DOCSLIB.ORG

A CRITICAL STUDY of HABIMA PLAYS AS Sam Levy a Dissertation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A CRITICAL STUDY of HABIMA PLAYS AS Sam Levy a Dissertation $do. 11? A CRITICAL STUDY OF HABIMA PLAYS AS AN EXPRESSION OF ISRAELI NATIONALISM FROM 1948 TO 1968 Sam Levy A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1972 Approved by Doctoral Committee B © 1972 Samuel Levy ALL RIGHTS RESERVED II , ABSTRACT Hebrew plays produced by Habima between 1948 and 1968 were examined to determine the extent to which they gave expression to Israeli nationalism. Twenty-five scripts, comprising the complete Hebrew repertory of Habima within the twenty years scope of the study, were evaluated by means of descriptive analysis. Theme, setting, plot, and language were examined, and related professional critiques were reported. A survey of Habima*s origins as a Soviet State Theatre (1918-26) indicated the thread of continuity linking Zionist aims of the past with those of the present in Israel: a national home and a national language. Eight dominating themes were discovered in the twenty-five plays: (1) Abandon­ ment of the kibbutz and couhtry are national disasters. (2) Unity is strength, (3) Collective life is superior to city life. (4) Conser­ vative fathers against liberal sons. (5) Isolation is hazardous to the state. (6) Duty is of higher priority than personal freedom or comfort. (7) Free press is destructive to the state. (8) Coming of the Messiah necessitates the destruction of Jewish history. Designated as the Israeli National Theatre by the state in 1958, Habima is comparable to some national theatres end is unlike others. Habima responded to the needs of the Israelis by developing Hebrew as a theatrical language, producing the best of world drama, mirroring the national reality as it is and as it could be, but at the same time never becoming a tool of the government. Again, in memory of cousin Yehuda. Note on translations: Wherever a non-dramatic source is cited from an English edition, the title is given, in notes and text, in English. Wherever I have translated from a Hebrew text, the title is given in Hebrew transliteration. All Habima plays discussed are Hebrew texts; titles and quotations are my translation. Any exceptions to the above are noted. TABLE OF CONTENTS Chapter Page I. INTRODUCTION ............................................................................................................... 1 II. A BRIEF HISTORY OF HABIMA.................................................................................... 9 III. ANALYSIS OF TWENTY FIVE ISRAELI PLAYS AT HABIMA.........................24 ABANDONMENT OF THE KIBBUTZ AND COUNTRY ARE NATIONAL DISASTERS............................................................................................................... 27 UNITY IS STRENGTH...................................................................................................... 47 COLLECTIVE LIFE IS SUPERIOR TO CITY LIFE....................................... 61 CONSERVATIVE FATHERS AGAINST LIBERAL SONS ......................................... 66 ISOLATION IS HAZARDOUS TO THE STATE....................................................... 72 DUTY IS OF HIGHER PRIORITY THAN PERSONAL FREEDOM OR COMFORT 77 FREE PRESS IS DESTRUCTIVE TO THE STATE .................................................. 90 COMING OF THE MESSIAH NECESSITATES THE DESTRUCTION OF JEWISH HISTORY .......................................................................................................... 91 IV. HABIMA PLAYS AS AN EXPRESSION OF ISRAELI NATIONALISM .... 96 V. SUMMARY AND CONCLUSIONS.......................................................................................126 BIBLIOGRAPHY ........................................................................................................................ 131 A. ENGLISH BOOKS..............................................................................................................132 B. ENGLISH ARTICLES AND PERIODICALS.......................................................... 133 C. ENGLISH UNPUBLISHED MATERIAL ................................................................... 