Abstract:At the close of his recently discovered 1937 essay on graphic artist and fellow Drohobyczan Ephraim Moses Lilien, Galician short-story writer Bruno Schulz spoke of Lilien’s early graphic works Juda and Lieder des Ghetto, and at the same time of his own writing, as a “creation born of the longing of golus.” This article considers Schulz’s artistic engagement with the concept of golus—understood as both diaspora and exile—as illustrated in his essay on Lilien and in the poet Rokhl Korn’s Yiddish-language review of Schulz’s Cinnamon Shops. Schulz’s writing, in its polyphony and translinguality; in its rhetorical strategies of universalization and encryption; in its marriage of Jewish and universalist thematics; and in the choices that the author made about where and how to publish, represents both a reflection on and a textualization of the experience of diaspora. Schulz’s work, within the context of the post–World War I Galician Jewish experience in a newly independent Poland, represents an affirmative diasporic cultural model that, though it was not easy to incorporate into the ethnonational narratives that have dominated in both Polish and Jewish literary studies since World War II, lends itself much more readily to the present scholarly context, with its renewed interest in diasporic, transnational, and cosmopolitan models of Jewish identity as well as its postsecularist attention to cultural projects that arise at the intersection of materialism and theology.

中文翻译：

---

布鲁诺·舒尔茨 (Bruno Schulz) 的加利西亚侨民主义：论 1937 年的论文“EM Lilien”和 Rokhl Korn 对肉桂店的评论

摘要：加利西亚短篇小说作家布鲁诺·舒尔茨 (Bruno Schulz) 在他最近发现的 1937 年关于图形艺术家和同胞 Drohobyczan Ephraim Moses Lilien 的文章结束时谈到了 Lilien 的早期图形作品 Juda 和 Lieder des Ghetto，同时他自己的作品作为“源于golus的渴望的创造”。本文考虑了舒尔茨对 golus 概念的艺术参与 - 被理解为散居者和流亡者 - 如他关于 Lilien 的文章和诗人 Rokhl Korn 对舒尔茨肉桂店的意第绪语评论所说明。舒尔茨的复调和跨语言性写作；在其普遍化和加密的修辞策略中；将犹太教和普世主义主题结合在一起；在作者对出版地点和方式的选择中，代表了对侨民经历的反思和文本化。舒尔茨的作品，在第一次世界大战后的加利西亚犹太人在新独立的波兰经历的背景下，代表了一种肯定的流散文化模式，尽管它不容易融入在波兰和犹太文学中占主导地位的民族叙事二战以来的研究，更容易适应当前的学术背景，它对犹太人身份的侨民、跨国和世界主义模式重新产生兴趣，以及对出现在唯物主义和神学交叉点的文化项目的后世俗主义关注.