1950 Israel CHILDREN BOOK Hebrew \"BAMBI\" Bezalel NAHUM GUTMAN Jewish JUDAICA
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1950 Israel CHILDREN BOOK Hebrew \"BAMBI\" Bezalel NAHUM GUTMAN Jewish JUDAICA:
$85.00
DESCRIPTION : One of the EARLY Hebrew editions of \"BAMBI\"( BAMBI - LIFE IN THE WOOD ) by Felix Saltenwas this shortened children version which was published in Israel in the 1950\'s by AMICHAI in Tel Aviv . Translator and editor is A.Bin Noon. The main important issue regarding this version of \"BAMBI\" is the ILLUSTRATIONS which were made by the BEZALEL artist NACHUM GUTMAN .The COVER as well as quite a few FULL PAGE COLORED illustrations as well as B&W illustrations were all created by GUTMAN ,One of the most popular illustrators of children books at thast era.This sought after version isvery RARE.Original Israeli illustrated colorful HC. Around 7\" x 7.5\". 42 pp. Very good condition . Clean. Tightly bound. ( Pls look at scan foraccurate AS IS images ) .Will be sent inside a protective rigid envelope .
PAYMENTS : Payment method accepted :Paypal .SHIPPMENT : SHIPP worldwide viaregistered airmail is $16 .Will be sent inside a protectivepackaging. Handling within 3-5 days after payment. EstimatedInt\'l duration around 10 days.
Bambi, a Life in the Woods, originally published in Austria asBambi. Eine Lebensgeschichte aus dem Waldeis a 1923Austrian novelwritten byFelix Saltenand published byUllstein Verlag. The novel traces the life of Bambi, a maleroe deer, from his birth through childhood, the loss of his mother, the finding of a mate, the lessons he learns from his father and experience about the dangers posed by human hunters in the forest. An English translation byWhittaker Chamberswas published in North America bySimon & Schusterin 1928,[1]and the novel has since been translated and published in over 20 languages around the world. Salten published a sequel,Bambis Kinder, eine Familie im Walde(Bambi\'s Children), in 1939.The novel was well received by critics and is considered a classic, as well as one of the first Environmental novels ever published. It was adapted into a theatrical animated film,Bambi, byWalt Disney Productionsin 1942, two Russian live-action adaptations in 1985 and 1986, and a stage production in 1998. A ballet adaptation was written by an Oregon troupe, but never premiered. Janet Schulman published a children\'s picture book adaptation in 2000 that featured realistic oil-paintings and many of Salten\'s original words.Contents[hide]1 Plot2 Publication history2.1 Translations2.2 Copyright dispute2.3 Sequel3 Reception4 Impact5 Adaptations5.1 Film5.1.1 Walt Disney animated film5.1.2 Russian live-action films5.2 Ballet5.3 Theater5.4 Book5.4.1 Schulman adaptation6 See also7 References8 External linksPlot[edit]Bambi is aroe deerfawn born in athicketto a young doe in late spring one year. Over the course of the summer, his mother teaches him about the various inhabitants of the forest and the ways deer live. When she feels he is old enough, she takes him to themeadowwhich he learns is both a wonderful but also dangerous place as it leaves the deer exposed and in the open. After some initial fear over his mother\'s caution, Bambi enjoys the experience. On a subsequent trip, Bambi meets his Aunt Ena, and her twin fawns Faline and Gobo. They quickly become friends and share what they have learned about the forest. While they are playing, they encounter princes, male deer, for the first time. After the stags leave, the fawns learn that those were their fathers, but that the fathers rarely stay with or speak to the females and young.As Bambi grows older, his mother begins to leave him alone. While searching for her one-day, Bambi has his first encounter with \"He\"—the animals\' term for humans—which terrifies him. The man raises a firearm and aims at him; Bambi flees at top speed, joined by his mother. After he is scolded by a stag for crying for his mother, Bambi gets used to being alone at times. He later learns the stag is called the \"Old Prince,\" the oldest and largest stag in the forest who is known for his cunning and aloof nature. During the winter, Bambi meets Marena, a young doe, Nettla, an old doe who no longer bears young, and two princes Ronno and Karus. Mid-winter, hunters enter the forest, killing many animals including Bambi\'s mother. Gobo also disappears and is presumed dead.After this, the novel skips ahead a year, noting that Bambi was cared for by Nettla, and that when he got his first set of antlers he was abused and harassed by the other males. It is summer and Bambi is now sporting his second set of antlers. He is reunited with his cousin Faline. After he battles and defeats first Karus then Ronno, Bambi and Faline fall in love with each other. They spend a great deal of time together. During this time, the old Prince saves Bambi\'s life when he nearly runs towards a hunter imitating a doe\'s call. This teaches the young buck to be cautious about blindly rushing toward any deer\'s call. During the summer, Gobo returns to the forest having been raised by a man who found him collapsed in the snow during the hunt where Bambi\'s mother was killed. While his mother and Marena welcome him and celebrate him as a \"friend\" of man, the old Prince and Bambi pity him. Marena becomes his mate, but several weeks later Gobo is killed when he approaches a hunter in the meadow, falsely believing the halter he wore would keep him safe from all men.As Bambi continues to age, he begins spending most of his time alone, including avoiding Faline though he still loves her in amelancholicway. Several times he meets with the old Prince who teaches him aboutsnares, shows him how to free another animal from one, and encourages him not to use trails, to avoid the traps of men. When Bambi is later shot by a hunter, the Prince shows him how to walk in circles to confuse the man and his dogs until the bleeding stops, then takes him to a safe place to recover. They remain together until Bambi is strong enough to leave the safe haven again. When Bambi has grown gray and is \"old\", the old Prince shows him that man is not all-powerful by showing him the dead body of a man who was shot and killed by another man. When Bambi confirms that he now understands that \"He\" is not all-powerful, and that there is \"Another\" over all creatures, the stag tells him that he has always loved him and calls him \"my son\" before leaving to die.At the end of the novel, Bambi meets with twin fawns who are calling for their mother and he scolds them for not being able to stay alone. After leaving them, he thinks to himself that the girl fawn reminded him of Faline, and that the male was promising and that Bambi hoped to meet him again when he was grown.Publication history[edit]Salten pennedBambi: Eine Lebensgeschichte aus dem WaldeafterWorld War I, targeting an adult audience.[2]The novel was first published in Vienna in serialized form in theNeue Freie Pressenewspaper from 15 August to 21 October 1922,[3]and as a book in Austria byUllstein Verlagin 1923, and republished in 1926 in Vienna.[4][5]Translations[edit]Max Schuster, a co-founder ofSimon & Schuster, became intrigued with the novel and contracted with the author to publish it in North America.[citation needed]Clifton Fadiman, an editor at the firm, engaged his Columbia University classmateWhittaker Chambersto translate it.[6]Simon & Schuster published this first English edition in 1928, with illustrations byKurt Wiese, under the titleBambi. A Life in the Woods.[4][7]The New York Timespraised the prose as \"admirably translated\".[8]TheNew York Herald Tribunedid not comment on the translation.[7]Over 200 editions of the novel have been published, with almost 100 German and English editions alone, and numerous translations and reprintings in over 20 other languages. It has also been published in a variety of formats, including printed medium,audiobook,Braille, andE-bookformats.