DOCSLIB.ORG

PROGRAM for the 6Th International Medieval Hebrew Poetry Colloquium

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PROGRAM for the 6Th International Medieval Hebrew Poetry Colloquium PROGRAM OF THE SIXTH MEDIEVAL HEBREW POETRY COLLOQUIUM (MHPC) 18-20 JULY 2011 STUDIERENDENHAUS SH 1/187 RUHR -UNIVERSITÄT BOCHUM Organized by Dr. Joachim Yeshaya (Ruhr-Universität Bochum) Under the Auspices of the European Association for Jewish Studies (EAJS) With the Support of Prof. Elisabeth Hollender (Ruhr-Universität Bochum) And Prof. Wout Jac. van Bekkum (Rijksuniversiteit Groningen) Contact: [email protected] MondaMonday,y, July 18 ththth , 2011 Tammuz 16 ththth , 5771 9:30-10:00: Registration at Studierendenhaus SH 1/187 + Welcome to the 6th MHPC 10:00-12:00: Session 1: Topics of Literary Research Joseph Yahalom, Literary Reactions to the Spanish Expulsion Aurora Salvatierra, The “aesthetic” of ugliness in the Middle Ages: Literary Hebrew representations in their context Peter Sh. Lehnardt, ‘Let us make man in our image’ Character and Characterization in Hebrew Liturgical Poetry 12:00-13:00: Lunch break 13:00-15:00: SSSessionSession 2: Hebrew Poetry and Rhymed Prose in Christian Spain and Provence Ayelet Oettinger, The Path of Religion: between Buddhism, Islam, Christianity and Judaism in The King's Son and the Ascetic by Ibn Ḥasdai Revital Refael-Vivante, The Book Mishle Shualim (Fox Fables) by Rabbi Berechiah Hanakdan: Andalusian Sources and Originality Nili Shalev, "There is a true friend who is closer than a brother": Reading in chapter "On Friends and Companions" of Sheqel HaQodesh by Joseph Qimhi in light of Michel de Montaigne's essay "On Friendship" 15:00-15:30: Coffee break 15:30-17:00: Opening Debate: The Centrality of the Spanish Contribution to HebreHebreww Poetry Participants: Tova Rosen Arie Schippers Joseph Yahalom 17:00-20:00: Trip to Kemnader Lake TuesdayTuesday,, July 119999ththth , 2011 Tammuz 17 ththth , 5771 9:00-10:30: Textual WorkshopWorkshop:: The Ascension of Moses in Piyyut and Midrash Ophir Münz-Manor 10:30-11:00: Coffee break 11:00-13:00: Session 3: Piyyut and Piyyut Commentary Michael Swartz, Creation and Cosmogony in Early Piyyut Michael Tzvi Novick, The Poetics of Law in Yannai Michael Rand, Hebrew Piyyut Commentary in the Genizah 13:00-16:00: Lunch break, time to relax; walk in Botanical Garden Ruhr-Universität Bochum 16:00-18:00: Session 44:: On the Occasion of 17 Tammuz and the Start of the Three Weeks Wout Jac. Van Bekkum, Themes and Motifs of Shabbat Shim’u: A Kaleidoscopic View Arie Schippers, Some remarks on Qinot and Maḥberot in medieval Hebrew literature and their relationship with Arabic and Romance literatures Elisabeth Hollender, On an Ashkenazic Qinah 18:00-18:30: Refreshment WednesdayWednesday,, July 202020 ththth , 2011 Tammuz 18 ththth , 5771 9:00-10u30: Session 5: Reading Hebrew Poetry from MMuslimuslim Spain Haviva Ishay, On Another Possibility of Reading Shmuel HaNagid’s After Proverbs Avi Shmidman, Intertextual Appropriations in the Redemption Requests of Yehudah ha-Levi 10:30-11:00: Coffee break 11:00-13:00: Session 66:: Rabbanite and Karaite Poetry in the Muslim East and Eastern EEuropeurope Joachim Yeshaya, “Relational Intertextuality” in the Liturgical Poetry of the Karaite Poet Moses ben Abraham Darʿī Riikka Tuori, Polish-Lithuanian Karaite Zemirot: Imitation only? Tova Beeri, Sheerit Yisrael by Yisrael Najara 13:00-14:30: Lunch break 14:30-16:00: Concluding Debate: Intertextuality of Medieval Hebrew Poetry Participants: Elisabeth Hollender Michael Tzvi Novick Avi Shmidman 16:00-16:30: Summary of the 6th MHPC + Planning of the 7th MHPC? AlAlAllAl l sessions will take place at the Studierendenhaus, room SH 1/187, of the Käte Hamburger Kolleg (KHK), RuhrRuhr----UniversitätUniversität Bochum, Germany. .