134 D. HEBREW BOOKS................................................................................................................135 E. HEBREW ARTICLES AND PERIODICALS.................................................................. 137 The theatre is not a game. It is a spiritual compulsion. Once it celebrated the gods. Now it broods over the fate of man. Ludwig Lewisohn 1 CHAPTER I INTRODUCTION Hebrew is the official, national language of Israel. It is spoken in the streets, in schools, in Parliament; it serves Israeli life at home and abroad in speech and literature, newspapers and television, markets and theatres. The ancient tongue was the voice of Zionism, the late nineteenth century movement, which encouraged Jews to return and rebuild their historic homeland in order to live as an autonomous, secure nation among nations. Zionism also gave birth to the first Hebrew theatre, Habima, in Bolshevist Moscow in 1918. Being a studio of the Moscow Art Theatre, Habima (Hebrew for "the stage") meant to express the Jewish renaissance in the historical, national tongue. The significance of Hebrew for Habima is stated by the founder of the theatre, Nachum Zemach: I summoned up all my courage and found an opportunity to tell Stanislavsky about Hebrew culture and our Qiabima'sJ struggle to create an original Hebrew theatre. I went to him in awe, as one goes to a holy man. I sat in his reception room and spoke to him about the fate of the Jewish people and their longing for Palestine. I explained to him that the Hebrew language, which had for centuries been considered dead, like Latin, in fact never lost its continuity from the Bible until our modern Hebrew literature. I told him that the language is in the heart of the people, that in Hebrew the Jews have expressed and continue^to express their longings and desires [""for a national homeland^, Since its inception Habima has produced plays exclusively in Hebrew, expressing Jewish culture and Zionist attitudes. In 1931 the theatre established its permanent home in Tel Aviv, Israel. The repertory included '---------------- 1--------- Isaac, Norman (ed.) Bereshith Habima (Jerusalem: Hasifria HaZionith, 1966), 157. 2 fifteen plays,none of which was originally in Hebrew, none about renewed Jewish life in Palestine. In 1933 Habima staged Bialik's Short Friday, its first adapted offering from Hebrew material. Next was Seckler's Rahab, an original Hebrew play about the most famous Biblical woman in Jericho. Bistritzky's This Night, produced three years later, was also a Hebrew play, and like Bialik's it dealt with the Jewish ghetto in Russia at the turn of the century. Not until 1937 was Habima able to stage its first Hebrew play about the renewed life in Palestine, Watchmen »by Ever Hadani. The play ran for only twenty-two performances. The playwright returned to fiction. The early 1940's boasted new Hebrew plays. Ashman's This Earth, about life in the Palestinian country, proved a popular success in 1942, It was revived in the 1960's. Yet the new era for Israeli play­ writing begins, no doubt, with Mossinson's Sands of the Negev, which Habima commissioned as its ninetieth play. Dealing with the War of Independence (May, 1948), it opened on February 10, 1949 and ran for 188 performances. Mossinson contributed several other plays which were followed by an ever increasing number of Israeli plays and playwrights. It is these plays which Habima produced between 1948 and 1968 in its theatre in Tel Aviv that are the concern of this research. Because Habima is one of the cultural manifestations of the newly formed nation in Israel, as well as a representative of Israel in the international world, the study will concentrate on Habima's repertory as a possible expression of Israeli nationalism. 