[9]Copyright dispute[edit]When Salten originally publishedBambiin 1923, he did so under Germany\'s copyright laws, which required no statement that the novel was copyrighted. In the 1926 republication, he did include a United States copyright notice, so the work is considered to have been copyrighted in the United States in 1926. In 1936, Salten sold some rights to the novel toMGMproducer Sidney Franklin who passed them on to Walt Disney for the creation of a film adaptation. After Salten\'s death in 1945, his daughter Anna Wyler inherited the copyright and renewed the novel\'s copyrighted status in 1954. In 1958, she formulated three agreements with Disney regarding the novel\'s rights. Upon her death in 1977, the rights passed to her husband, Veit Wyler, and her children, who held on to them until 1993 when he sold the rights to the publishing house Twin Books. Twin Books and Disney disagreed on the terms and validity of Disney\'s original contract with Anna Wyler and Disney\'s continued use of the Bambi name.[5]When the two companies were unable to reach a solution, Twin Books filed suit against Disney for copyright infringement. Disney argued that because Salten\'s original 1923 publication of the novel did not include a copyright notice, by American law it was immediately considered apublic domainwork. It also argued that as the novel was published in 1923, Anna Wyler\'s 1954 renewal occurred after the deadline and was invalid.[5][10]The case was reviewed by theU.S. District Court for the Northern District of California, which ruled that the novel was copyrighted upon its publication in 1923, and not a public domain work then. However, in validating 1923 as the publication date, this confirmed Disney\'s claim that the copyright renewal was filed too late and the novel became a public domain work in 1951.[5]Twin Books appealed the decision, and in March 1996 theU.S. Court of Appeals for the Ninth Circuitreversed the original decision, stating that the novel was a foreign work in 1923 that was not in its home country\'s public domain when published, therefore the original publication date could not be used in arguing American copyright law. Instead, the 1926 publication date, the first in which it specifically declared itself to be copyrighted in the United States, is considered the year when the novel was copyrighted in America. As such, Anna Wyler\'s renewal was timely and valid, thereby upholding Twin Books\' ownership of the copyright.[10]TheTwin Booksdecision is still regarded as controversial by many copyright experts.[11][12]David Nimmer, in a 1998 article, argued that theTwin Booksruling meant that an ancient Greek epic, if only published outside the U.S. without therequired formalities, would be eligible for copyright protection. Although Nimmer concluded thatTwin Booksrequired this finding (within the Ninth Circuit), he characterized the result as \"patently absurd.\"[13]The American copyright of the novel is currently set to expire on January 1, 2022,[11]while in theEuropean unionit entered thepublic domainin 1 January 2016.Sequel[edit]Main article:Bambi\'s ChildrenWhile living in exile in Switzerland, after being forced to fleeNazi-occupied Austria, Salten wrote a sequel toBambithat follows the birth and lives of Bambi\'s twin offspring, Geno and Gurri.[14]The young fawns interact with various deer, and are educated and watched over by Bambi and Faline as they grow. They also learn more about the ways of man, including both hunters and the gamekeeper seeking to protect the deer. Due to Salten\'s exiled status — he had lost his Austrian publisherPaul Zsolnay Verlag— the English translation of the novel was published first, in the United States in 1939 byBobbs-Merrill, but it would take a year before the sequel was published in the original German language in Switzerland by his new publisher.[15]Reception[edit]Bambiwas \"hugely popular\" after its publication,[16]becoming a \"book-of-the-month\" selection and selling 650,000 copies in the United States by 1942.[17]However, it was subsequently banned inNazi Germanyin 1936 as \"political allegory on the treatment of Jews in Europe.\"[16]Many copies of the novel were burned, making original first editions rare and difficult to find.[18][not in citation given]\"The reader is made to feel deeply and thrillingly the terror and anguish of the hunted, the deceit and cruelty of the savage, the patience and devotion of the mother to her young, the fury of rivals in love, the grace and loneliness of the great princes of the forest. In word pictures that are sometimes breath-taking the author draws the forest in all its moods--lashed into madness by storms, or white and silent under snow, or whispering and singing to itself at daybreak.—Louise Long,Dallas Morning News, October 30, 1938[19]When Felix Salten visited the United States as a member of a European delegation of journalists in May–July 1930, he was greeted warmly because ofBambiwherever the delegation went, as was testified by the Finnish member of the delegation, Urho Toivola.[20]In his own travel book, Salten did not boast about this; only when describing his visit to a “Negro college” of Atlanta, he mentions passingly that the children praised his books.[21]In hisforewordof the novel,John Galsworthycalled it a \"delicious book\" and a \"little masterpiece\" that shows a \"delicacy of perception and essential truth\". He notes that while reading thegalley proofof the novel while crossing theEnglish Channel, he, his wife, and his nephew read each page in turn over the course of three hours in \"silent absorption.\"[22]The New York Timesreviewer John Chamberlain praised Salten\'s \"tender, lucid style\" that \"takes you out of yourself\".[8]He felt that Salten captured the essence of each of the creatures as they talked, catching the \"rhythm of the different beings who people his forest world\" and showed particular \"comprehension\" in detailing the various stages of Bambi\'s life.[8]He also considered the English translation \"admirably\" done.[8]A reviewer forCatholic Worldpraised the approach of the subject, noting that it was \"marked by poetry and sympathy [with] charming reminders of German folklore and fairy tale\".[23]However, they disliked the \"transference of certain human ideals to the animal mind\" and the vague references to religiousallegory.[23]TheBoston Transcriptcalled it a \"sensitive allegory of life\".[24]TheSaturday Reviewconsidered it \"beautiful and graceful\" piece that showed a rare \"individuality\".[24]The TimesLiterary Supplementstated that the novel is a \"tale of exceptional charm, though untrustworthy of some of the facts of animal life.\"[24][25]Isabel Ely Lord, reviewing the novel for theAmerican Journal of Nursing, called the novel a \"delightful animal story\" and Salten a \"poet\" whose \"picture of the woods and its people is an unforgettable one.\"[26]In comparingBambito Salten\'s later workPerri—in which Bambi makes a briefcameo—Louise Long of theDallas Morning Newsconsidered both to be stories that \"quietly and completely [captivate] the heart\". Long felt the prose was \"poised and mobile and beautiful as poetry\" and praises Salten for his ability to give the animals seemingly human speech while not \"[violating] their essential natures.\"[19]Vicky Smith ofHorn Book Magazinefelt the novel was gory compared to the later Disney adaptation and called it a \"weeper\". While criticizing it as one of the most notable anti-hunting novels available, she concedes the novel is not easily forgettable and praises the \"linchpin scene\" where Bambi\'s mother dies, stating \"the understated conclusion of that scene, \'Bambi never saw his mother again,\' masterfully evokes an uncomplicated emotional response\".[27]She questions Galsworthy\'s recommendation of the novel tosportsmenin the foreword, wondering \"how many budding sportsmen might have had conversion experiences in the face of Salten\'s unrelieved harangue and how many might have instead become alienated.\"[27]In comparing the novel to the Disney film, Steve Chapple ofSports Afieldfelt that Salten viewed Bambi\'s forest as a \"pretty scary place\" and the novel as a whole had a \"lot of dark adult undertones.\"[28]Interpreting it as an allegory for Salten\'s own life, Chapple felt Salten \"[came] across [as] a little moroffer, a bleeding heart of a European intellectual.