Load more

Recommended publications
  • The Secular Music of the Yemenite Jews As an Expression of Cultural Demarcation Between the Sexes
    JASO 27/2 (1996): 113-135 THE SECULAR MUSIC OF THE YEMENITE JEWS AS AN EXPRESSION OF CULTURAL DEMARCATION BETWEEN THE SEXES MARILYN HERMAN JEWISH men and women in Yemen are portrayed in the sociological and anthropo­ logical literature as having lived in separate conceptual and spatial worlds. As a result, two very separate bodies of song existed, one pertaining to men and the other to women. In this paper, I show how the culturally defined demarcation be­ tween the sexes is reflected and epitomized in the music of the Jews who lived in Yemen. i The key to this separation lies in the fact that women were banned from the synagogue altogether. This exclusion is not prescribed by Jewish law, and there is no precedent for it in the Bible or other Jewish literature or communities. The reason given for women being banned from the synagogue in Yemen was the fear that they might be menstruating. The condition of menstruation is, in Jewish law, This paper is based on my MA thesis (Herman 1985), which was written under the supervision and with the moral and academic support of Dr P. T. W. Baxter of Manchester University. My brother Geoffrey Herman willingly and painstakingly translated Hebrew articles into English for my benefit while I was writing this thesis. I. The period mainly referred to is the fifty years or so preceding 'Operation Magic Carpet', a series of airlifts between 1949 and 1950 in which the majority of Yemenite Jews were taken to Israel. 114 Marilyn Herman seen as ritually impure.
    [Show full text]
  • Podcast Transcript Cantor Louise Treitman
    Open My Heart: Living Jewish Prayer with Rabbi Jonathan Slater Cantor Louise Treitman. JONATHAN: Shalom. This is Rabbi Jonathan Slater, and welcome to “Open My Heart: Living Jewish Prayer”, a Prayer Project Podcast of the Institute for Jewish Spirituality. Together, we will investigate how personal prayer, in its many forms, is an important part of Jewish spirituality. Each Monday and Friday, we will offer a different practice, led by a different person, all praying from the heart. Today, we're blessed to have with us Cantor Louise Treitman, who is a student and a friend. Hey Louise. Really happy to have you here. Tell us a little bit about yourself. LOUISE: Thank you, Jonathan. It's so great to be with you today. I'm a cantor and I've served in the Boston area since the 1980s. I'm blessed to be Cantor Emerita of Temple Beth David in Westwood, Massachusetts, and I also – at Hebrew college in Newton, Massachusetts -- I teach rabbinical and cantorial and education students. It's a pluralistic seminary here. In recent years. I've been serving a World Union for Progressive Judaism congregation in Italy. First, I was in Florence and then most recently in Rome. This is for the High Holidays, and currently via Zoom for monthly Shabbatot. I've been involved with the Institute for Jewish Spirituality, IJS, almost since its beginning, and was thrilled to finally be in the first Clergy Cohort. I've led some of the regular Daily Meditations, and I've also been listening to these personal prayer practice podcasts since they started.
