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J Street Sides with Israel's Enemies & Works to Destroy Support for Israel
ZIONIST ORGANIZATION OF AMERICA J Street Sides With Israel’s Enemies & Works to Destroy Support for Israel Special Report Including Executive Summary by The Zionist Organization of America by Morton A. Klein, Elizabeth Berney, Esq., and Daniel Mandel, PhD “J Street is one of the most virulent anti-Israel organizations in the history of Zionism and Judaism.” - Prof. Alan Dershowitz, Harvard Law School Copyright 2018, Zionist Organization of America CONTENTS Table of Contents . i Executive Summary . ES-00 - ES-13 Full Report . 1 Introduction . 1 I. J Street’s Anti-Israel, Foreign & Muslim Donors, and Its Lies About Them. 1 (1) For years, J Street Falsely Denied that Anti-Zionist Billionaire George Soros Was A Major J Street Funder . 1 (2) J Street’s Arab, Muslim and Foreign Donors . 4 II. J Street’s Interconnected Web Of Extremist Anti-Israel Organizations . 9 (1) J Street Is Part of a Soros-Funded Web of Anti-Israel Organizations . 9 (2) J Street Is Also Part of an Interconnected Web of Extremist Organizations Working to Delegitimize Israel, Founded by and/or Coordinated by J Street President Ben-Ami’s Consulting Firm . 11 III. J Street Persistently Even Opposes Israel’s Existence, Persistently Defames and Condemns Israel, And Has Even Encouraged Anti-Israel Violence. 12 (1) J Street Persistently Maligns and Blames Israel . 12 (2) J Street Speakers Have Called for the End of the Jewish State; and a J Street Official Letter to Congress Supported Those Calling for an End to Israel’s Existence . 15 (3) J Street’s Co-Founder Condemned Israel’s Creation As “Wrong” – A Repeated J Street Theme . -
FROM BLOOD LIBEL to Boycott
FROM BLOOD LIBEL TO BOYCOTT CHANGING FACES OF BRITISH ANTISEMITISM Robert Wistrich he self-congratulatory and somewhat sanitized story of Anglo-Jewry since the mid- T 17th century “return” of the Jews to Britain traditionally depicted this history as a triumphal passage from servitude to freedom or from darkness to light. Great Britain— mother of parliaments, land of religious and civic toleration, cradle of the Industrial Revolution, and possessor of a great overseas empire had graciously extended its liberties to the Jewish community which had every reason to love Britain precisely because it was British. So if things had always been so good, how could they became so bad? Why are there so many dark clouds building up on the horizon? Why is Anglo-Jewry the only important ethnic or religious minority in contemporary Britain that has to provide a permanent system of guards and surveillance for its communal institutions, schools, synagogues, and cultural centers? Antisemitism in the British Isles is certainly not a new phenomenon. It has a long history which should surprise only those who naively think of the English as being a uniquely tolerant, fair-minded, and freedom-loving nation. There were periods like the 12th century, as the historian Anthony Julius recently noted, when Anglo-Jews were being injured or murdered without pity or conscience—at times in an atmosphere of public revelry. Over 150 people were killed in March 1190 during the massacre of the Jews of York. This nasty wave of violent persecution (which included the first anti-Jewish blood libel in Christian Europe) culminated in the unceremonious expulsion of Jewry in 1290. -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit Terror und Theater. RAF-Stücke im Kontext von politischem und dokumentarischem Theater Verfasserin Brigitte Auer angestrebter akademischer Grad Magistra der Philosophie (Mag. phil) Wien, im Oktober 2010 Studienkennzahl lt. Studienblatt: A332 Studienrichtung lt. Studienblatt: Deutsche Philologie Betreuer: Univ. Prof. Dr. Michael Rohrwasser 2 Ich danke Marina Gr!ini" für die Erkenntnis darüber, was es bedeutet, Position zu beziehen. Weiters danke ich Michael Rohrwasser für die Betreuung, Barbara Grasböck und Oliver Stangl für Lektorat und Zuspruch und den vielen Personen, die wissentlich oder unwissentlich zur Entstehung und Fertigstellung dieser Arbeit beigetragen haben. Vor allem aber danke ich meinen Eltern für ihre Unterstützung und Geduld während meiner Studienzeit. 