\"[28]TheWall Street Journal\'s James P. Sterba also considered it an \"antifascist allegory\" and sarcastically notes that \"you\'ll find it in the children\'s section at the library, a perfect place for this 293-page volume, packed as it is with blood-and-guts action, sexual conquest and betrayal\" and \"a forest full of cutthroats and miscreants. I count at least six murderers (including three child-killers) among Bambi\'s associates.\"[29]Impact[edit]Critics believeBambito be one of the Disney animated film[edit]Main article:BambiWithWorld War IIlooming, Max Schuster aided the Jewish Salten\'s flight fromNazi Germanyand helped introduce him, andBambi, toWalt Disney Productions.[4]Sidney Franklin, a producer and director atMetro-Goldwyn-Mayer, purchased the film rights in 1933, initially desiring to make a live-action adaptation of the work.[5]Deciding such a film would be too difficult to make, he sold the rights to Walt Disney in April 1937 in hopes of it being adapted into an animated film instead. Disney began working on the film immediately, intending it to be the company\'s second feature-length animated film and his first to be based on a specific, recent work.[31]The original novel, written for an adult audience, was considered too \"grim\" and \"somber\" for the young audience Disney was targeting, and with the work required to adapt the novel, Disney put production on hold while it worked on several other works.[31]In 1938, Disney assigned Perce Pearce and Carl Fallberg to develop the film\'s storyboards, but attention was soon drawn away as the studio began working onFantasia.[31]Finally, on 17 August 1939, production onBambibegan in earnest, although it progressed slowly due to changes in the studio personnel, location and the methodology of handling animation at the time. The writing was completed in July 1940, by which time the film\'s budget had swelled to $858,000.[32]Disney was later forced to slash 12 minutes from the film before final animation, to save costs on production.[32]Heavily modified from the original novel,Bambiwas released to theaters in the United States on 8 August 1942. Disney\'s version severely downplays the naturalistic and Environmental elements found in the novel, giving it a lighter, friendlier feeling.[2][4]The addition of two new characters,Thumper the Rabbitand Flower the Skunk, two sweet and gentle forest creatures, contributed to giving the film the desired friendlier and lighter feeling. Considered a classic, the film has been called \"the crowning achievement of Walt Disney\'s animation studio\" and was named as the third best film in the animation genre of theAFI\'s10 Top 10\"classic\" American film genres.[33]Russian live-action films[edit]In 1985, a Russian-language live-action adaptation,Russian:Детство Бемби(Detstvo Bembi, lit.Bambi\'s Childhood), was produced and released inVHSformat in theSoviet UnionbyGorky Film Studios.[34][35]It was directed byNatalya Bondarchuk, who also co-wrote the script withYuri Nagibin, and featured music byBoris Petrov. Natalya \'s son Ivan Burlyayev and her husbandNikolay Burlyaevstarred as the young and adolescent Bambi, respectively, while Faline (renamed Falina) was portrayed by Yekaterina Lychyova as a child andGalina Belyayevaas an adult. In this adaptation, the film starts using animals, changes to using human actors, then returns to using animals for the ending.[35]A sequel,Russian:Юность Бемби(Yunost Bembi), lit.Bambi\'s Youth, followed in 1986 with Nikolay and Galina reprising their voice roles as Bambi and Falina. Featuring over 100 species of live animals and filmed in various locations inCrimea,Mount Elbrus,LatviaandCzechoslovakia, the film follows new lovers Bambi and Felina as they go on a journey in search of a life-giving flower.[36]Both films were released toRegion 2DVD with Russian and English subtitle options by the Russian Cinema Council in 2000. The first film\'s DVD also included a French audio soundtrack, while the second contained French subtitles instead.[34][36]Ballet[edit]TheOregon Ballet TheatreadaptedBambiinto an evening-lengthballetentitledBambi: Lord of the Forest. It was slated to premiere in March 2000 as the main production for the company\'s 2000–2001 season.[37][38]A collaboration betweenartistic directorJames Canfield and composerThomas Lauderdale, the ballet\'s production was to be an interpretation of the novel rather than the Disney film.[37]In discussing the adaptation, Canfield stated that he was given a copy of the novel as a Christmas present and found it to be a \"classic story about coming of age and a life cycle.\"[37]He went on to note that the play was inspired solely by the novel and not the Disney film.[37]After the initial announcements, the pair began calling the workThe Collaboration, as Disney owns the licensing rights for the nameBambiand they did not wish to fight for usage rights.[37]The local press began calling the ballet alternative titles, includingNot-Bambiwhich Canfield noted to be his favorite, out of derision at Disney.[37][38]Its premiere was delayed for unexplained reasons, and it has yet to be DeVita, of theFirst Stage Children\'s Theater, created a stage adaptation of the novel.[39]The script was published by Anchorage Press Plays on 1 June 1997.[39][40]Crafted for young adults and teenagers and retaining the titleBambi—A Life in the Woods, it has been produced around the United States at various venues. The script calls for anopen-stagesetup, and utilizes at least nine actors: five male and four female, to cover the thirteen roles.[40]The American Alliance Theatre and Education awarded the work its \"Distinguished Play Award\" for an adaptation.[41][42]Book[edit]Schulman adaptation[edit]In 1999, the novel was adapted into an illustrated hardback children\'s book by Janet Schulman, illustrated by Steve Johnson and Lou Fancher, and published bySimon & Schusteras part of its \"Atheneum Books for Young Readers\" imprint. In the adaptation, Schulman attempted to retain some of the lyrical feel of the original novel. She notes that rather than rewrite the novel, she \"replicated Salten\'s language almost completely. I reread the novel a number of times and then I went through and highlighted the dialogue and poignant sentences Salten had written.\"[4]Doing so retained much of the novel\'s original lyrical feel, though the book\'s brevity did result in a sacrifice of some of the \"majesty and mystery\" found in the novel.[2]The illustrations were created to appear as realistic as possible, using painted images rather than sketches.[2][4]In 2002, the Schulman adaptation was released in audiobook format by Audio Bookshelf, with Frank Dolan as the reader.[30]See also[edit]Novels portal1920s portalBambi Awards, an international television and media prize, named for the novel\'s titular character and featuring fawn-shaped statuettesBambi effect, a phrase that refers to emotional objections to the killing of \"adorable\" animals, inspired by the Disney depiction of the death of Bambi\'s mother by human huntersFelix Salten(6 September 1869 – 8 October 1945) was anAustrianauthor andcriticin Vienna. His most famous work isBambi, a Life in the Woods(1923).Contents[hide]1 Life2 Selected works3 Selected filmography4 See also5 Further reading6 External linksLife[edit]Salten was bornSiegmund SalzmanninBudapest, Hungary. When he was four weeks old, his family relocated toVienna, Austria. Many Jews were immigrating into the city during the late 19th century because Vienna had granted fullcitizenshipto Jews in 1867.When his father became bankrupt, the sixteen-year-old Salten quit school and began working for an insurance agency. He also began submitting poems and book reviews to journals. He became part of the \"Young Vienna\" movement (Jung Wien) and soon received work as a full-time art and theater critic for Vienna\'s press (Wiener Allgemeine Zeitung,Zeit). In 1900 he published his first collection of short stories. In 1901 he initiated Vienna\'s first, short-lived literary cabaretJung-Wiener Theater Zum lieben Augustin.He was soon publishing, on an