    [Show full text]
  • The Role of Hebrew Letters in Making the Divine Visible
    "VTSFDIUMJDIFO (SàOEFOTUFIU EJFTF"CCJMEVOH OJDIUJN0QFO "DDFTT[VS 7FSGàHVOH The Role of Hebrew Letters in Making the Divine Visible KATRIN KOGMAN-APPEL hen Jewish figural book art began to develop in central WEurope around the middle of the thirteenth century, the patrons and artists of Hebrew liturgical books easily opened up to the tastes, fashions, and conventions of Latin illu- minated manuscripts and other forms of Christian art. Jewish book designers dealt with the visual culture they encountered in the environment in which they lived with a complex process of transmis- sion, adaptation, and translation. Among the wealth of Christian visual themes, however, there was one that the Jews could not integrate into their religious culture: they were not prepared to create anthropomorphic representations of God. This stand does not imply that Jewish imagery never met the challenge involved in representing the Divine. Among the most lavish medieval Hebrew manu- scripts is a group of prayer books that contain the liturgical hymns that were commonly part of central European prayer rites. Many of these hymns address God by means of lavish golden initial words that refer to the Divine. These initials were integrated into the overall imagery of decorated initial panels, their frames, and entire page layouts in manifold ways to be analyzed in what follows. Jewish artists and patrons developed interesting strategies to cope with the need to avoid anthropomorphism and still to give way to visually powerful manifestations of the divine presence. Among the standard themes in medieval Ashkenazi illuminated Hebrew prayer books (mahzorim)1 we find images of Moses receiving the tablets of the Law on Mount Sinai (Exodus 31:18, 34), commemorated during the holiday of Shavuot, the Feast of Weeks (fig.
    [Show full text]
  • The Theme of Love in Yemenite Hebrew Literature*
    THE THEME OF LOVE IN YEMENITE HEBREW LITERATURE* By REUBEN AHRONI Ohio State University THE EROTIC IMPULSE is a vital and dynamic force in life, and the theme of love is ageless and universal. "A pretty girl, a cup of wine, a garden, the song of a bird, the murmur of a brook'' -proclaims Moshe lbn Ezra-' 'are the cure of the lover, the joy of the distressed ... the wealth of the poor, and the medicine of the sick. " 1 Thus Ibn Ezra advises: Cling to the breast of the beautiful by night And kiss the lips of the pretty by day.2 This prescription of Moshe lbn Ezra for a happy and joyful life is characteristic of many of the Medieval Spanish Hebrew poets. Despite their deep piety, these poets knew how to express in their writings the splendor of the fields and flowery meadows, and the enchantment of feminine beauty .3 Indeed, these writings offer us a glimpse into the hidden vistas of their lives: their joys and sorrows, their triumphs and frustrations. The greatness of poetry, says Mardell, is in its eroticism, for it is "most true then to life, which is largely erotic" (1976, p. 15). *All translations of Yemenite Hebrew poetry into English are my own. I would like to thank the Graduate School of the Ohio State University, the College of Humanities, and the Melton Center for Jewish Studies, for supporting my research on Yemenite Hebrew Literature. I. See Seper he'anaq (The Necklace. also known as The Tarshish), Part 3, verses 52-55.
    [Show full text]
  • Marc Shapiro: What Do Adon Olam and ס”ט
    Marc Shapiro: What Do Adon ?Mean ס”ט Olam and [Mean ? [1 ס”ט What Do Adon Olam and by ס”ט By Marc B. Shapiro 1. People often refer to me as a Modern Orthodox intellectual. There are actually quite a number of us out there. If you hear someone using words like “ontological,” “existential,” “mimetic,” and now, “tergiversation”[2] you can assume he in in our club. Also, another telltale sign is that when we give divrei Torah you will hear us refer to Philo, the Apocrypha, Pseudepigrapha (if we are confident that we can pronounce the word properly[3]), Shadal, or Cassutto.[4] Of course, we are careful to only say Midrash, and never Medrish, as the latter pronunciation is a sure sign of a Philistine. It is no secret that Modern Orthodox intellectuals like to look down on Artscroll, and to let others know about this. So we must find places where Artscroll makes mistakes. It is not enough to point to the vastly different historical conceptions between us and Artscroll; we need to find places where Artscroll simply got it wrong (for one such example see here). This will show that even if they are conquering the world, they shouldn’t think that they are so brilliant. I am not speaking about the Artscroll Talmud (which we use when no one is looking) or the Artscroll “History” series, which is not popular with the Modern Orthodox.[5] I am referring to the Artscroll siddur and chumash which have taken over the Orthodox world. (The Modern Orthodox intellectuals must have been so busy these last twenty years producing articles read by each other that it never occurred to them to produce their own siddur and chumash.)[6] But finding these errors is easier said than done.