3 Justification. Whereas some material in English is available about Habima's repertory prior to Israel's War of Independence, the original Hebrew scripts produced in this theatre after 1948 are largely unknown in English, as are the Hebrew books, newspapers, periodicals, and lesser material which provide critical commentary on these scripts. In addition, this research will be the first detailed study of Habima's Israeli repertory in either Hebrew or English. Limitations■ This research will focus upon Habima's Israeli repertory since the War of Independence in 1948. Although Habima performs exclusive­ ly in Hebrew, Israeli scripts constitute only one-fourth of its total repertory; however, it is the goal of this research to study these Hebrew plays as an expression of Israeli nationalism. The theatre's Jewish and foreign plays will not be examined because they have been studied in English elsewhere. Because the Israeli audience has responded to some more than others, only original plays receiving fifty performances will be examined. Ten representative plays will be analyzed in detail, while others will be reviewed briefly. The concluding date of 1968 is a further limitation, since Habima is an ongoing producing organization meriting continued attention by scholars and the theatre public. Yet the period of the study (1948-68) is a natural step in the development of Israel as an autonomous state from the War of Independence until the Seven Day War in 1968. Definitions. Certain terms frequently occurring in this study are of significance to the subject matter involved. Therefore, they are defined: 4 (1) "Israeli" plays are original Hebrew
Load more

Recommended publications
  • TAU Archaeology the Jacob M
    TAU Archaeology The Jacob M. Alkow Department of Archaeology and Ancient Near Eastern Cultures and The Sonia and Marco Nadler Institute of Archaeology The Lester and Sally Entin Faculty of Humanities | Tel Aviv University Number 4 | Summer 2018 Golden Jubilee Edition 1968–2018 TAU Archaeology Newsletter of The Jacob M. Alkow Department of Archaeology and Ancient Near Eastern Cultures and The Sonia and Marco Nadler Institute of Archaeology The Lester and Sally Entin Faculty of Humanities Number 4 | Summer 2018 Editor: Alexandra Wrathall Graphics: Noa Evron Board: Oded Lipschits Ran Barkai Ido Koch Nirit Kedem Contact the editors and editorial board: [email protected] Discover more: Institute: archaeology.tau.ac.il Department: archaeo.tau.ac.il Cover Image: Professor Yohanan Aharoni teaching Tel Aviv University students in the field, during the 1969 season of the Tel Beer-sheba Expedition. (Courtesy of the Sonia and Marco Nadler Institute of Archaeology, Tel Aviv University). Photo retouched by Sasha Flit and Yonatan Kedem. ISSN: 2521-0971 | EISSN: 252-098X Contents Message from the Chair of the Department and the Director of the Institute 2 Fieldwork 3 Tel Shimron, 2017 | Megan Sauter, Daniel M. Master, and Mario A.S. Martin 4 Excavation on the Western Slopes of the City of David (‘Giv’ati’), 2018 | Yuval Gadot and Yiftah Shalev 5 Exploring the Medieval Landscape of Khirbet Beit Mamzil, Jerusalem, 2018 | Omer Ze'evi, Yelena Elgart-Sharon, and Yuval Gadot 6 Central Timna Valley Excavations, 2018 | Erez Ben-Yosef and Benjamin
    [Show full text]
  • OBITUARIES Picked up at a Comer in New York City
    SUMMER 2004 - THE AVI NEWSLETTER OBITUARIES picked up at a comer in New York City. gev until his jeep was blown up on a land He was then taken to a camp in upper New mine and his injuries forced him to return York State for training. home one week before the final truce. He returned with a personal letter nom Lou After the training, he sailed to Harris to Teddy Kollek commending him Marseilles and was put into a DP camp on his service. and told to pretend to be mute-since he spoke no language other than English. Back in Brooklyn Al worked While there he helped equip the Italian several jobs until he decided to move to fishing boat that was to take them to Is- Texas in 1953. Before going there he took rael. They left in the dead of night from Le time for a vacation in Miami Beach. This Havre with 150 DPs and a small crew. The latter decision was to determine the rest of passengers were carried on shelves, just his life. It was in Miami Beach that he met as we many years later saw reproduced in his wife--to-be, Betty. After a whirlwind the Museum of Clandestine Immigration courtship they were married and decided in Haifa. Al was the cook. On the way out to raise their family in Miami. He went the boat hit something that caused a hole into the uniform rental business, eventu- Al Wank, in the ship which necessitated bailing wa- ally owning his own business, BonMark Israel Navy and Palmach ter the entire trip.
