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Israel in 1982: the War in Lebanon
Israel in 1982: The War in Lebanon by RALPH MANDEL LS ISRAEL MOVED INTO its 36th year in 1982—the nation cele- brated 35 years of independence during the brief hiatus between the with- drawal from Sinai and the incursion into Lebanon—the country was deeply divided. Rocked by dissension over issues that in the past were the hallmark of unity, wracked by intensifying ethnic and religious-secular rifts, and through it all bedazzled by a bullish stock market that was at one and the same time fuel for and seeming haven from triple-digit inflation, Israelis found themselves living increasingly in a land of extremes, where the middle ground was often inhospitable when it was not totally inaccessible. Toward the end of the year, Amos Oz, one of Israel's leading novelists, set out on a journey in search of the true Israel and the genuine Israeli point of view. What he heard in his travels, as published in a series of articles in the daily Davar, seemed to confirm what many had sensed: Israel was deeply, perhaps irreconcilably, riven by two political philosophies, two attitudes toward Jewish historical destiny, two visions. "What will become of us all, I do not know," Oz wrote in concluding his article on the develop- ment town of Beit Shemesh in the Judean Hills, where the sons of the "Oriental" immigrants, now grown and prosperous, spewed out their loath- ing for the old Ashkenazi establishment. "If anyone has a solution, let him please step forward and spell it out—and the sooner the better. -
Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION a Project Of
Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A project of edited by Rochelle G. Saidel and Karen Shulman Remember the Women Institute, a 501(c)(3) not-for-profit corporation founded in 1997 and based in New York City, conducts and encourages research and cultural activities that contribute to including women in history. Dr. Rochelle G. Saidel is the founder and executive director. Special emphasis is on women in the context of the Holocaust and its aftermath. Through research and related activities, including this project, the stories of women—from the point of view of women—are made available to be integrated into history and collective memory. This handbook is intended to provide readers with resources for using theatre to memorialize the experiences of women during the Holocaust. Women, Theater, and the Holocaust FOURTH RESOURCE HANDBOOK / EDITION A Project of Remember the Women Institute By Rochelle G. Saidel and Karen Shulman This resource handbook is dedicated to the women whose Holocaust-related stories are known and unknown, told and untold—to those who perished and those who survived. This edition is dedicated to the memory of Nava Semel. ©2019 Remember the Women Institute First digital edition: April 2015 Second digital edition: May 2016 Third digital edition: April 2017 Fourth digital edition: May 2019 Remember the Women Institute 11 Riverside Drive Suite 3RE New York,NY 10023 rememberwomen.org Cover design: Bonnie Greenfield Table of Contents Introduction to the Fourth Edition ............................................................................... 4 By Dr. Rochelle G. Saidel, Founder and Director, Remember the Women Institute 1. Annotated Bibliographies ....................................................................................... 15 1.1. -
Disseminating Jewish Literatures
Disseminating Jewish Literatures Disseminating Jewish Literatures Knowledge, Research, Curricula Edited by Susanne Zepp, Ruth Fine, Natasha Gordinsky, Kader Konuk, Claudia Olk and Galili Shahar ISBN 978-3-11-061899-0 e-ISBN (PDF) 978-3-11-061900-3 e-ISBN (EPUB) 978-3-11-061907-2 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2020908027 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2020 Susanne Zepp, Ruth Fine, Natasha Gordinsky, Kader Konuk, Claudia Olk and Galili Shahar published by Walter de Gruyter GmbH, Berlin/Boston Cover image: FinnBrandt / E+ / Getty Images Printing and binding: CPI books GmbH, Leck www.degruyter.com Introduction This volume is dedicated to the rich multilingualism and polyphonyofJewish literarywriting.Itoffers an interdisciplinary array of suggestions on issues of re- search and teachingrelated to further promotingthe integration of modern Jew- ish literary studies into the different philological disciplines. It collects the pro- ceedings of the Gentner Symposium fundedbythe Minerva Foundation, which was held at the Freie Universität Berlin from June 27 to 29,2018. During this three-daysymposium at the Max Planck Society’sHarnack House, more than fifty scholars from awide rangeofdisciplines in modern philologydiscussed the integration of Jewish literature into research and teaching. Among the partic- ipants werespecialists in American, Arabic, German, Hebrew,Hungarian, Ro- mance and LatinAmerican,Slavic, Turkish, and Yiddish literature as well as comparative literature. -
Introduction