    [Show full text]
  • Lullaby”: the Story of a Niggun1
    “Lullaby”: The Story of a Niggun1 MICHAEL BECKERMAN AND NAOMI TADMOR Introduction In the winter of 1943, a song was performed in the Terezín Ghetto. It was an art song with a Hebrew text, yet its melody had also featured as a folk song, a pop tune, and a wordless vocalization; later, it would become a religious hymn. This article seeks to uncover the story of this tune: how it emerged, how it acquired a text, how it got to Terezín, how it was treated there, and what meanings can be drawn from its manifestations. The piece in question is Gideon Klein’s “Lullaby.” Our inquiry started as we noted an anomaly, a disagreement between recordings. At a key point in the composition, we realized that two performers sing different pitches, which is not unusual in many song traditions, but is entirely atypical of a notated art song. Example 1a: Excerpt from Isabelle Ganz’s recording of Gideon Klein’s “Lullaby”2 Example 1b: Excerpt from Wolfgang Holzmair’s recording of Gideon Klein’s “Lullaby.”3 Listen at: http://dx.doi.org/10.3998/mp.9460447.0010.101 We wondered, how could this difference be explained? Was one version mistaken? If so, which one, and why did the mistake occur? Does it have any significance? While attempting to answer these questions, we found ourselves embarking on a scholarly pilgrimage, which took us from a shtetl-like community within a Russian imperial city, where the tune originated as a Hasidic niggun, to Anglo-Palestine in the 1930s and 40s, where it was transformed, and from there further to the European diaspora in the 1940s, to countries such as England and Poland, and then to Nazi Germany, where the version on which Klein’s song was based, was created; from there we crossed the Atlantic to New York, where a version of the original niggun was first notated, and then back to Terezín.
    [Show full text]
  • Kol Nidrei כל־נדרי and Evening וערבית Service ליום of Yom Kippur כיפור
    KOL NIDREI כל־נדרי AND EVENING וערבית SERVICE ליום OF YOM KIPPUR כיפור Preparatory Prayers 202 הקדמה לתפילה Kol Nidrei 205 כל נדרי EvEning SErvicE The Sh’ma and Its Blessings 207 שמע וברכותיה The Silent Amidah 213 תפילת העמידה בלחש S’lih.ot: Pleas for Forgiveness 223 סליחות Viddui: Prayers of Confession 234 וידוי Concluding Prayers 246 סיום התפילה 201 yom kippur · evening service Copyright © 2010 by The Rabbinical Assembly, Inc. All rights reserved. הקדמה לתפילה PREPARATORY PRAYERS Isaiah . ָׁשֹלום The Meaning Shalom: shalom to those who are far off, shalom to those who shalom This verse from the .57:19 ָׁשָלֹום ׁשלֹום ָ לָרחְֹוקוַלָּקָרֹוב אַמר יהוה. .of the Day are near, says ADONAI Haftarah for Yom Kippur One day a year we morning is used here to welcome everyone to the make a journey in the Meditation for Putting on the Kittel synagogue. The welcome will be developed further company of the whole when the liturgy declares that we are permitted community of Israel— Just as I clothe myself in this white garment, so may You purify tonight “to pray with those who have transgressed.” all of us together, each of us alone. That day is my soul and my body, as the prophet Isaiah said, Originally a . ִקֶיטל The Day,” the Day of “Even if your sins are like crimson, Kittel“ Yiddish term, the word kittel ְלִבַיׁשִת קֶיטל ”.Atonement, the day that they will turn snow-white refers to a white garment ְּכֵׁשֶם ׁשֲאִנִי מְתַלֵּבִׁש/מְתַלֶּֽבֶׁשְת ּבֶֽבֶגָד לָבֵן, ּכַן ּתְלִּבין is deathlike. It is the day we wear the kittel, the K’shem she-ani mitlabbeish/mitlabbeshet b’veged lavan, kein talbin traditionally worn on Yom Kippur as well as at sacred ֶאִת־נְׁשָמִתְי וגּו ָפִתַי, ּכָּכִתּוב: אִם־יְהֲיּו חָטֵאיֶכם white gown that will one et nishmati v’gufati, ka-katuv: im yihyu h.