average, one book a year, of plays, short stories, novels, travel books, and essay collections. He also wrote for nearly all the major newspapers of Vienna. In 1906 Salten went to Ullstein as an editor in chief of theB.Z. am Mittagand theBerliner Morgenpost, but relocated to Vienna some months later. He wrote also film scripts and librettos for operettas. In 1927 he became president of the AustrianP.E.N.club as successor ofArthur Schnitzler.His most famous work isBambi(1923). It was translated into English in 1928 and became a Book-of-the-Month Club success. In 1933, he sold the film rights to the American directorSidney Franklinfor only $1,000, and Franklin later transferred the rights to theWalt Disneystudios, which formed the basis of the 1942 animated classic,Bambi.Life in Austria became perilous for a prominent Jew during the 1930s.Adolf Hitlerhad Salten\'s books banned in 1936. Two years later, afterGermany\'s annexation of Austria, Salten moved toZurich, Switzerland, where he lived until his death. Salten is buried atIsraelitischer Friedhof Unterer Friesenberg.Salten married actress Ottilie Metzl in 1902, and had two children: Paul (b. 1903) and Anna-Katharina (b. 1904). He composed another book based on the character Bambi, titledBambi\'s Children: The Story of a Forest Family(1939). His storiesPerriandThe Hound of Florenceinspired the Disney filmsPerri(1957) andThe Shaggy Dog(1959).Salten is now considered to be the anonymous author of a celebrated erotic novel,Josephine Mutzenbacher: The Life Story of a Viennese Whore, as Told by Herself(1906).Selected works[edit]Der Gemeine(1899)Josephine Mutzenbacher(1906), authorship assumed – in German:Josefine Mutzenbacher: Die Lebensgeschichte einer Wienerischen Dirne. Von ihr selbst erzählt(Vienna: Fritz Freund, 1906)Herr Wenzel auf Rehberg und sein Knecht Kaspar Dinckel(1907)Olga Frohgemuth(1910)Der Wurstelprater(1911)Das Burgtheater(1922)Der Hund von Florenz(1923); English translation by Huntley Paterson, illustrated byKurt Wiese,The Hound of Florence(Simon & Schuster, 1930),OCLC1826868Bambi: Eine Lebensgeschichte aus dem Walde(1923); transl.Whittaker Chambers, illus. Kurt Wiese,Bambi, a Life in the Woods(Simon & Schuster, 1928),OCLC69170544; re-illustrated byBarbara Cooney(S&S, 1970),OCLC824177272Neue Menschen auf alter Erde: Eine Palästinafahrt(1925)Martin Overbeck: Der Roman eines reichen jungen Mannes(1927)Fünfzehn Hasen: Schicksale in Wald und Feld(1929)Fünf Minuten Amerika(1931)Florian: Das Pferd des Kaisers(1933); transl. Erich Posselt and Michel Kraike,Florian, the Emperor\'s Stallion(Bobbs-Merrill, 1934),OCLC8990860Perri(1938); German,Die Jugend des Eichhörnchens PerriBambi\'s Children, English translation (Bobbs-Merrill, 1939); German original,Bambis Kinder, eine Familie im Walde(1940)A Forest World(1942)Djibi, the Little Cat, illus. Walter Linsenmaier (1945); transl.,Jibby the Cat(Messner, 1948)Selected filmography[edit]Modern Marriages(1924)Comedians(1925)Storm in a Water Glass(1931)Poor as a Church Shaggy Dog(1959)See also[edit]ExilliteraturFableBambi(Bambi #1)byFelix Salten4.09·Rating Details·27,394 Ratings·401ReviewsThe Prince of the ForestBambi\'s life in the woods begins happily. There are forest animals to play with -- Friend Hare, the chattery squirrel, the noisy screech owl, and Bambi\'s twin cousins, frail Gobo and beautiful Faline.But winter comes, and Bambi learns that the woods hold danger -- and things he doesn\'t understand. The first snowfall makes food hard to find. Bambi\'s father, a handsome stag, roams the forest, but leaves Bambi and his mother alone.Then there is Man. He comes to the forest with weapons that can wound an animal. He does terrible things to Gobo, to Bambi\'s mother, and even to Bambi. But He can\'t keep Bambi from growing into a handsome stag himself, and becoming...the Prince of the Forest.The Prince of the ForestBambi\'s life in the woods begins happily. There are forest animals to play with -- Friend Hare, the chattery squirrel, the noisy screech owl, and Bambi\'s twin cousins, frail Gobo and beautiful Faline.But winter comes, and Bambi learns that the woods hold danger -- and things he doesn\'t understand. The first snowfall makes food hard to find. Bambi\'s father, a handsome stag, roams the forest, but leaves Bambi and his mother alone.Then there is Man. He comes to the forest with weapons that can wound an animal. He does terrible things to Gobo, to Bambi\'s mother, and even to Bambi. But He can\'t keep Bambi from growing into a handsome stag himself, and becoming...the Prince of the Forest.Bambi’s Jewish RootsByPaul Reitter|Winter 20141 CommentE-mailPrintOn January 20, 1909, the Bar Kochba Association in Prague launched an ambitious program of “festive evenings.” The organizers hoped for an immediate impact, so they invited Martin Buber, whose cultural Zionism had been generating a great deal of excitement among Central European Jewish intellectuals.Buber’s emphasis on education and inner self-development, together with his call for the recovery of subterranean Jewish forces and sensibilities, and his promise that this would equip Western Jews to have a key part in a larger, cosmopolitan project of rebirth, all resonated powerfully with Bar Kochba’s leadership. Indeed, in addition to paying tribute to Buber again and again, they kept inviting him back. It was as their guest that Buber delivered the addresses in his celebrated volumeThree Speeches on Judaism. And it was enthusiasm like theirs that eventually led Gershom Scholem, who went through his own adolescent infatuation with Buber, to remark on the excesses of “Buberty.”Landing Buber was a coup, but Leo Hermann, the man in charge of setting up the festive evening, hadn’t done as well with his other invitations. Or so it must have seemed. Hermann wanted to pair Buber with someone who would broaden the appeal of the event. His first choice, the novelist Arthur Schnitzler, had turned him down. His second choice, the poet Richard Beer-Hofmann, did too. So Hermann went with Plan C—Felix Salten, who was a friend of both writers. Like Schnitzler and Beer-Hofmann, Salten had been a member of the Young Vienna circle of writers in the 1890s. Unlike them, however, he hadn’t produced any major works, let alone ones that engaged with Jewish themes, as, for example, Schnitzler’s great novelThe Road into the Open(Der Weg ins Freie) did. At the time, Salten was mostly known for his wide-ranging activities as a newspaper critic, as a cultivator of connections to the Habsburg family (the great satirist Karl Kraus once described him as a “court journalist”), and for being the author of the pornographic fictional memoirJosefine Mutzenbacher. Published anonymously but immediately attributed to Salten, the book relates, in vivid detail, the story of a prostitute who has “experienced everything a woman can experience in bed, on tables, chairs, and benches,” etc., and who claims to “regret none of it.”Hermann, of course, turned to Salten for other reasons. At 39, Salten was as fit—he was a devoted hiker and cyclist—and as lively as ever, and he could be a charismatic, even beguiling presence. Rilke, who wasn’t quick to praise, effused over the charm and energy of Salten’s conversation. After attending one of Salten’s lectures, Kafka noted that “the pleasure” of the female auditors had been palpable. Salten was, moreover, intriguing as a Zionist. Of the Young Vienna authors, he alone mobilized his pen in support of Theodor Herzl’s Zionist newspaperThe World(Die Welt): During its first year, Salten had a regular column. Inspired by Herzl’s message of self-acceptance (or really, of self-improvement through self-acceptance), Salten became an effective critic of the attempt to hide or disown one’s Jewish heritage. He was also concerned about the menace of anti-Semitism. Salten grew up poor and feeling unprotected, and in his column he addressed the vulnerability of Eastern European Jews living in destitution, as well as the anti-Jewish utterances of demagogues such as Karl Lueger and Georg von Schönerer.But, above all, it was culture that interested Salten. His most substantial, most searching essay forThe