מעבר לתדר: שירת העטלפים של עמליה כהנא-כרמון

In her series of essays from the 1980s, Amalia Kahana-Carmon criticized the way women writers have been excluded from or marginalized in the Hebrew literary canon. In her view, just like bats singing in flight, which cannot be heard by the human ear, the topics women chose to write about did not comply with the hegemonic literary traditions. Drawing inspiration from Kahana-Carmon's vocal metaphor, this article intends to examine the profound role of the voice – not only as a theme but also as a rhythmic component and sound figure – in her poetics of resistance. I employ both gender and reflections on musicality in critical theory (Nietzsche, Adorno, Kristeva, Spivak), and how they are expressed in "Veil") (1968) and "The Bridge of the Green Duck" (1984), two of Kahana-Carmon's prose texts that focus on women's struggle to free themselves from oppressive situations.