The seminar will be taught in English/

Limited availability/

Wednesdays from 18:00 to 20:30/

March 27 , April 10 , May 15 and 29 , June 5 and 19 /

From 18:00 to 20:30.

Shimon Adaf (Sderot, 1972) is one of the most prominent voices of contemporary Israeli literature. Winner of important prizes such as Sapir and Newman, he is also a professor of creative writing at Ben Gurion University and he is in Mexico as a visiting professor.

The course will explore six Israeli novels and their cinematic adaptations. Three of them by Amos Oz and three by writers who tackled similar questions about major narratives within Israeli culture. The cinematic adaptations use the basis of the novels often to struggle with closing issues, yet within a different artistic context altogether. The course is divided into three thematic units, each one containing two parts. The first one examines Oz’s work and the second one the work of his contemporaries. Each module is comprised of the screening of a cinematic adaptation, a lecture about the source novel and a conversation about the differences between the source material, its adaptation and its significance.




A Tale of Love and Darkness, Directed by Natalie Portman, 2015

Lecture & Conversation:
“A Tale of Love and Darkness” is defined by Oz as an “autobiographical novel”, that is, a work of literature based on true events, yet one that employs devices used in a novel, or a work of fiction. Why does Oz turn to this form and why does he do it at the turn of the millennium? How does he deal with his public persona in relation to his own perception of his childhood and coming of age and the manners they echo the history of the state of Israel?


Intimate Grammar, Directed by Nir Bergman, 2010

Lecture & Conversation:
Coming of age has a unique tradition in Hebrew literature. In a way, Hebrew literature, being a modern by definition, adopted the bildungsroman as its core genre. What does David Grosmman’s novel “The Book of Intimate Grammar” add to it? How does the novel expose the forces active in shaping the experience of childhood and growing up in Israel? What is the function of the adolescent gaze in the novel? What does the cinematic adaption of the adolescent point of view reveal?



Black Box, Directed by Yehud Levanon, 1992

Lecture & Conversation:
The novel “Black Box” created a controversy in Israel when published. The novel effort to illustrate the failure of the notion of Israeli society being a melting pot was met with a backlash and raised questions about the way minorities are represented in Hebrew literature and the ways ethnic diversity is being viewed. What is the history of this array of representations and how Oz’s work deals with it? How the tension between secularity and messianism, that accompanies Israeli society from its early formation, is being explored through that lens?


The Human Resources Manager, Directed by Eran Riklis, 2010

Lecture & Conversation:
What place does the non-Jewish population occupy in Israeli literature written by Jewish writers? How are non-Jews represented? “A Woman in Jerusalem” by A. B. Yehoshua turns away from the usual social realism mode of representations and tries to tackle the issue with a technique reserved in Israeli literature mainly for Jewish themes – symbolic and allegorical writing. To what end? Do the efforts pay off? How does the cinematic adaptation carry
Yehoshua’s political choice?



My Michel, Directed by Dan Wolman, 1974

Lecture & Conversation:

One of Oz earliest and most iconic work is narrated by Hannah Gonen, a young married woman. Why did Oz choose a female voice in which to explore the themes of love, marginality and fate? In what ways the work unique language and aesthetics could.


Love Life, Directed by Maria Schrader, 2007

Lecture & Conversation: During the second half of the 1990s a new generation of women writers emerged. “Love Life” by Zeruya Sahlev is a pivotal novel to understanding the new aesthetic and thematic changes brought by this generation. It is a work that presented the new set of values and modes of writing in the utmost acuteness and brilliance. But did these new set of values and modes of writing release the Israeli literature from its presuppositions or deepened them? Did they transform it from a local literature to a universal one? How does the film interpret and convey them?

3 payments of 1566 MXN each
20% for early bird registration (before March 10 ). Aplicable only
to full one-exhibit payment.