3 4 Inhalt 1. Einleitung........................................................................................................S.7 2. Terrorismus....................................................................................................S.8 2.1. Schwierigkeiten.................................................................................S.8 2.2. Exkurs: Vorsicht (Teil I)..................................................................S.11 2.3. Begriffsgeschichte...........................................................................S.12 2.4. Formen des Terrorismus..................................................................S.13 -
Western Europe
Western Europe Great Britain National Affairs w3 UPERFICIALLY, THE OVERALL PICTURE of a country dominated by the Conservatives remained unchanged throughout 1988. This was reflected, for exam- ple, in the relative tranquility of the labor front, where there were fewer strikes than in any year since the end of World War II. Yet there were also signs of a shift in attitudes among Conservatives themselves, away from uncritical endorsement of the government's general policy and toward a measure of sympathy with the Labor opposition. The government's plans for the privatization of the water and electricity industries came under criticism from within its own ranks. There was also a massive revolt of Tory members of Parlia- ment against the government's new regressive tax, the "community charge," also known as the "poll tax," on which issue the normal Conservative majority dropped from 101 to a mere 25. But perhaps the most severe blow to Tory self-confidence came on the economic front. The chancellor's budget, issued in March, cut income tax by twopence on the pound. This, together with interest-rate cuts following the crash of October 1987, encouraged consumer demand; in the first nine months of the year economic growth was running at an annual 5 percent. This proved unsustainable, however; the budget and Tory economic policy in general lost their shine when interest rates had to be increased nine times in the last seven months of the year as a means to cope with a renewal of inflation and growing trade and balance-of-payments deficits. -
The Unburiable Representations of Pain and Violence in Selected Works of Sarah Kane and Caryl Churchill
The Unburiable Representations of pain and violence in selected works of Sarah Kane and Caryl Churchill Phillipa (Pip) Rundle Bachelor of Arts in English and Creative Arts with Honours 2011 Declaration statement: This Honours thesis is presented in the year of 2011 for the Bachelor of Arts in English and Creative Arts with Honours of Murdoch University. I declare that this thesis, except where otherwise indicated, is my own work and an account of my own research. Phillipa (Pip) Rundle Phillipa Rundle The Unburiable | 1 COPYRIGHT ACKNOWLEDGEMENT I acknowledge that a copy of this thesis will be held at the Murdoch University Library. I understand that, under the provisions of s51.2 of the Copyright Act 1968, all or part of this thesis may be copied without infringement of copyright where such a reproduction is for the purposes of study and research. This statement does not signal any transfer of copyright away from the author. Signed: …………………………………………………………... Full Name of Degree: Bachelor of Arts in English and Creative Arts with Honours Thesis Title: The Unburiable: Representations of pain and violence in selected works of Sarah Kane and Caryl Churchill Author: Phillipa (Pip) Rundle Year: 2011 Phillipa Rundle The Unburiable | 2 Abstract In this thesis I intend to answer the question of how representations of pain and violence in the selected plays of Kane and Churchill assist the critical understanding of those works. The works I have selected are Sarah Kane’s Blasted and Caryl Churchill’s Seven Jewish Children: A play for Gaza. To assist the understanding of the spectator and to enable me to engage with the plays in closer detail I draw on a selection of theories from the philosophers Judith Butler and Arne Johan Vetlesen. -