Worldunderlines the importance of the theater for Jewry’s self-awareness. His profile of Herzl, composed just after Herzl’s death in 1904, treats the project of political Zionism as the culmination of Herzl’s efforts as a playwright, rather than as a departure from them—as the “fifth act” that Herzl had plotted for the drama of his own life. Having consulted with Buber, Salten brought together his various interests and tendencies as a Zionist commentator in the speech he gave on January 20. The combination proved to be a winning one: Both the Zionists and the non-Zionists in attendance responded with clamorous approval. As the applause for Salten thundered on, Buber, who had worried that following him would be hard, was left wondering how, under such circumstances, he would manage to “connect with the public.” Reviews of the event suggest that Buber’s lecture didn’t, in fact, go over as well. As one participant wrote, “the evening was successful . . . mostly because Salten gave a brilliant performance.”The years before the First World Warmark the highpoint of Salten’s career as a Zionist speaker. He was invited back by Bar Kochba’s leaders, and when, in 1911, he made another appearance in the festive evening series, he shone just as brightly as he had the first time. But even after Zionist lecturing was mostly behind him, Salten continued to write as a Zionist. In 1924, for example, he travelled to Palestine and published a largely admiring book about what he saw there. This was soon after Salten had produced the work that would win him international fame:Bambi.Felix Salten in Vienna, ca. 1910. (Photo by Ferdinand Schmutzer.) First edition of Bambi: Eine Lebensgeschichte aus dem Walde, published by Berlin Im Verlag Ullstein, 1923. (Courtesy of Eric Chaim Kline Bookseller.)Bambifirst appeared in serialized form in Vienna’s stately paper of record, theNeue Freie Presse. The book version appeared in 1923, and by then the story had established itself as one that appealed to adults and children alike. The American edition was so hotly anticipated that the fledgling Book of the Month Club ordered 50,000 copies before it had even appeared. Translated into English by Whittaker Chambers, of all people, and published in the United States in 1928, the novel was both a critical and commercial success.One American reviewer deemed it to be as “profoundly pertinent to the modern experience asThe Magic Mountain,” and it impressed more than a few influential readers. Among these was the producer and director Sidney Franklin, who bought the film rights toBambiin 1933—for $1,000. His plan was to adapt the book to the screen as a live nature film, but he couldn’t figure out how to make it work. Eventually, he sold the rights to Walt Disney, who, with his visceral dislike of hunting, had been genuinely moved by Salten’s novel.Of course, that didn’t stop Disney from transforming the storyBambitells. Captiousness, melancholy, and a sentimental streak count among the prominent characteristics of Salten’s animals. The animals in the Disney film, which premiered in 1942, are altogether more frolicsome, brash, and affable. The plucky rabbit Thumper, for example, is Disney’s creation, not Salten’s. In the film, more than in the book, the forest, while no Eden, has an initial tranquility that is shattered by the cruelty of man. Indeed, some viewers regarded the film as registering the trauma of the attack on Pearl Harbor and the loss of America’s innocence. Salten, nevertheless, liked the film, though he always described it as “Disney’s Bambi.” What distressed him were the terms of his contract. In 1941, Salten, whose works had long been banned in Germany, complained, “I have been delivered over to Disney with my hands and feet fettered and a gag in my mouth.” Salten’s heirs would fare no better. In 1996, a senior district judge in California wrote that, “Bambi learned very early in life that the meadow . . . was full of potential dangers everywhere he turned. Unfortunately, Bambi’s creator, Mr. Salten, could not know of the equally dangerous conditions lurking in the world of copyright protection.”Hebrew poster advertising the movie Bambi, ca. 1960s.Despite the fact that Salten’sBambiappeared just before his book about Palestine, critics have hardly ever discussedBambiin the context of his Zionism. They have spent more energy tracking the affinities betweenBambiandJosefine Mutzenbacher(beginning with the mockers who ridiculed the sensual moments in the former book as the work of a “deer sodomite”). Which isn’t to suggest that critics have spent that much energy on Salten. He is a little like Max Brod: principally known now for the people he knew. Because of his role in important literary networks, as well as his enormous output, his name comes up a lot, but even his own literary friends—Schnitzler and Hugo von Hofmannsthal—had their doubts about the seriousness of his efforts.If the scholarly discussion of Salten’s works were larger, it is likely that we would have detailed interpretations of Salten’s animal stories as allegories of the Jewish experience. For they do lend themselves to such readings, even if Salten didn’t play as much or as artfully as Kafka did with the longstanding associations in German culture between Jews and certain animals (mice, monkeys). ConsiderThe Hound of Florence, another work by Salten that has had an afterlife in American popular culture: It was—and was formally credited as being—the inspiration for Disney’sThe Shaggy Dogfilm franchise. This semi-autobiographical novel tells the story of an artist who must spend every other day in aristocratic society as a dog. A central theme of the novel (and needless to say entirely lost in the Disney films) is the outsider as abject insider.Much more central in the animal stories, however, is the theme of persecution. It was Karl Kraus who first linked this to Salten’s Jewish background, though not in the way you might expect, especially given that Kraus was writing just after the Nazi Party had achieved mainstream success. Writing about aBambispin-off in 1930, Kraus claimed to detect the sound of Jewish dialect—or “jüdeln”—in the speech of Salten’s hares. Salten was a hunter (a humane one, he always insisted), and, as it happened, he had just published a piece about his love of hunting. Kraus joked that Salten’s hares had adopted a Yiddishy tone of voice in order to blend in with a special type of enemy—the Jewish hunter. The hares were “perhaps using mimicry as a defense against persecution.” When Salten died in 1945, an American critic found a more straightforward connection between the plight of some animal characters and that of the Jews. In his obituary for Salten, the critic, having noted Salten’s “Zionist sentiments,” maintained that the fox inBambinot only comes across as the rapacious “Hitler of the forest,” but also has a mentality of hatred and rage that bears similarities with Goebbels’ anti-Semitism.It was not until a decade ago, however, that an actual reading of the “Zionist overtones” inBambiwas proposed. In an essay published in 2003, Iris Bruce argues broadly that the novel evokes the “experience of exclusion and discrimination.” But she also pays close attention to its language. Salten’s suggestive phrase for butterflies is “wandering flowers,” andBamofferescribes them elsewhere as “beautiful losers” who have to keep moving, “because the best spots have already been taken.” Bruce stresses, as well, that the culture of the deer develops around the fact of their victimization: They tell their children tales that “are always full of horror and misery.”LikeningBambito Kafka’s talking-ape story “A Report to an Academy,” Bruce claims that Salten’s work, too, is a critique of assimilation. One of the deer uses the loaded verbverfolgento ask whether humans and deer might get along: “Will they ever stop persecuting us?” When another deer answers that “reconciliation” with humans will eventually come about, Old Nettla, a third deer with vastly more experience of the world, will have none of it. Indeed, her response foreshadows a line from Salten’s Zionist bookNeue Menschen auf