Notes Introduction 1. The exact Hebrew name for this affair is the “Yemenite children Affair.” I use the word babies instead of children since at least two thirds of the kidnapped were in fact infants. 2. 1,053 complaints were submitted to all three commissions combined (1033 complaints of disappearances from camps and hospitals in Israel, and 20 from camp Hashed in Yemen). Rabbi Meshulam’s organization claimed to have information about 1,700 babies kidnapped prior to 1952 (450 of them from other Mizrahi ethnic groups) and about 4,500 babies kidnapped prior to 1956. These figures were neither discredited nor vali- dated by the last commission (Shoshi Zaid, The Child is Gone [Jerusalem: Geffen Books, 2001], 19–22). 3. During the immigrants’ stay in transit and absorption camps, the babies were taken to stone structures called baby houses. Mothers were allowed entry only a few times each day to nurse their babies. 4. See, for instance, the testimony of Naomi Gavra in Tzipi Talmor’s film Down a One Way Road (1997) and the testimony of Shoshana Farhi on the show Uvda (1996). 5. The transit camp Hashed in Yemen housed most of the immigrants before the flight to Israel. 6. This story is based on my interview with the Ovadiya family for a story I wrote for the newspaper Shishi in 1994 and a subsequent interview for the show Uvda in 1996. I should also note that this story as well as my aunt’s story does not represent the typical kidnapping scenario. 7. The Hebrew term “Sephardic” means “from Spain.” 8. -
The Bereaved Father and His Dead Son in the Works of A. B. Yehoshua
The Bereaved Father and His Dead Son in the Works of A. B. Yehoshua Adia Mendelson-Maoz Jewish Social Studies, Volume 17, Number 1, Fall 2010 (New Series), pp. 116-140 (Article) Published by Indiana University Press For additional information about this article http://muse.jhu.edu/journals/jss/summary/v017/17.1.mendelson-maoz.html Access provided by The Ohio State University (7 Jan 2014 18:42 GMT) The Bereaved Father and His Dead Son in the Works of A. B. Yehoshua Adia Mendelson-Maoz ABSTRACT In recent years, A. B. Yehoshua has been taken to task for tempering his criticism of Israeli politics and shifting closer to the political center. In this article, I shift the dis- cussion to a historical and poetic perspective through an interpretive evaluation of the bereaved father figure in Yehoshua’s oeuvre. His approach to the bereaved father has undergone a radical transformation. This is clearly seen in his latest works in which he has made the transition from a critical stance toward the bereaved father—one of the most potent images of Zionist ideology—to a more moderate position reflecting internalization and acceptance of bereavement. To investigate this development, I explore the use of the bereavement myth in several of Yehoshua’s works and offer a de- tailed comparison of his early novella Bi-techilat kayits 1970 (Early in the Summer of 1970; 1972) and his more recent work Esh yedidutit (Friendly Fire: A Duet; 2007). Key words: A. B. Yehoshua, Akedah, Hebrew literature n 1992, during a conference on A. B. -
Pressed Minority, in the Diaspora
FOOTNOTE A film by Joseph Cedar Academy Award Nominee Best Foreign Language Film (Israel) Winner, Best Screenplay 2011 Cannes Film Festival Winner, Best Picture, 2011 Ophir Awards National Board of Review One of the Top Five Foreign Language Films of the Year Film Independent Spirit Award Nominee Best Screenplay, Joseph Cedar 2011 Telluride Film Festival | 2011 Toronto International Film Festival 2011 New York Film Festival | 2011 AFI Fest www.footnotemovie.com 105 min | Rated PG | Language: Hebrew (with English subtitles) Release Date (NY): 03/09/2012 | (LA/Chicago/San Francisco/Washington, DC): 03/16/2012 East Coast Publicity West Coast Publicity Distributor Hook Publicity Block Korenbrot Sony Pictures Classics Jessica Uzzan Rebecca Fisher Carmelo Pirrone Mary Ann Hult Melody Korenbrot Lindsay Macik 419 Lafayette St, 2nd Fl 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10003 Los Angeles, CA 90036 New York, NY 10022 [email protected] 323-634-7001 tel 212-833-8833 tel [email protected] 323-634-7030 fax 212-833-8844 fax 646-867-3818 tel SYNOPSIS FOOTNOTE is the tale of a great rivalry between a father and son. Eliezer and Uriel Shkolnik are both eccentric professors, who have dedicated their lives to their work in Talmudic Studies. The father, Eliezer, is a stubborn purist who fears the establishment and has never been recognized for his work. Meanwhile his son, Uriel, is an up-and-coming star in the field, who appears to feed on accolades, endlessly seeking recognition. Then one day, the tables turn. When Eliezer learns that he is to be awarded the Israel Prize, the most valuable honor for scholarship in the country, his vanity and desperate need for validation are exposed. