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・ Tabula Cortonensis
・ Tabula Hungariae
・ Tabula iliaca
・ Tabula in naufragio
・ Tabula Peutingeriana
・ Tabula Poetica
・ Tabula rasa
・ Tabula Rasa (Bloodbound album)
・ Tabula Rasa (Brymo album)
・ Tabula Rasa (Buffy the Vampire Slayer)
・ Tabula Rasa (disambiguation)
・ Tabula Rasa (Einstürzende Neubauten album)
・ Tabula Rasa (Finnish band)
・ Tabula Rasa (Heroes)
・ Tabula Rasa (Lost)
Tabula Rasa (novel)
・ Tabula Rasa (Pittsburgh band)
・ Tabula Rasa (Pärt)
・ Tabula Rasa (video game)
・ Tabula Rasā
・ Tabula recta
・ Tabula Rogeriana
・ Tabulae Anatomicae Sex
・ Tabulaephorus
・ Tabulaephorus afghanus
・ Tabulaephorus decipiens
・ Tabulaephorus djebeli
・ Tabulaephorus hissaricus
・ Tabulaephorus maracandicus
・ Tabulaephorus marptys


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Tabula Rasa (novel) : ウィキペディア英語版
Tabula Rasa (novel)

''Tabula Rasa'' () is a 2010 novel by Israeli author Nathan Shaham. Originally published in Hebrew, the book has not yet appeared in English translation.
Shaham, himself a long-time member of Kibbutz Beit Alfa, has said he wasn't interested in assigning blame for the failures of the kibbutz depicted in the novel, only trying to understand what happened and why.〔Vered Lee (9 December 2010), ("Five Questions to Nathan Shaham" (interview) ), ''Haaretz'' (Hebrew ) (retrieved 18 November 2012).〕
==Plot==
The novel charts the rise and fall of the fictional kibbutz Givat Abirim, set against the backdrop of its modern-day privatization and the introduction of differential wages. Its central character, Hanan Harari, is a painter and ideological communist in his seventies who has lived on the kibbutz since before the establishment of the state in 1948. Hanan's personal and professional vicissitudes, and in particular his increasing preference for abstract painting, become a metaphor for the disintegration of the collective vision of the kibbutz. Whereas his representational art once found enthusiastic acceptance and was prominently displayed in public places, Hanan comes under heavy criticism from the other members, including his wife, as his work becomes more abstract. But when the kibbutz is privatized, Hanan can no longer resist the market-driven pressures to create "sentimental landscapes that the gallery in Jaffa was so enthusiastic about and which he loathed."〔Quoted in Ketzia Alon (20 January 2011), ("The Kibbutz at 100 / Dead and dying" ), ''Haaretz'' (retrieved 18 November 2012).〕

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