utopian visions centered on the establishment of a Jewish homeland. Scholars and Zionist leaders envision the homeland as a national political and religious sovereignty. Equally, dystopian works emerged in response to disillusionment, exploring themes like exile, persecution, and the fragility of idealistic dreams.

Utopia concept appeared as a key element in the writings of the Haskalah movement and among the early 20th-century Zionist thinkers and Artist entrepreneur such as Buris Schatz . He used the phrase Yerushalayim ha-bnuya [Jerusalem Rebuilt], as a reflection to his vision; Judaism had “returned from Exile” to its land of origin and rebuilt it character. Judaism became a “natural religion” rooted in the ground of the Land of Israel. Schatz envisioned a society united by a collective consciousness rooted in a shared religious ideology, bringing together Jewish communities from the East and West to work and study in the same space. He founded the Bezalel School of Art in Jerusalem. Bezalel, which was a school for crafts as well as for graphic art, grew rapidly into a successful institution. Schatz added a small museum to the school, which was the foundation for the Bezalel Museum and later became the Israel Museum. Schatz's artistic genre reflected in his traditional European training, however, upon his involvement with Zionism, his focus shifted predominantly to Jewish themes which centered around utopian themes Yerushalayim ha-bnuya. The Bezalel school aimed to cultivate a national artistic style, blending European methods with influences from Near Eastern art. However, its traditional philosophy often clashed with students inclined toward modernist approaches reflecting the dystopian idea. Ultimately, it was these modernist-leaning students who paved the way for a distinct Israeli art movement.