alter Erde(loosely translated, new people on ancient ground),which expresses impatience with the enduring “dream of full integration.” Old Nettla seethes that humans, “have given us no peace and have murdered us for as long as we’ve existed.”Not many of the deer inBambipersist in believing that living harmoniously among humans is possible. Of the deer that do, two, Bruce points out, wind up being killed by hunters. One of those deer, Bambi’s cousin Gobo, spends time in captivity, and when he returns to the forest boasting of how well he was treated, Bambi is taken aback by how “strange and blind” Gobo has become. Furthermore, where Gobo is proud of the band that humans have placed around his neck (which should have made him off-limits to hunters), the wise “Royal Leader” (fürst) of the deer regards it as a sign of degradation and Gobo as “an unfortunate child.” That Gobo’s faith in humankind leads to his death reinforces the Royal Leader’s assessment. The label “Royal Leader,” on the other hand, reinforces the old deer’s status as a Herzl figure, since at the time Herzl was often given regal titles by Zionist writers. As Bruce puts it, “The old Prince of the Forest, then, can be said to represent Herzl.”That formulation may be a bit much. As we shall see, Salten’s Zionist background isn’t the only key to understanding whatBambiis really about, as Bruce herself allows. But, in the end, Bruce’s essay provides enough support to make its conclusion seem plausible: “Bambihas Zionist overtones because the critique of assimilation and the longing for a new Herzl figure are prominent themes.” We could, however, cite quite a bit of additional evidence to underpin this claim, especially the part about the critique of assimilation. For example, Bruce might have mentioned the memorable scene when one of the hunters’ dogs chases down the fox, which has been shot. Even the fox’s prey stick up for him, accusing the dog of a self-betrayal that can’t be compared to the fox’s natural cruelty. Also worth noting the scene when The Royal Leader, who turns out to be Bambi’s father, takes Bambi to see a slain poacher. As the two of them stand over the dead body, the Leader encourages Bambi to draw the lesson that he shouldn’t see himself as inferior to his oppressors.“If you want, it is no fairy tale.”Thus reads the epigraph that introducesOld-New Land(Altneuland), Herzl’s utopian novel of a Jews’ state. Salten might have used the line “it is no fairy tale, despite what you want” at the beginning ofBambi. Like a lot of other early Zionists, Salten wanted to see Jews settle in Palestine, but he couldn’t imagine leaving Europe himself. Part of the reason was the landscape. Salten regarded himself as a true lover of Austria’s forests who was well acquainted with, and could even find beauty in, their darker sides. WithBambi, Salten wanted to disabuse members of the then-popular “back to nature movement” of idealizations that evidently annoyed him. Most nature enthusiasts were, according to him, “familiar only with the lifeless forest, with the forest without animals.” These “friends of nature” were in truth “strangers to nature” and especially to its harshness.Bambisets the record straight by emphasizing the inevitability of violence and privation in its sylvan setting. Even without the hunters, the woods would be a dangerous, difficult place for most animals. Their homeland could never be a land of milk and honey. Yet precisely because of the omnipresence of danger inBambi, the importance of a safe space, a major theme in the Zionist literature of the period, is foregrounded everywhere. Indeed, the Royal Leader never seems more like a metaphor for a Zionist savior than when he leads Bambi to that rarest of things in the forest: a secure mini-territory where Bambi, whom hunters have injured, can at last rest and regenerate properly.Piling up examples like these has its merits, but it isn’t the only way to understandBambi. Salten’s Zionism consisted of more than a broad critique of assimilationism and his veneration of Herzl. Salten had other Zionist concerns, too, and taking them into account as we readBambihelps to make sense of some of the book’s more enigmatic and resonant moments. I am thinking, above all, of Bambi’s encounters with the elk. It turns out that Bambi’s father isn’t the only royalty in the forest. All the male deer enjoy the status of “princes” (prinzen). But the elk, Bambi’s towering “relatives,” are referred to as “kings.” Even more than his father does, these majestic animals intimidate Bambi. Around them he feels not simply small, but also diminished. Confronted with their looming regality, Bambi becomes ashamed of the diffidence and anxiety of his own community. Bambi’s response is to try to think of himself as their equal, and to attempt to connect with them. But he is too awed by the elk to reach either goal. He winds up seeing himself as “nothing” in comparison. And he is unable to bring himself to strike up a conversation with one of them, which further undermines his sense of self and which, from the perspective of the elk, is too bad. As Bambi chides himself, the elk casually wonders why deer and elk speak to each other so rarely. Bambi, for instance, appears to be such a “charming fellow.”This drawn-out communicative failure has its counterpart—and complement—in Bambi’s experience of the elk’s mating calls, which the novel presents as a kind of aesthetic experience, or rather, asthekind that Salten the cultural Zionist wanted to see. Like Buber and others, Salten thought that Western Jewry had fallen into an unfortunate cycle. Deracination had made real creativity hard to come by, and real creativity in the aesthetic sphere was both a primary end itself and the way to greater self-consciousness and spiritual renewal. Where Buber believed that Western Jews could find crucial knowledge and inspiration in the mystical folk culture of Eastern Jewry, Salten envisioned a progression that would take Jews from the “tear-filled” Zionist dramas of the present to liberating artistic expressions of “Ur-power” rooted in the “consciousness” of the “free person,” and to “mother sounds” as primordial as those “in the books of Job and Solomon.” In the meantime, though, Salten thought that you could find a taste of the elemental in Jewish culture in the “raging” work of Heinrich Eisenbach, an actor whose physical comedy included a popular imitation of ape movements.Suggestively enough, Salten employed the key terms from his cultural Zionist writings to evoke the sounds with which the elk, those undaunted kings of the forest, call for renewal. As Bambi listens to the “elemental tones” of “a noble, unsettled blood, raging with Ur-power in its longing, anger, and pride,” he is transfixed. Regular conversation with the elk may not work quite yet, but their song affects him profoundly. Bambi can think of nothing else until it stops, and it makes him afraid, in part, perhaps, because of the stirring it induces in the deepest part of his being. Yet as Bambi takes in his relatives’ expressions of Ur-power, he feels something else, too: “pride.” In the end,Bambimay be Austrian schmaltz—this no doubt facilitated its assimilation into American kitsch—but it is a book with complicated roots, which go back to and beyond Bar Kochba’s first festive evening.Want More?Register for FREEto unlock your choice of 3 articles andreceive the monthlyJRBe-newsletterorSubscribe nowfor immediate unlimited access(Web + Print + App + Archive)About the AuthorPaul Reitter teaches in the German department at Ohio State. He is the author ofOn the Origins of Jewish Self-Hatred(Princeton University Press) and recently collaborated with Jonathan Franzen onThe Kraus Project: Essays by Karl Kraus(Farrar, Straus and Giroux).Commentsgwhepneron December 13, 2013 at 2:32 pmBAMBI AND THE JEWISH QUESTIONFelix Salten’s animals in Felix Salten’s Bambishow melancholy and a sentimental streak,In Disney’s movie, which is far more campy,the animals are far more frolicsome and chic.For Felix Salten’s readers who are keenerto follow characters that love to frolicunmelancholically there’s JosefinaMutzenbacher, a