ABSTRACT
The poetic career of Yehuda Amichai is clearly one of the longest and most productive in the history of modern Hebrew literature and has elicited a sizeable body of criticism, mostly favourable, at least until the early 1970s when some academic critics began to call attention to what they felt was repetitiousness in his poetics. The cautious presentation makes for difficult reading, but guarantees the production of an indispensible study of Amichai's poetics, at least as it is manifested in his early period. Nili Gold's dissertation, soon to be a book, aims to argue a point which deals with a crux in Amichai criticism: in opposition to much of her predecessors, Gold strives to redeem the significance of the poetry of the later Amichai. Gold builds her argument that the use of intertexts in the later Amichai is more subtle and focused than in the early Amichai.