The Absence of Traditional Characters in Philippe Manoury's Thinkspiel Kein Licht
The absence of traditional characters in Philippe Manoury’s Thinkspiel Kein Licht. (2011/2012/2017) Eva Van Daele (Ghent University, September 2018) To this day, composers try to reinvent the genres of opera and music theatre. One of the impulses for renewal is contemporary theatre. One development we notice is a discrepancy between the singer and the character in contemporary music theatre (in its broadest form). This discrepancy is an opportunity to question how we (re)present voices, ourselves and our stories on stage. We will look at the phenomenon in one specific work. Our case Kein Licht. (2011/2012/2017) is a collaboration between the French composer Philippe Manoury (b. 1952) and German theatre director Nicolas Stemann (b. 1968) who created a performance based on theatre texts by Elfriede Jelinek. The main concern of this paper is this: how is the lack of characters in Jelinek’s text addressed in the Thinkspiel Kein Licht. (2011/2012/2017) of Nicolas Stemann and Philippe Manoury?1 This question is inseparable from the treatment and the allocation of text to the voices and bodies on stage. It is not immediately clear how the text of Jelinek is distributed among the speakers and if the words of actors and singers have a different status. Since nor in the theatre texts, nor in the Thinkspiel we can’t speak of “characters”, I will use the term “roles”. There is a friction between the “roles” (such as A and B) in the text, what we see on scene, and what we hear. Indeed, even between what we see and what we hear, concerning the actors and singers, we notice a discrepancy. -
1 This Is an Accepted Manuscript of an Article Published by Taylor
From Belsen to Gaza: The Promise (2011), British and British-Jewish Identity Emiliano Perra Department of History, University of Winchester, Winchester, UK Correspondence: Emiliano Perra, University of Winchester, Sparkford Road, Winchester SO22 4NR, UK Email: [email protected] Emiliano Perra is Senior Lecturer in Modern European History at the University of Winchester. He is the author of Conflicts of Memory: The Reception of Holocaust Films and Television Programmes in the Italian Press, 1945 to the Present (2010). Perra’s work focuses on the memory and representation of genocide, and he is co-editor of the Journal of Perpetrator Research. This article discusses some of the issues raised by Peter Kosminsky’s miniseries The Promise (2011) and investigates the intense public responses it engendered in Britain. The first part of the article explores how the miniseries takes the lead from the paradigmatic British Holocaust memory of the liberation of Belsen to engage with issues of British national self-perception. Drawing on Paul Gilroy’s notion of ‘postimperial melancholia’, the article argues that The Promise explores important issues related to Britain’s past and present, in particular the lasting heritage of Empire. The second part of the article engages with the intense reception of the miniseries among opinion makers and the general public, with many critics seeing The Promise as aimed at delegitimising the State of Israel both historically and in relation to the present. In thus doing, the article will situate the debate within the broader context of discussions on the supposed relationship between anti-Zionism and the so-called “new anti- Semitism”, and more specifically discussion of the role of anti-Zionist Jews. -
Elfriede Jelineks Theater. Eine Analyse Des Königinnenduetts in Nicolas Stemanns Inszenierung Von Ulrike Maria Stuart.“
