The metamorphosis of Jewish identity portrayed by Aharon Appelfeld in his early stories and essays relates closely to the perspective of Jewish society in a process of assimilating, and in the sea change that the “Holocaust that descended suddenly” forced onto the “depleted Jewish consciousness” that characterized it, as Appelfeld describes it in First Person Essays, (1979): “All of their beliefs were as if overturned in a day. Nothing was left but Jewish bareness” (Appelfeld 1979, 10). Exposed with the appearance of the enemy, the “Jewish bareness” became a founding stone of the new Judaism, “reborn” in response to the rage of the oppressor. It is this central intuition that Appelfeld examines in the story “The Fowl.” Appelfeld's “The Fowl” is based on one of the lesser known texts of Rabbi Nahman of Bratslav, which appear together in the book Hayyei Moharan. This story, as portrayed in the essay, symbolizes a decisive shift in consciousness for Rabbi Nahman, a metamorphosis that, as in Appelfeld's story, reveals Jewish bareness symbolized by vultures.

中文翻译：

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“家禽实际上是我们的敌人”

Aharon Appelfeld在其早期故事和散文中所描绘的犹太人身份的蜕变，与犹太社会在同化过程中的视角，以及在“突然降临的大屠杀”强加给“枯竭的犹太人意识”的巨变中密切相关。正如 Appelfeld 在《第一人称随笔》(1979) 中所描述的那样：“他们所有的信念都好像在一天之内被推翻了。除了犹太人的裸露，什么都没有留下”（Appelfeld 1979, 10）。随着敌人的出现，“犹太裸体”成为新犹太教的奠基石，在压迫者的愤怒下“重生”。阿佩尔费尔德在故事“The Fowl”中考察的正是这种核心直觉。Appelfeld 的“The Fowl”基于布拉茨拉夫拉比 Nahman 鲜为人知的文本之一，它们一起出现在 Hayyei Moharan 一书中。正如文章中所描绘的那样，这个故事象征着拉比·纳曼（Rabbi Nahman）意识的决定性转变，这种蜕变就像阿佩尔菲尔德的故事一样，揭示了秃鹰象征的犹太人裸露。