    [Show full text]
  • The Audacity of Holiness Orthodox Jewish Women’S Theater עַ זּוּת שֶׁ Israelבִּ קְ Inדוּשָׁ ה
    ׁׁ ְִֶַָּּּהבשות שעזּ Reina Rutlinger-Reiner The Audacity of Holiness Orthodox Jewish Women’s Theater ַעזּּו ֶׁת ש in Israelִּבְקּדו ָׁשה Translated by Jeffrey M. Green Cover photography: Avigail Reiner Book design: Bethany Wolfe Published with the support of: Dr. Phyllis Hammer The Hadassah-Brandeis Institute, Waltham, Massachusetts, USA Talpiot Academic College, Holon, Israel 2014 Contents Introduction 7 Chapter One: The Uniqueness of the Phenomenon 12 The Complexity of Orthodox Jewish Society in Israel 16 Chapter Two: General Survey of the Theater Groups 21 Theater among ultra-Orthodox Women 22 Born-again1 Actresses and Directors in Ultra-Orthodox Society 26 Theater Groups of National-Religious Women 31 The Settlements: The Forge of Orthodox Women’s Theater 38 Orthodox Women’s Theater Groups in the Cities 73 Orthodox Men’s Theater 79 Summary: “Is there such a thing as Orthodox women’s theater?” 80 Chapter Three: “The Right Hand Draws in, the Left Hand Pushes Away”: The Involvement of Rabbis in the Theater 84 Is Innovation Desirable According to the Torah? 84 Judaism and the Theater–a Fertile Stage in the Culture War 87 The Goal: Creation of a Theater “of Our Own” 88 Differences of Opinion 91 Asking the Rabbi: The Women’s Demand for Rabbinical Involvement 94 “Engaged Theater” or “Emasculated Theater”? 96 Developments in the Relations Between the Rabbis and the Artists 98 1 I use this term, which is laden with Christian connotations, with some trepidation. Here it refers to a large and varied group of people who were not brought up as Orthodox Jews but adopted Orthodoxy, often with great intensity, later in life.
    [Show full text]
  • Exile and Holocaust Literature in German and Austrian Post-War Culture
    Religions 2012, 3, 424–440; doi:10.3390/rel3020424 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article Haunted Encounters: Exile and Holocaust Literature in German and Austrian Post-war Culture Birgit Lang School of Languages and Linguistics, The University of Melbourne, Parkville 3010 VIC, Australia; E-Mail: [email protected] Received: 2 May 2012; in revised form: 11 May 2012 / Accepted: 12 May 2012 / Published: 14 May 2012 Abstract: In an essay titled ‗The Exiled Tongue‘ (2002), Nobel Prize winner Imre Kertész develops a genealogy of Holocaust and émigré writing, in which the German language plays an important, albeit contradictory, role. While the German language signified intellectual independence and freedom of self-definition (against one‘s roots) for Kertész before the Holocaust, he notes (based on his engagement with fellow writer Jean Améry) that writing in German created severe difficulties in the post-war era. Using the examples of Hilde Spiel and Friedrich Torberg, this article explores this notion and asks how the loss of language experienced by Holocaust survivors impacted on these two Austrian-Jewish writers. The article argues that, while the works of Spiel and Torberg are haunted by the Shoah, the two writers do not write in the post-Auschwitz language that Kertész delineates in his essays, but are instead shaped by the exile experience of both writers. At the same time though, Kertész‘ concept seems to be haunted by exile, as his reception of Jean Améry‘s works, which form the basis of his linguistic genealogies, shows an inability to integrate the experience of exile.
    [Show full text]
  • Israel: Growing Pains at 60
    Viewpoints Special Edition Israel: Growing Pains at 60 The Middle East Institute Washington, DC Middle East Institute The mission of the Middle East Institute is to promote knowledge of the Middle East in Amer- ica and strengthen understanding of the United States by the people and governments of the region. For more than 60 years, MEI has dealt with the momentous events in the Middle East — from the birth of the state of Israel to the invasion of Iraq. Today, MEI is a foremost authority on contemporary Middle East issues. It pro- vides a vital forum for honest and open debate that attracts politicians, scholars, government officials, and policy experts from the US, Asia, Europe, and the Middle East. MEI enjoys wide access to political and business leaders in countries throughout the region. Along with information exchanges, facilities for research, objective analysis, and thoughtful commentary, MEI’s programs and publications help counter simplistic notions about the Middle East and America. We are at the forefront of private sector public diplomacy. Viewpoints are another MEI service to audiences interested in learning more about the complexities of issues affecting the Middle East and US rela- tions with the region. To learn more about the Middle East Institute, visit our website at http://www.mideasti.org The maps on pages 96-103 are copyright The Foundation for Middle East Peace. Our thanks to the Foundation for graciously allowing the inclusion of the maps in this publication. Cover photo in the top row, middle is © Tom Spender/IRIN, as is the photo in the bottom row, extreme left.