DIPLOMARBEIT Titel der Diplomarbeit „Elfriede Jelineks Theater. Eine Analyse des Königinnenduetts in Nicolas Stemanns Inszenierung von Ulrike Maria Stuart.“ Verfasserin Cara-Sophia Pirnat angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, Februar 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Ao. Univ.-Prof. Dr. Monika Meister Inhaltsverzeichnis 1 EINLEITUNG ............................................................................................................................... 1 1.1 SUBJEKTIVITÄT DER ANALYSE ...................................................................................................... 1 1.2 CO-AUTORENSCHAFT ZWISCHEN AUTORIN UND REGISSEUR ........................................................ 5 1.3 ENTSTEHUNGSGESCHICHTE UND THEMATIK DES TEXTES ULRIKE MARIA STUART ......................... 6 1.4 FORSCHUNGSSTAND ...................................................................................................................... 9 1.5 REZEPTION DER INSZENIERUNG .................................................................................................. 10 1.6 METHODE UND PROBLEMATIK DER INSZENIERUNGSANALYSE .................................................... 11 2 REGIE: NICOLAS STEMANN ................................................................................................. 13 3 DIE INSZENIERUNG ............................................................................................................... -
Redalyc.Von Schillers Ästhetischer Theorie Zur Dekonstruktion Und
Revista de Filología Alemana ISSN: 1133-0406 [email protected] Universidad Complutense de Madrid España GIMÉNEZ CALPE, Ana Von Schillers ästhetischer Theorie zur Dekonstruktion und Entmythologisierung. Elfriede Jelineks / Nicolas Stemanns Ulrike Maria Stuart Revista de Filología Alemana, vol. 23, 2015, pp. 135-152 Universidad Complutense de Madrid Madrid, España Erhältlich in: http://www.redalyc.org/articulo.oa?id=321841408008 Wie zitieren Komplette Ausgabe Wissenschaftliche Informationssystem Mehr informationen zum Artikel Netzwerk von wissenschaftliche Zeitschriften aus Lateinamerika, der Karibik, Spanien und Zeitschrift Homepage in redalyc.org Portugal Wissenschaftliche Non-Profit-Projekt, unter der Open-Access-Initiative Von Schillers ästhetischer Theorie zur Dekonstruktion und Entmythologisierung. Elfriede Jelineks / Nicolas Stemanns Ulrike Maria Stuart Ana GIMÉNEZ CALPE Universitat de València [email protected] Recibido: 3 de septiembre de 2014 Aceptado: 20 de noviembre de 2014 ZUSAMMENFASSUNG Wie die meisten Texte Elfriede Jelineks ist auch das Theaterstück Ulrike Maria Stuart reich an intertextuellen Referenzen. Neben Schillers Trauerspiel Maria Stuart werden unter anderem Texte aus den Schriften der RAF (Rote Armee Fraktion) so wie aus journalistischen Veröffentlichungen über die terroristische Vereinigung zitiert, paraphrasiert und umformuliert. Dieser Artikel geht der Frage nach, wie die intertextuellen Referenzen in Jelineks polyphonem Text eine idealistische Auf- fassung der Welt und der Kunst, die in den in Ulrike Maria -
NICOLAS STEMANN Creation Contre-Enquêtes Based on the Meursault Investigation by Kamel Daoud
Vidy NICOLAS STEMANN creation Contre-enquêtes based on The Meursault Investigation by Kamel Daoud © Philippe Weissbrodt CONTENTS 2 DISTRIBUTION 3 PRESENTATION 4 HOW LITERATURE CAN ACT AGAINST CYNICISM THE THEATRE OF NICOLAS STEMANN 5 TEASER 7 MEETING THE STRANGER 8 “THE PRESENT ONLY EXISTS BECAUSE ONE MAN REMEMBERS IT” 11 BEYOND THE SHOW 12 NICOLAS STEMANN 13 MOUNIR MARGOUM 14 THIERRY RAYNAUD 15 KAMEL DAOUD 16 PALOMA COLOMBE 17 KATINKA DEECKE 18 CLAUDIA LEHMANN 19 MARYSOL DEL CASTILLO 20 CONTACTS 21 DISTRIBUTION 3 Vidy Contre-enquêtes creation based on The Meursault Investigation by Kamel Daoud Length: ~1:20 Theatre English surtitles available Conception, adaptation, scenography Nicolas Stemann Video Claudia Lehmann Costumes Marysol del Castillo Sound creation Paloma Colombe Nicolas Stemann Light creation Jonathan O’Hear Dramaturgy Katinka Deecke Assistant to the director Mathias Brossard With Mounir Margoum Thierry Raynaud Production Théâtre Vidy-Lausanne Schauspielhaus Zürich The Cercle des mécènes du Théâtre Vidy-Lausanne supports the Théâtre Vidy-Lausanne for this show. With the support of the