The article discusses Naomi Shemer's contribution to the linguistic transformation of the field of song in the state of Israel's early years. Placing Shemer's work within its immediate cultural context, the article distinguishes two periods in her work: the 1950s-early 1960s—in which she was at the forefront of the transition from classicized linguistic style to more contemporary-oriented language, and the 1960s on—in which her work took a conservative turn, and certain modes of expression she had initially eschewed were reintroduced into her lyrics. The innovative dimension that marked Shemer's early work is presented in the light of characteristics of pre-state period songs, changes undergone by the field of song with the transition to statehood, as well as the evolution of Shemer's own work throughout the years.


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pp. 157-179
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