    [Show full text]
  • A Hebrew Maiden, Yet Acting Alien
    Parush’s Reading Jewish Women page i Reading Jewish Women Parush’s Reading Jewish Women page ii blank Parush’s Reading Jewish Women page iii Marginality and Modernization in Nineteenth-Century Eastern European Reading Jewish Society Jewish Women IRIS PARUSH Translated by Saadya Sternberg Brandeis University Press Waltham, Massachusetts Published by University Press of New England Hanover and London Parush’s Reading Jewish Women page iv Brandeis University Press Published by University Press of New England, One Court Street, Lebanon, NH 03766 www.upne.com © 2004 by Brandeis University Press Printed in the United States of America 54321 All rights reserved. No part of this book may be reproduced in any form or by any electronic or me- chanical means, including storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Members of educational institutions and organizations wishing to photocopy any of the work for classroom use, or authors and publishers who would like to obtain permission for any of the material in the work, should contact Permissions, University Press of New England, One Court Street, Lebanon, NH 03766. Originally published in Hebrew as Nashim Korot: Yitronah Shel Shuliyut by Am Oved Publishers Ltd., Tel Aviv, 2001. This book was published with the generous support of the Lucius N. Littauer Foundation, Inc., Ben-Gurion University of the Negev, the Tauber Institute for the Study of European Jewry through the support of the Valya and Robert Shapiro Endowment of Brandeis University, and the Hadassah-Brandeis Institute through the support of the Donna Sudarsky Memorial Fund.
    [Show full text]
  • 2.1 ISRAELI VOCAL SOLOS Chava Alberstein Coconut a Kiss Every
    2.1 ISRAELI VOCAL SOLOS Chava Alberstein Coconut A Kiss Every Hour An Urban Tree A Single Parent Bird Coconut Opposite the Sea Short Espresso Stems Falling Leaves My Kind of Man Bird of Saturday New Prayers Words Sholomo Artzi His Best Gever Holekh L’ebood Yom Ekhad Ani Shomea Shoov Ha’ish Hahoo Lo Ozev Et Ha’ir Shinuey Mezeg Haavir Tirkod Akharey Ha’kol At Shir Ani Nose Imi Hardufim Takhat Shmey Yam Tikhon Fran Avni Israel World Beat -- Eretz Eretz Zavat Chalav (The Land of Milk and Honey) Lo Yare’u/V’chititu (Harm No More) Natati Etz (I Planted a Tree) Shir Bareket (The Jewel Song) Vayiven Uziyahu (Uzziah Built Towers) Shorashim (Roots) Am Echad (One Nation) L’zaracha (For Your Children) Down in the Garden Tsipor Shniya (The Bird of a Fleeting Moment) The Colors of Jerusalem Lo Yare’u Martha Rock Birnbaum Timeless Jewish Songs Shabbat Hamalka Tumbalalaika Eliahu Hanavi Rozhinket Mit Mandlen Der Regge Elimeylekh Bamidbar Chiri Biri Bim Adio Kerida Los Bibilicos Finjan V’shamru Oyfn Pripetshik Adon Olam Zog Nit Keyn Mol! Miserlu Shir Noded / Hatikva Esta Home Made World Tekia, Shevarim, Terua Black Sheep Our Hope Nights in White Satin Till Dawn I Still Haven’t Found What I’m Looking For The Kite A Word Armenian Draem (Offering) Fatma Morgana Yearning Lament Magda Fishman Massa U’Mattan Beleilot Hakaitz Hachamin Shnei Shoshanim Arba Lifnot Boker Ve’ulay Hayalda Hachi Yafa Bagan My Funny Valentine Osseh Shalom Balada Le’isha Yedid Nefesh Samba Chick What Are You Doing the Rest of Your Life? Eretz Zavat Chalav U’devash Ofra Fuchs Like a Wheel
    [Show full text]
  • 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.