production, technical, communication and administration teams of Théâtre Vidy-Lausanne BACK TO Creation 2020 CONTENTS PRESENTATION 4 With this new creation, German director Nicolas Stemann has taken the novel that was to demonstrate the incisive writing of Algerian Kamel Daoud to the world, complemented with other texts. This Algerian author, today one of the most unique voices in Francophone literature, is known for his strong stand against religious radicalisation, as well as against post-colonial hypocrisy. He positions himself in the breach that writing provides, pointing out hypocrisy and responsibility in the West as well as in the Muslim world. -
Elfriede Jelinek's Die Schutzbefohlenen
Elfriede Jelinek’s Die Schutzbefohlenen : A chorus of complaints on human rights catastrophes I. Refugees Twenty-eight fugitives escaping from the eastern shore of Maryland is a painting that was published in 1872 in the book The Underground Railroad (Philadelphia, Porter & Coates, 1872), written by William Still. William Still lived in Philadelphia, where he was chairman of the Vigilance Committee of the Pennsylvania Anti-Slavery Society. He aided fugitive slaves by means of the so-called Underground Railroad and kept records of their lives in order to help families reunite after slavery was abolished. Elfriede Jelinek’s theater text Die Schutzbefohlenen begins with that image. First published in internet on June 14 th , 2013, the text was later modified by herself in November 2013 and again in November 2014. Jelinek, who was born in 1946 in a small Austrian village, had her literary breakthrough in 1975 with die liebhaberinnen , a marxist-feminist caricature of a homeland-novel. Since then, Jelinek writes against drawbacks in both public-political and private live – mainly, but not only of the Austrian society: Babel (2005) for example is a theater text on the war in Iraq and the Abu Ghraib torture and prisoner abuse. In 2004, she was awarded the Nobel Prize in Literature for her »musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clichés and their subjugating power. «1 Considering the literature market of the German speaking countries to be extremely bankrupt and nepotistic, she decided recently to publish her writings exclusively on her own website. -
Seven Jewish Children
國立臺灣師範大學英語學系 碩 士 論 文 Master’s Thesis Department of English National Taiwan Normal University 《七個猶太小孩》的論述與戲劇奇觀 Discursive and Theatrical Spectacle of Seven Jewish Children 指導教授：蘇子中博士 Advisor: Dr. Tsu-Chung Su 研 究 生：陳珣沛 Hsun-Pei Chen 中 華 民 國 105 年 2 月 February 2016 摘要 本論文旨在研究卡瑞•邱琪兒(Caryl Churchill)的劇作《七個猶太小孩》與其 引發的爭議。邱琪兒將此劇的搬演視為一政治事件，意圖平衡英國國家廣播公 司(BBC)在 2009 年加薩戰爭期間的報導，同時也表態支持遭受以色列軍方轟炸 的巴勒斯坦人民。此劇的倫敦首演引來強烈批評，控訴邱琪兒與其劇散播反猶 太思想。我挪用奇觀的概念作為論文的框架，先將劇本的爭議放在論述奇觀的 架構中檢視，進而指出此一文本分析產生的論述困境。而後我回到劇場與表演 的空間，在戲劇奇觀的脈絡下探討劇本演出的可能性，試圖為此劇平反。 本篇論文主要分為四個部分。序論作為對《七個猶太小孩》背景的初步介 紹，提供以巴衝突的歷史脈絡和劇本的概觀，並從劇評中整理出其爭議點。第 一章分析劇本中的涉及反猶太爭議的題材，而後探討反猶太論戰中隱含的問 題。第二章從亞陶、布萊希特與波瓦的戲劇理論切入，將此劇放回表演的脈 絡，藉此反抗劇本文本的單一詮釋。觀察不同版本的演出，我主張此劇能展現 各種觀點並跳脫反猶太爭議的限制，指出戲劇展演對抗媒體奇觀的可能性。最 後，我藉由引介其他為解決以巴衝突所作的發聲，肯定邱琪兒以戲劇創作對不 安、無常的生命所表達的關懷。 關鍵字: 《七個猶太小孩》、以巴衝突、反猶太主義、奇觀、戲劇研究 Abstract My thesis concerns itself with Caryl Churchill’s Seven Jewish Children: A Play for Gaza and the controversy surrounding it. Viewing the play as a political event, Churchill wrote it in an attempt to balance the news coverage by the British Broadcasting Corporation (BBC) and to support the Palestinians in the midst of the ongoing Gaza bombardment. The London premiere caused accusations against Churchill of being hostile toward Israel in an anti-Semitic manner. I apply the framework that circumscribes the play’s text, controversy, and performance under the rubric of discursive and theatrical spectacle. Examining the discourses generated in the play’s script and the criticisms of the play that reveal various critical standpoints, I suggest that the textual analysis of the play results in an impasse. I aim to introduce the play’s multi-faceted perspectives to the understanding of the Israel/Palestine question through the exploration of theater practices.