    [Show full text]
  • Reading Throughout the World
    Prayer Rise Up The Ladder of Song Joey Weisenberg Musician, composer, and teacher Joey Weisenberg is the founder and co-director of Hadar’s Rising Song Institute. He is the author of The Torah of Music (2017 winner of the National Jewish Book Award) and Building Singing Communities. He has released seven albums with the Hadar Ensemble, most recently Nigunim Vol. VII: Songs of Ascent (2019). When we sing a nigun (a spiritual melody), we climb a ladder to the heavens. This was most dramatically stated by the Piazetsner Rebbe in the Warsaw Ghetto shortly before it was destroyed: האדם צריך לעשות סֻלמות לעלות על ידיהם לפעמים השמימה, הנגון הוא אחד מהסֻלמות, ובפרט כשמרננים אחר שמחה של מצוה, ובלב נשבר. Sometimes, a person must build ladders to climb to the heavens. A nigun is one of these ladders, specifically when we sing after the joy of a mitzvah or with a heart broken open.1 These words reflect several millennia of Jewish musical imagination. We know that Jacob once put his head down on a rock and slept. What did he dream about? He dreamt of a sulam, a ladder, that was rooted in the earth and reached all the way into the heavens. And he dreamt of angels going up and down the rungs of the ladder. Olim v’yordim, olim v’yordim. Up and down, up and down. Thenigun takes us up that ladder. The angels themselves are musical notes climbing the sulam. (In Hebrew a sulam is both a ladder and a musical scale.) They climb up and down, making melodies, and the melodies connect the heavens and the earth.
    [Show full text]
  • Jewish Community and Identity in the Early Modern Period
    EMW - Workshops EWM 2009 EARLY MODERN WORKSHOP: Jewish History Resources Volume 6: Reading across Cultures: The Jewish Book and Its Readers in the Early Modern Period, 2009, The Radcliffe Institute for Advanced Studies at Harvard University, Cambridge, MA Table of Contents Technology, Preservation, and Freedom of Expression · Bernard Cooperman, University of Maryland, USA A ruling against rabbis who have sought to delay the printing of the Zohar Responsa of Rabbenu Nissim of Gerona The "imprimatur" by Isaac de Lattes A publisher in service of his readers: prefaces to Amsterdam 1711 edition of the Tsene Rene · Shlomo Berger, University of Amsterdam, The Netherlands Tsene Rene Shlomo Lutzker's Introduction to Magid Devarav Le-Ya'akov · Moshe Rosman, Bar-Ilan University, Israel Shlomo Lutzker's Introduction to Magid Devarav Le-Ya'akov: Likutei Amarim Leon Modena's Ari Nohem Between Print and Manuscript · Yaacob Dweck, Princeton University, USA The Roaring Lion The Paratexts of Judah Marcaria: Addressing the (Imagined) Reader in Mid-Sixteenth-Century Italy · Adam Shear, University of Pittsburgh, USA Abraham Klausner, Minhagim Levi ben Gershon (Gersonides) The Book of Rabbi Mordecai 1 EMW - Workshops EWM 2009 Putting Hebrew Books in Order · Avriel Bar-Levav, The Open University of Israel, Israel The lips of those who are asleep Jews under Surveillance: Censorship and Reading in Early Modern Italy · Federica Francesconi, University of California-Los Angeles, US 1. Rules for the expurgation of the Hebrew Books 2. Report regarding Hebrew Books
    [Show full text]
  • The Mount Sinai Kesher Services
    בס“ד Special Feature: Piyyut from Greek ποιητής poiétḗs "poet") is ּפּיּוטִים / ּפּיּוטִ ) ,(A piyyut (plural piyyutim a Jewish liturgical poem, usually designated to be sung, chanted, or recited during religious The Mount Sinai Kesher services. Piyyutim have been written since Temple times. Most are in Hebrew or Aramaic, and follow some poetic scheme, such as an acrostic of the Hebrew alphabet or spelling out the name August 10-11, 2012 ● 23 Av 5772 ● Parashat Ekev ● Shabbat Mevarchim of the author. Many piyyutim are familiar to regular attendees of synagogue services. For example, the best- ***************************************************************************************** known piyyut may be Adon Olam ("Master of the World"), sometimes (but almost certainly Shabbat Schedule Sponsorships wrongly) attributed to Solomon ibn Gabirol in 11th century Spain. Its poetic form consists of a repeated rhythmic pattern of short-long-long-long, and it is so beloved that it is often sung at the Early Mincha/Kabbalat Shabbat 6:20 p.m. The ERUV is sponsored by: conclusion of many synagogue services, after the ritual nightly saying of the Shema, and during Earliest Candle Lighting 6:33 p.m. Miriam Kahn and Adam Steiner in honor the morning ritual of putting on tefillin. Another well-beloved piyyut is Yigdal ("May God be Candle Lighting 7:42 p.m. of their upcoming wedding and in gratitude Hallowed"), which is based upon the Thirteen Principles of Faith developed by Maimonides. Mincha/Kabbalat Shabbat 7:47 p.m. for their combined 12 years in the Heights. The author of a piyyut is known as a paytan or payyetan (plural paytanim).