    [Show full text]
  • He Walked Through the Fields, with His Own Hands , and for Naked Thou Art
    MOSHE SHAMIR (Playwright) (1921-2004) was born in Jewish Theatre Collaborative & The Harold Schnitzer Safed, Israel, and spent most of his life in Tel Aviv. He was a Family Program in Judaic Studies present: prolific novelist, journalist, playwright, children’s author, literary critic and political figure. He Walked Through the Israel Onstage: Israeli Society through Drama Fields is based on his own 1947 novel, which was awarded the Ussishkin Prize. Shamir was a member of Kibbutz Mishmar HaEmek from 1944 to 1946 A member of the He Walked Palmach, in 1948, he founded the soldiers` weekly, Bamahaneh, and was its first editor. He edited it until he Through the Fields was dismissed at the request of David Ben-Gurion for By Moshe Shamir publishing an article about a celebration of the disbanding of Palmach . He served on the editorial board of the daily Maariv in the 50s. Shamir was a member of Knesset, the Israeli Parliament, from 1977 to 1981, his politics shifting from Mapam (labor) to Likud to participating in the founding of Tehiya, after the Camp David Treaty of 1979. The most prominent representative of his generation of writers Shamir was awarded the Bialik Prize (1955), the Israel Prize (1988) and the ACUM Prize for Lifetime Achievement (2002). His best known historical novels include The King of Flesh and Blood and David’s Stranger. His best known topical works are He Walked through the Fields, With His Own Hands , and For Naked Thou Art . His books generally deal with contemporary problems of Israel as seen from the viewpoint of the younger generation.
    [Show full text]
  • Pincus Ha-Kehillot Iasi
    Encyclopedia of the Jewish Communities From their Foundation until after the WWII Holocaust ROMANIA Volume I – Moldavia (Pages 141 - 176) Iasi Map Coordinates: 47º 10' North – 27º 36' East Author: Theodore Lavi, Ph.D., Coordinator of Pinkas ha-Kehilot in Yad Vashem - Transnistria, Hargat Project Coordinator Robert S. Sherins, M.D. English translation researched and edited by: Robert S. Sherins, M.D. Translation: Ziva Yavin, Ph.D. Rabbi Jack H Bloom, Ph.D. Donation of the translation was made by Robert S. Sherins, M.D., Richard J. Sherins, M.D., and Beryle Solomon Buchman N.B. Kehillah will be used where reference is to the organized Jewish community. Kehillah is the name given to Jewish communal organizations in Eastern Europe. The role and authority of the Kehillah varied greatly, depending on location and historical period. At times a Kehillah would have quasi-governmental authority over both the Jewish community and its relationship with the Gentile community. 1 IASI In Jewish sources: Yash or Yassy. (Aramaic: In the place Yas, which sits on the Blahui River and the Caicianu River and on springs.) A county city in the Moldavia region, on the bank of the Bahlui River and close to the Prut River. A railway intersection connecting Chisinau, Cernauti, Galati, and Bucharest. From 1565, the capital of the Moldavian Princedom. During World War I, served as a provisional capital of Romania. An important cultural center. Jewish Population Year Number % of Jews in the General Population 1803 2,420 (Heads of Households) 1820 4,396 families 1831 17,570 1838 29,652 1859 31,015 47.1 1899 39,441 50.8 1910 35,000 1921 43,500 1930 35,465 34.4 1941 33,135 29.6 1942 32,369 1947 38,000 Until the End of World War I The beginning of Jewish settlement and its development; the organization of the Kehillah; religious life; organizations and institutions; Zionist, national and socialist activity; cultural life; Iasi university- a nest of anti-Semitism.