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School Department of Comparative Literature ARCHETYPES AND AVATARS: A CASE STUDY OF THE CULTURAL VARIABLES OF MODERN JUDAIC DISCOURSE THROUGH THE SELECTED LITERARY WORKS OF A. B. YEHOSHUA, CHAIM POTOK, AND CHOCHANA BOUKHOBZA A Dissertation in Comparative Literature by Nathan P. Devir © 2010 Nathan P. Devir Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2010 The dissertation of Nathan P. Devir was reviewed and approved* by the following: Thomas O. Beebee Distinguished Professor of Comparative Literature and German Dissertation Advisor Co-Chair of Committee Daniel Walden Professor Emeritus of American Studies, English, and Comparative Literature Co-Chair of Committee Baruch Halpern Chaiken Family Chair in Jewish Studies; Professor of Ancient History, Classics and Ancient Mediterranean Studies, and Religious Studies Kathryn Hume Edwin Erle Sparks Professor of English Gila Safran Naveh Professor of Judaic Studies and Comparative Literature, University of Cincinnati Special Member Caroline D. Eckhardt Head, Department of Comparative Literature; Director, School of Languages and Literatures *Signatures are on file in the Graduate School. iii ABSTRACT A defining characteristic of secular Jewish literatures since the Haskalah, or the movement toward “Jewish Enlightenment” that began around the end of the eighteenth century, is the reliance upon the archetypal aspects of the Judaic tradition, together with a propensity for intertextual pastiche and dialogue with the sacred texts. Indeed, from the revival of the Hebrew language at the end of the nineteenth century and all throughout the defining events of the last one hundred years, the trend of the textually sacrosanct appearing as a persistent motif in Judaic cultural production has only increased. -
Art and Culture in Contemporary Israel
Art and Culture in Contemporary Israel Class code CORE-UA 9764 Instructor Details Aviv Livnat Prerequisites None Class Description The location of Israel at the geographic junction between the West and the East, between the Arab world and the Western world, against the background of the long historical complexity of this piece of land provides the context for the course Expressive Culture: Art and Culture in Contemporary Israel" which will offer a panoramic view of expressive cultures in modern Israel. This course will provide an introduction to Israeli culture and art by examining thematic crossroads and ideas, via problems and social conflicts which lie at the heart of those art works and are reflected by them. Themes to be addressed will include: religion and secularism, universalism/globalism versus localism, Jews and Arabs, Ashkenazic and Sephardic cultures, multiculturalism in Israel, Zionism and Post-Zionism, right and left political world views, questions of gender, historical perspectives on war and peace and the Holocaust. The students will explore the way different forms of art – visual, literary, and performance – reflect and shape the understanding of the "Israeli mosaic" while learning about the way the artists and writers internalize, consciously and unconsciously the complex Israeli reality. Towards this end, the course will incorporate an exclusive audiography, image bank and collection of video materials and will include excursions to cultural institutions and events in Tel Aviv-Jaffa. Expressive culture is a way to embody, analyze and express culture through sensory experiences such as movements, sounds texts and images. The students will be invited to engage in processes, exposed to ideas and emotions, bound within the social production of aesthetic forms and performances in Israeli life and culture. -
The Politics of Normalization: Israel Studies in the Academy Dissertation Presented in Partial Fulfillment of the Requirements F
The Politics of Normalization: Israel Studies in the Academy Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Miriam Shenkar, M.A. Graduate Program in Education: Educational Policy and Leadership The Ohio State University 2010 Dissertation Committee: Robert F. Lawson, Advisor Matt Goldish Douglas Macbeth Copyright by Miriam Shenkar 2010 Abstract This study will examine the emergence of Israel studies at the university level. Historical precedents for departments of Hebrew language instruction, Jewish studies centers and area studies will be examined to determine where Israel studies chair holders are emerging. After defining Israel studies, a qualitative methodological approach will be used to evaluate the disciplinary focus of this emerging area. Curriculum available from and degree granting capabilities of various programs will be examined. In addition surveys taken of Israel studies scholars will provide their assessments of the development of the subject. Four case studies will highlight Israel studies as it is emerging in two public (land grant institutions) versus two private universities. An emphasis will be placed on why Israel studies might be located outside Middle Eastern studies. Questions regarding the placing of Israel studies within Jewish studies or Near Eastern Languages and Culture departments will be addressed. The placing of Israel studies chairs and centers involves questions of national and global identity. How these identities are conceptualized by scholars in the field, as well as how they are reflected in the space found for Israel studies scholars are the motivating factors for the case studies. -
Expressive Culture: Art and Culture in Contemporary Israel Fall 2017