sex workaholic.In a way that’s very allegoricalhis focus is in Bambi on the Jews,for their impending plight an oraclestated with a sentimental ooze.The book has Zionist overtones, the deersad victims telling tales of horror totheir children, living in an atmospherelike Salten’s, where it’s hard to be a Jew,the butterflies , described as wandering flowerscompelled to move, best spots already taken.Only with the help of Zionistic powerscould they find new ones, and not feel forsaken. ...Nahum Gutman(1898–November 28, 1980) was a was born inTeleneşti,Bessarabia, then part of theRussian Empire. He was the fourth child of Alter and Rivka Gutman. His father was a Hebrew writer and educator who wrote under the pen nameS. Ben Zion.In 1903, the family moved toOdessa, and two years later, to Palestine.Gutman helped pioneer a distinctively Israeli style, moving away from the European influences of his teachers. He worked in many different media:oils,watercolours,gouacheandpen and ink. His sculptures and brightly colored mosaics can be seen in public places around Tel Aviv. Indoor murals depicting the history ofTel Avivcan be seen in the western wing of the Shalom Tower and the Chief Rabbinate building. A mosaic fountain with scenes from Jewish history stands at the corner ofBialikStreet, opposite the old Tel Aviv municipality building.Gutman\'s artistic style was eclectic, ranging from figurative to abstract. Gutman was also a well-known writer and illustrator of children\'s books. In 1978, he received theIsrael Prizefor his contribution toHebrewchildren\'s literature.The Nahum Gutman Museum, showcasing the artist\'s work, was established in theNeve Tzedekneighborhood in Tel Aviv.[2]AwardsGutman received many art and literary prizes:[3]1946 Lamdan Prize for Children\'s literature1955 Sicily Award for watercolor painting at the São Paulo Biennale1956 Dizengoff Prize1962 Hans Christian Andersen Literary Prize on behalf of Unesco for his book \"Path of Orange Peels\"1964 Yatziv Prize1969 Fichman Prize for Literature and Art1974 Honorary Doctor of Philosophy from the Tel Aviv University1976 Honorary Citizen of Tel Aviv1978 Israel Prize for Children\'s literature *********** 5.10.1898 – Nahum Gutman was born in the village Teleneshty, Bessarabia, then under Russian control. He was the fourth son to his parents, Alter and Rivka Gutman, with a sister and two brothers who were older than him and one younger brother. His mother was a housewife and his father a Hebrew writer and educator, who published stories under the pen name S. Ben Zion.1903 – When he was five years old, Nahum Gutman moved with his family to the city Odessa, where his father was called to teach in the \"Cheder Ha\'metukan\" – a school in which the teaching language was Hebrew. The poet Chaim Nachman Bialik used to visit the school and play with the children. He especially loved the teacher\'s son, Nahum. He recognized his painting talent and was like a second father to him.1905 – The family immigrated to Eretz Israel. The father worked as a teacher in the girls\' school in Neve Tsedek. At first the family lived in the school house and Nahum and his brothers studied there. Later, the family moved to Bustanai Street in Neve Tsedek. Nahum began studying in the \"Ezra\" school.1910 – In Tu\' Beshvat (15 in the month of Shvat), 1910, Nahum Gutman\'s mother died. His grandmother from his father\'s side, Mintze, came to the country to take care of the five children. The Gutman family moved to 3 Herzel Street, near the Herzelia Gymnasium (Gymnasia Herzelia) building, in the new neighborhood that was being built in the sands: \"Ahuzat Bayit\", later to become the city of Tel Aviv. Nahum, who loved drawing since he was a child, began studying drawing with the painter Ira Jan.1913 – When Nahum Gutman turned 15, he quit his studies in Gymnasia Herzelia high school and came to Jerusalem to study in the Bezalel School of Arts and Crafts. Among his teachers were Boris Schatz and Abel Pan.1916 – During World War I, studies in Bezalel stopped and Nahum went, along with his friends, to work in the wine press and orange orchards in Petach Tikva, Rehovot and Rishon Le\'zion. Later he recaptured his memories from those days in his book \"The Summer Holiday or: The Crates\' Mystery\" (\"Hachofesh Hagadol O: Ta\'alumat Ha\'argazim\".1917 – Near the end of WWI, the Turks, then ruling the country, deported the Jewish inhabitants of Tel Aviv to settlements in the Galilee and the Sharon. The city remained closed and deserted. Nahum too left the city, but later returned to it as a watchman. His memories of the period were written and illustrated in his book \"Path of the Orange Peels\".1918 – When the war ended, the English took over the land and the British mandate period began. Nahum Gutman volunteered to the \"Hebrew Legion\" and served as guard over Turkish war prisoners in a prisoners\' camp in Egypt. The prisoner soldiers and camp existence and atmosphere were captured in a series of his drawings.1920 – Released from the British Army, Nahum went to Europe to continue his art studies. He studied in Vienna, Paris and Berlin, where he learned printing and engraving techniques and perfected his drawing skills. In Berlin he met the group of Hebrew writers, friends of his fathers\', and began illustrating their books. His first illustrations were done for his father, S. Ben-Zion\'s books, and for children\'s poems by Bialik and Tchernichovsky.1926 – Nahum Gutman returned to Eretz Israel (Land of Israel) and became part of a group of artists who focused on painting landscapes. They created \"The Eretz-Israeli Style\". As a major artist is that group, Gutman participated in all the important exhibitions in the country.1928 – Nahum Gutman married Dora Yaffe, mother of his only son, Menachem (Hemi).1929 – Nahum Gutman designed the stage settings and costumes for the play \"Crown of David\" by the Ohel Theater. In 1932 he designed costumes and settings for the play \"Shabtai Tzvi\".1931 – Gutman accepts the position of a regular illustrator for the children\'s newspaper \"Davar Le\'yeladim\". The paper began as a children\'s supplement of the workers\' paper \"Davar\", and later became the children\'s weekly magazine, where Gutman was a member of the editorial staff and house illustrator, for 35 years. He drew thousands of illustrations for stories, poems and various articles and also wrote stories and articles of his own.1933-34 – Nahum Gutman painted the floats and settings for the famous Tel Aviv Purim parade, \"Adloyada\". People from all over the country came to see the Purim happenings in Tel Aviv.1934-35 – Nahum Gutman was sent to South Africa, by the Foreign Office, to paint the portrait of General Smuts. From his sojourn in the African continent, he sent illustrated stories to \"Davar Le\'yeladim\", which developed into an adventure story in the African jungle. Out of these stories was born Nahum Gutman\'s first book, \"In the Land of Lobengulu King of Zulu\".1939 – The book \"In the Land of Lobengulu King of Zulu\" (Be\'eretz Lobengulu Melekh Zulu) was printed and published. Nahum Gutman become a children books\' writer in addition to being a painter and illustrator.1942 – His book \"Beatrice or: A Tale that Began with a donkey and Ended with a Ruthless Lion\" (Beatrice O Ma\'ase Shetchilato Chamor Ve\'sofo Ari Dores) is published. In the book, Nahum Gutman dealt with his feelings of loss and injustice, surrounding the death of his mother.1944 – His book \"Adventures of a True Blue Donkey\" (Harpatkaot Chamor Shekulo Tchelet) was published. Nahum Gutman was very fond of donkeys, with their simplicity and innocence and in this book the donkey becomes a literary hero, a tool with which the author criticizes society.1946 – Nahum Gutman received the Lamdan Award for Children\'s Literature.1948 – During the War of Independence Nahum Gutman served as a military painter. He drew fragments from the life of the Palmach members and portraits of the soldiers and their officers. In his book \"Two Stones that are One\"\' he told his memories and adventures as a military painter. Later, the book \"We Were Like