    [Show full text]
  • Curriculum Vitae Dr. Ofira Gruweis-Kovalsky Contact: Kefar Tabor P.O.B 256 Israel 15241 Home Tel: 972- 4- 6765634. Mobile: 972
    1 Curriculum Vitae Dr. Ofira Gruweis-Kovalsky Contact: Personal details: Kefar Tabor P.O.B 256 Israel 15241 Citizenship: Israeli Home Tel: 972- 4- 6765634. Languages: Hebrew and English Mobile: 972-52-3553384 E-mail: [email protected] [email protected] Academic rank Senior Lecturer, Zefat Academic College, Israel (2017- present) Associate researcher Herzl Institute University of Haifa, Israel (2009-present) Associate researcher at the HBI Brandeis University, USA (2015-present) Adjunct lecturer, MA and BA programs in Israel Studies, University of Haifa, Israel (2010–present). Lecturer, Zefat Academic College, Israel (2014-2017) Education 2009-2010: Post Doc. Department of Geography and Environment, Bar-Ilan University, Israel, "The History of Jerusalem as Israel Capital City". 2009: PhD, Summa cum Laude. 'Land of Israel Studies' Dept., University of Haifa. "The Vindicated and the Persecuted": Myth, Ritual, and Propaganda in the Herut Movement 1948-1965. 2006: MA, Magna cum Laude. 'Jewish History' Dept., University of Haifa. 'The Myth of the Altalena Affair and the Herut Movement'. 1980: BA, Jewish History Dept. and Land of Israel History Dept., Tel Aviv University. Israel. Certificates Mediator, Emek Yizrael Academic College, Israel (1999). Archive manager, Tel Hai Academic College and the Israel National Archives (1994). 2 Scholarly Positions: Head of the general studies division, Multidisciplinary Department, Zefat Academic College, Israel (2018-present) Senior Lecturer, Multidisciplinary Department, Zefat Academic College, Israel (2017-present) Lecturer, Multidisciplinary Department, Zefat Academic College, Israel (2014 -2017) Adjunct lecturer, Land of Israel Studies Dept., Jewish History Dept., University of Haifa. MA and BA programs (2010–present). Assistant editor, Ze’ev Jabotinsky's Ideological Writings.
    [Show full text]
  • Palestinian and Israeli Literature.Pdf
    Palestinian and Israeli Literature Prepared by: Michelle Ramadan, Pingree School This document has been made available online for educational purposes only. Use of any part of this document must be accompanied by appropriate citation. Parties interested in publishing any part of this document must received permission from the author. If you have any recommendations or suggestions for this unit, please do not hesitate to contact Michelle Ramadan at [email protected]. Overview: For many audiences, understanding of the Palestinian­Israeli conflict comes mainly ​ from the media ­­ news of violence and of political friction dominate the airwaves, and we sometimes forget about the ordinary Palestinian and Israeli citizens involved. To get at the human element of the Palestinian­Israeli conflict, students will read, discuss, and reflect on stories from and/or about Palestine and Israel. Units are designed by theme/topic, and each unit contains readings from both Palestinian and Israeli perspectives on each theme/topic.This curriculum was designed for a grade 12 course. Timing: Suggested class periods: 21+. This curriculum may, of course, be shortened or ​ lengthened depending on schedule, students, etc. This curriculum may also be developed into a semester long course. How to Read this Document: This Palestinian & Israeli Literature Unit has been divided into 9 ​ mini­units. Under each mini­unit, you will find suggested class times, background information or context, suggested readings, and suggested class lessons/activities. At the end of the document, you will find sample writing assignments and further information about the suggested readings. Most readings are available online, and links have been provided.
    [Show full text]