Expressive Culture: Art and Culture in Contemporary Israel Fall 2017 Class code CORE-UA 9764 Instructor Aviv Livnat, PhD Details [email protected] 972-524717092 Class Details Expressive Culture: Art and Culture in Contemporary Israel [Day], [HH:MM to HH:MM] Location to be confirmed None Prerequisites The location of Israel at the geographic junction between the West and the East, between the Arab world Class Description and the Western world, against the background of the long historical complexity of this piece of land provides the context for the course Expressive Culture: Art and Culture in Contemporary Israel" which will offer a panoramic view of expressive cultures in modern Israel. This course will provide an introduction to Israeli culture and art by examining thematic crossroads and ideas, via problems and social conflicts which lie at the heart of those art works and are reflected by them. Themes to be addressed will include: religion and secularism, universalism/globalism versus localism, Jews and Arabs, Ashkenazic and Sephardic cultures, multiculturalism in Israel, Zionism and Post-Zionism, right and left political world views, questions of gender, historical perspectives on war and peace and the Holocaust. The students will explore the way different forms of art – visual, literary, and performance – reflect and shape the understanding of the "Israeli mosaic" while learning about the way the artists and writers internalize, consciously and unconsciously the complex Israeli reality. Towards this end, the course will incorporate an exclusive audiography, image bank and collection of video materials and will include excursions to cultural institutions and events in Tel Aviv-Jaffa. -
From Object to Performance in Israeli Art a Historiography Dror Harari
From Object to Performance in Israeli Art A Historiography Dror Harari My historiographic research into the emergence and development of performative art practices — environmental activities, actions, and performance art — in Israel in the 1960s– 1970s1 is founded on four premises: First, a performative turn took place in Israeli art dur- ing the 1960s, manifested in the dematerialization of the art object, a transition from object- oriented art to an art of process and action, and the erasure of the conventional division between the work of art and its creation. Second, this turn is an “emergent” cultural moment, to draw on Raymond Williams’s distinction (1977:121–27)2; that is, a moment of emergence that materialized in reaction to the dominant aesthetic convictions as well as to the specific sociopolitical conditions of the time. This cultural moment reflected both the exposure and responsiveness of (mostly) young Israeli artists to new trends in Western art in the 1960s and their need to respond to sociopolitical circumstances questioning Israeli national collectivist 1. This research was supported by The Israel Science Foundation (grant no. 555/14). 2. Williams explains: “By ‘emergent’ I mean, first, that new meanings and values, new practices, new relationships and kinds of relationship are continually being created” (1977:123). TDR: The Drama Review 62:4 (T240) Winter 2018. ©2018 New York University and the Massachusetts Institute of Technology 41 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00792 by guest on 01 October 2021 ideals. Indeed, it is not unreasonable to suggest that the transition from object to action- and performance-based practices (and ultimately to the artist’s self ) marks the 1970s as a distinct period in Israeli art. -
Palestine, Israel, and the Politics of Popular Culture
PALESTINE, ISRAEL, AND THE POLITICS OF POPULAR CULTURE Rebecca L. Stein and Ted Swedenburg, editors PALESTINE, ISRAEL, AND THE POLITICS OF POPULAR CULTURE Duke University Press Durham & London 2005 © 2005 Duke University Press All rights reserved Printed in the United States of America on acid-free paper Designed by Rebecca Giménez Typeset in Scala by Tseng Information Systems Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. CONTENTS Acknowledgments : vii Rebecca L. Stein and Ted Swedenburg Introduction: Popular Culture, Transnationality, and Radical History : 1 I HISTORICAL ARTICULATIONS Salim Tamari Wasif Jawhariyyeh, Popular Music, and Early Modernity in Jerusalem : 27 Mark LeVine The Palestinian Press in Mandatory Jaffa: Advertising, National- ism, and the Public Sphere : 51 Ilan Pappé Post-Zionism and Its Popular Cultures : 77 II CINEMAS AND CYBERSPACES Carol Bardenstein Cross/Cast: Passing in Israeli and Palestinian Cinema : 99 Laleh Khalili Virtual Nation: Palestinian Cyberculture in Lebanese Camps : 126 Livia Alexander Is There a Palestinian Cinema? The National and Transnational in Palestinian Film Production : 150 III THE POLITICS OF MUSIC Joseph Massad Liberating Songs: Palestine Put to Music : 175 Amy Horowitz Dueling Nativities: Zehava Ben Sings Umm Kulthum : 202 Ted Swedenburg Against Hybridity: The Case of Enrico Macias/Gaston Ghrenassia : 231 IV REGIONAL AND GLOBAL CIRCUITS Rebecca L. Stein ‘‘First Contact’’ and Other Israeli Fictions: Tourism, Globalization, and the Middle