That\" was published, with drawings of the soldiers.1956 – Nahum Gutman won the Dizengoff Award for Art.1959 – Jubilee for the city of Tel Aviv. For its 50th birthday, Gutman wrote the book \"A Little City and Few Men within It\" (Ir Ketana Va\'anashim Ba Me\'at), in which he collected stories of his memories of the birth of the city and her first inhabitants. He painted the painting \"Early Days\" for the jubilee exhibition, that took place at the Exhibition Grounds (Ganei HaTa\'arucha). The length of the painting was over 20 meters.1961 - Nahum Gutman created his first mosaic, for the Chief Rabbinate Building in Tel Aviv. In 1966 Gutman created a huge mosaic wall on the Shalom Tower building, telling the story of Tel Aviv. The mosaic was made in Verona, Italy, a city with a long tradition of mosaic work. In 1967 he created a mosaic wall on the new Gymnasia Herzelia building and in 1976 he created the mosaic on the fountain on Bialik Street, and on it pictures telling the stories of Tel Aviv.1962 – Nahum Gutman received the Hans Christian Andersen Honorary award for children\'s literature for his book \"Path of the Orange Peels\".1964 – Received the Yatziv Award for his contribution to Israeli illustration and his work in \"Davar Le\'yeladim\".1969 – Received the Fichman Prize for Literature and Art, for the whole of his literary work.1970 – Nahum Gutman began working with clay. His ceramic sculptures are always based on the hollow pitcher and he continues to work with the Eastern images which he loved, biblical heroes and figures from the first days of Tel Aviv.1978 – Nahum Gutman won the Israel Award for his contribution to children\'s literature.1980 – Nahum Gutman passed away in Tel Aviv on the 28th of November, 1980. He was 82 years old. A short time before his death, the writer and researcher Ehud Ben Ezer managed to write down Gutman\'s life story as told by him. Ben Ezer revised the story and published it under the name \"Sand Dunes and Blue sky\" (Bein Cholot Ve-Kchol Shamayim). ********* ******** Nachum Gutman was born inRomaniaand immigrated toIsraelin 1905, where he was able to make a name for himself as a unique and renowned writer, artist, and illustrator. He served in theJewish Legionduring the First World War, after which he decided to study at the Herzlia Gymnasium inTel Avivand atBezalelinJerusalem(1912). It was noted, however, that not only were his studies there brief, but he was amongst numerous other students who began to rebel against the old school manner of instruction. The result of his rebellious manner was the development of a unique style that combined his personal experience of building a new life in Israel, which contrasted with his adoption of the modernist trends coinciding with then European arts. It has been noted that such artists as Renoir, Picasso, Henri Rousseau, and Raoul Dufy often inspired his works. His sense of style was often portrayed in his exotic images of the Arab community and the Arab people, in which he depicted farm girls washing naked in the orange groves, depictions of shepards and shepherdesses, and a series done displaying Jaffa\'s brothels, capturing the instinctual and sensuous atmosphere of the Middle East. However, his later works were said to have taken on a lighter and more buoyant feel, then some of his earlier paintings. In 1926, he had the fortunate opportunity to participate in the famous Tower of David Exhibition. In addition, over time, he became known as prolific children\'s book author, and illustrator. His works were marked by pictorial narratives that portrayed their sentiments through the usage of an array of vibrant and poignantly chosen illustrations. His talent and hard work earned him the 1978 Israeli Prize for Children\'s Literature. His works earned him the title \"the artist of early Tel Aviv\" seeing as he had a knack for portraying the bohemian and realistic vision of the city and its people. His illustrative writings often drew inspiration from ancient Asian motifs, such as Assyrian reliefs and Egyptian wall paintings. Till this day some of his mosaic works are displayed in Bialik Square in Tel Aviv, which were installed in 1970, and tell the story ofTel Aviv, andJaffahistory and livelihood. In addition, after his death there was the creation of theNachum Gutman Museum, which is located in what is considered Tel Aviv\'s first Jewish neighborhood, Neve Tzedek. ******** The son of an author, Nachum Gutman was born in Bessarabia and moved to Eretz Yisrael as a child. He grew up in Yaffo, opposite the sand dunes later to become Tel Aviv, and these locales dominate his landscapes. He was one of the first children to live in the new city of Tel Aviv, and this influential childhood experience is recounted in his booksA Small City with Few PeopleandBetween Sands and Blue Skies. Gutman served in the Jewish Legion in World War I, and then went to Europe to continue his education in art that he had begun at Bezalel; he returned to Eretz Yisrael in 1926. Influenced by Henri Rousseau and Matisse, his paintings exhibit a sense of innocence and nostalgia for life in the early days of the Yishuv*. Gutman worked primarily in oils, gouaches, and water colors. His oil paintings are known for their large blocks of pure, unmixed color, and his water colors are clear, evoking a transparency akin to the innocence he wished to convey. Gutman is also famous for his illustration of Bialik poems and for mosaics he designed in Tel Aviv: in the Shalom Tower, the Chief Rabbinate Building, and the old City Plaza. Gutman began his work as a children\'s illustrator in the 1920\'s, and he continued to work in children\'s literature throughout his career. For thirty-two years he illustrated a children\'s weekly, and frequently included stories of his own. As an author he is simple and direct, displaying a cheerful, optimistic view of life. Gutman explained that he strove to excite in his young readers a curiosity about the world around them and to encourage them to use their imagination, particularly in order to see the hidden wonder in the commonplace. Gutman was one of the first authors to write for children in Hebrew, and for his contribution to children\'s literature, a field which he helped launch, he was awarded the Israel Prize in 1978.******** Zalman Shneour (1887 - 1959, b. Shklov, Belorussia) left for Odessa, the great literary and Zionist center of the time, when he was thirteen years old. In 1902, Shneour moved to Warsaw, where Hebrew projects were expanding, and on Bialik\'s recommendation, was hired by a large publishing house. At the same time he published his first poems. In 1904 Shneour moved to Vilnius where he found work on the editorial staff of a Hebrew daily. There, he published his first collection of poetry, his first novel and a collection of stories. Schneour\'s poems achieved great success and several editions were published. In 1907 Shneour moved to Paris, where he continued his literary work while studying Literature, Philosophy and Natural Sciences at the Sorbonne. From 1908 to 1913 he traveled throughout Europe and also visited North Africa. At the beginning of World War I Shneour was in Germany, where he was interned along with all Russian subjects in that country. During the war years he studied medicine at the University of Berlin and worked in a hospital. In 1923 Shneour settled in Paris, where he lived until Hitler\'s troops invaded France in 1940. He fled to Spain and from there to New York, where he lived from 1941 until his immigration to Israel in 1951. Between the wars Shneour wrote almost exclusively in Yiddish for the American Yiddish press and became one of the most widely read Yiddish authors. In the 1950s, he wrote for several Israeli newspapers, revised his Hebrew poetry and prose which were printed in various publications, and he adapted his storyPandrei the Herofor the stage, as performed by Habimah. He also engaged in collating the body of his works, and was planning new works when he died in New York.1950 Israel CHILDREN BOOK Hebrew \"BAMBI\" Bezalel NAHUM GUTMAN Jewish JUDAICA:
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