    [Show full text]
  • Jewish Music
    Jewish Music A Concise Study by Mehmet Okonşar [the appendices, containing copyrighted material are removed in this copy] Released by the author under the terms of the GNU General Public Licence Contents Introduction: What Is Jewish Music? 1 How Many Jewish Musics? 4 The Three Main Streams . 4 Ashkenazi and the Klezmer . 4 Sephardi.............................. 5 Mizrahi . 6 Sephardi or Mizrahi? . 6 Genres of Liturgical Music 8 Music in Jewish Liturgy . 8 Genres, Instruments and Performers . 9 Generalities . 9 Bible Cantillation . 9 The Cantor . 12 Prayer-Chant . 12 Piyyutim .............................. 13 Zemirot .............................. 13 Nigunim .............................. 13 Biblical Instrumentarium . 15 Usage of Musical Terms in Hebrew . 19 The Biblical soggetto cavato ...................... 20 Summary of the Archaeological Aspects of Jewish Music . 21 Some Jewish Composers 22 Salomone Rossi (1570-1630) . 22 Felix Mendelssohn (1809-1847) . 25 Fromental Hal´evy (1799-1862) . 29 Giacomo Meyerbeer (1791-1864) . 32 Ernest Bloch (1880-1959) . 35 Georges Gershwin (1898-1937) . 38 ii Arnold Schoenberg (1874-1951) . 39 Conclusion on Jewish Composers . 43 Jewish Music by non-Jewish Composers 45 Max Bruch and Kol Nidrei ....................... 45 Kol Nidrei . 45 Maurice Ravel (1875-1937) and Kaddish-Deux M´elodies H´ebra¨ıques 50 Sergei Prokofieff and Overture sur des Th`emesJuifs . 54 Dmitri Shostakovich (1906-1975) and Babi Yar . 55 In The Twenty-first Century 60 Diversification . 60 Appendices 62 Radical Jewish Culture by John Zorn . 62 Russian Society for Jewish Music . 64 Jewish Music Research Centre . 66 Wagner and the “Jewness” in Music . 67 The original article of 1850 . 67 Reception of the 1850 article . 69 1850-1869 . 69 The 1869 version and after .
    [Show full text]
  • Livorno: a Crossroads in the History of Sephardic Religious Music Prof
    Page 1 of 12 Livorno: A Crossroads in the History of Sephardic Religious Music Prof. Edwin Seroussi This article appeared in the Spring 2003 issue of Notes from Zamir. From "The Mediterranean and the Jews: Society, Culture and Economy in Early Modern Times", edited by Elliott Horowitz and Moises Orfali I. INTRODUCTION The geographical location of Italy at the focal point of the Mediterranean cultures is reflected in the music traditions of its Jewish communities. Throughout the centuries, several musical traditions developed among Italian Jews: the "Italiano" rite (centered in Rome), the "Tedesco" (German, i.e. Ashkenazic) tradition in the North and, from the early 16th century, several Sephardic traditions of different geographical origin (Greece, Turkey, North Africa and, later on, Western Europe) *1 The vitality of these distinctive traditions declined steadily from the late 19th century, and even more sharply after World War II. The influence of Italian art music, particularly noticeable from the 19th century on, was also a significant factor in the shaping of their present state. Surviving synagogue music from Italy thus shows traces of the interaction between different traditions. *2 Detailed studies of selected traditions should, therefore, precede any comprehensive study of ltalian synagogue music. *3 I shall focus here on the synagogue music from Livorno (Leghorn) from the 18th century onwards. I would like to stress in particular the role played by this community as a cultural crossroads, that is, as a location where the carriers of different Sephardic traditions from the Eastern and Western Mediterranean encountered and enriched each other. In the 18th century the community of Livorno inherited the leadership of the Sephardic Jews in Italy from the community of Venice, as Bonfil (1992) has already stressed.
    [Show full text]