ABSTRACT During the years of WWII, when Hanna Rovina was in her fifties, her cultural image as “the mother of the nation” coalesced in the Yishuv. This article explores this public image, while looking at two of her successful dramatic roles of that time, the title roles in Jacob Gordin’s Mirele Efros, Karel Čapek’s The Mother and an exemplary performance that she gave in Italy for the soldiers of the Jewish Brigade. These performances reveal how Rovina’s maternal image constructed the her as an ephemeral site of both intimate familial and ethnic national memory. The Jewish nation conceived of itself as a big family, with a specific, Eastern European collective biography and a clear center symbolized by the mother.

中文翻译：

---

汉娜·罗维娜的母性角色：二战期间伊舒夫的家庭民族想象

摘要 二战期间，当汉娜·罗维娜 50 多岁时，她作为“民族之母”的文化形象在伊舒夫语中凝聚。本文探讨了这一公众形象，同时考察了她当时的两个成功戏剧角色，即雅各布·戈丁 (Jacob Gordin) 的 Mirele Efros、Karel Čapek 的《母亲》中的头衔角色，以及她在意大利为犹太旅的士兵所做的模范表演。这些表演揭示了罗维娜的母性形象如何将她构建为一个短暂的家庭和民族记忆的场所。犹太民族将自己视为一个大家庭，拥有特定的东欧集体传记和以母亲为标志的清晰中心。