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The Memory of the Yom Kippur War in Israeli Society
The Myth of Defeat: The Memory of the Yom Kippur War in Israeli Society CHARLES S. LIEBMAN The Yom Kippur War of October 1973 arouses an uncomfortable feeling among Israeli Jews. Many think of it as a disaster or a calamity. This is evident in references to the War in Israeli literature, or the way in which the War is recalled in the media, on the anniversary of its outbreak. 1 Whereas evidence ofthe gloom is easy to document, the reasons are more difficult to fathom. The Yom Kippur War can be described as failure or defeat by amassing one set of arguments but it can also be assessed as a great achievement by marshalling other sets of arguments. This article will first show why the arguments that have been offered in arriving at a negative assessment of the War are not conclusive and will demonstrate how the memory of the Yom Kippur War might have been transformed into an event to be recalled with satisfaction and pride. 2 This leads to the critical question: why has this not happened? The background to the Yom Kippur War, the battles and the outcome of the war, lend themselves to a variety of interpretations. 3 Since these are part of the problem which this article addresses, the author offers only the barest outline of events, avoiding insofar as it is possible, the adoption of one interpretive scheme or another. In 1973, Yom Kippur, the holiest day of the Jewish calendar, fell on Saturday, 6 October. On that day the Egyptians in the south and the Syrians in the north attacked Israel. -
CV Template : Academic Careers
Avi Bar-Eitan, Ph. D. 21.07.2020 CURRICULUM VITAE 1. Personal Details Full name: Avi )Avraham Natan Meir) Bar-Eitan Permanent address: Karmon 6 Jerusalem, Israel, 9630811 Telephone: +972-54-440-5292 E-mail address: [email protected] 2. Higher Education Undergraduate and Graduate Studies Period of Name of Institution and Department Degree Year of Study Approval of Degree 2007-2014 Hebrew University of Jerusalem, Israel Ph.D. 2014 Musicology Dissertation: “The Gray Area between the Hebrew Art and Folk Song,1920-1960: A Study of the Songs of Mordechai Zeira, David Zehavi and Moshe Wilensky” Advisors: Naftali Wagner and Jehoash Hirshberg 1998-2005 Jerusalem Academy of Music and Dance, Israel M.A. Mus 2005 Composition Advisor: Mark Kopytman Combined degree of the Hebrew University and the Jerusalem Academy of Music and Dance 1998-2005 Hebrew University of Jerusalem, Israel M.A. Mus. 2005 Musicology Thesis: “The Appearance of the Ahavah Rabbah Steyger in Klezmer Music in Israel and the United States in the First Half of the Twentieth Century” Advisors: Eliyahu Schleifer and Edwin Seroussi 1998-2000 Jerusalem Academy of Music and Dance, Israel Artist 2000 Composition Diploma Advisor: Mark Kopytman 1992-1998 Jerusalem Academy of Music and Dance, Israel B. Mus. 1998 Conducting Advisors: Aharon Harlap and Evgeny Tzirlin Combined degree of the Hebrew University and the Jerusalem Academy of Music and Dance 1992-1998 Hebrew University of Jerusalem, Israel B.A. Mus. 1998 Musicology, Hebrew Literature, and Jewish Studies 1992-1996 Jerusalem Academy of Music and Dance, Israel B. Mus. 1996 Composition Advisor: Mark Kopytman Dr. -
A Case Study of Yizkor Literature and the Israeli Commemorative Tradition, 1967-1973
He is No More: A Case Study of Yizkor Literature and the Israeli Commemorative Tradition, 1967-1973 Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Near Eastern and Judaic Studies Ilan Troen, Advisor Eugene Sheppard, Advisor ChaeRan Freeze, Advisor In Partial Fulfillment of the Requirements for Master’s Degree By Adam Eisler May 2013 Copyright by Adam Eisler © 2013 Acknowledgements This thesis would have never materialized without the help of my friends, family, and professors. It is truly a daunting task to thank everyone. I extend a sincere and loving thank you to Adina, Aron, Roni, and Alon Shorr for graciously hosting me and providing me with moral support during my two month research trip in Israel. The same gratitude goes to Martin and Tamar Shacham-Barr for helping me coordinate my visits to the Golani Brigade Archive and Museum and hosting me during my many weekend hafsakot in the Galil. In addition, thank you to Noam Lekach, my friend and roommate, for providing so much moral support and helping me translate ideas and emotions that were seemingly untranslatable. I am indebted to Professor Ilan Troen for drawing my attention to the existence of Yizkor literature. Without this suggestion I may never have stumbled onto this treasure trove. Thank you to Professors Maoz Azaryahu and Uri Bialer for meeting with me in Israel to organize my ideas, Professor Yael Zerubavel for pointing me in the direction of background material, and Professor Kanan Makiya for his continued support and friendship. -
The Museum Issue 15 West 16Th Street the Latest: New York, NY 10011 Ari Folman’S Waltz with Bashir a Travelogue from Jewish Moscow
Association for Jewish Studies SPRING 2010 Center for Jewish History The Museum Issue 15 West 16th Street The Latest: New York, NY 10011 Ari Folman’s Waltz with Bashir A travelogue from Jewish Moscow The Questionnaire: Scholars write in about books they love to teach Perspectives THE MAGAZINE OF THE ASSOCIATION FOR JEWISH STUDIES Table of Contents From the Editors 3 From the President 4 The Museum Issue Creating the Museum of the History of Polish Jews 5 Barbara Kirshenblatt-Gimblett The Palmach Museum in Tel Aviv: History between Fact and Fiction 9 Avner Ben-Amos Jewish Museums on the American Ethnic Museum Landscape 12 David Shneer Listening for Jews in the History of the Blues 14 Ari Y. Kelman Memory Going Global: The Jewish Museum and Holocaust Centre in Cape Town 20 Albert Lichtblau Revisiting and Remembering: Family Photographs and Holocaust Commemoration, Towers, Halls, and Cases 24 Laura Levitt The Illinois Holocaust Museum & Education Center 26 Brett Kaplan Teaching Jewish Studies with Museums 30 Jeffrey Shandler Curating Jews: Reflections on the Practice of Heritage 32 Erica Lehrer The Latest Waltz with Bashir 36 Todd Hasak-Lowy Jewish Moscow—A Guidebook 38 Olga Gershenson The Questionnaire What are three books you love to teach to undergraduates? 44 Remembering Our Colleagues Yosef Hayim Yerushalmi (1932-2009) 49 John Efron AJS Perspectives: The Magazine of the President Please direct correspondence to: Association for Jewish Studies Marsha Rozenblit Association for Jewish Studies University of Maryland Center for Jewish History Editors 15 West 16th Street Matti Bunzl Vice President/Publications New York, NY 10011 University of Illinois at Urbana-Champaign Jeffrey Shandler Rachel Havrelock Rutgers University Voice: (917) 606-8249 University of Illinois at Chicago Fax: (917) 606-8222 Vice President/Program E-Mail: [email protected] Derek Penslar Web Site: www.ajsnet.org Editorial Board Allan Arkush University of Toronto Binghamton University AJS Perspectives is published bi-annually Vice President/Membership by the Association for Jewish Studies. -
Yonatan Karmon
מגזין לריקודי עם ומחול עמותת ארגון המדריכים והיוצרים לריקודי עם Vol 103 | May 2020 Photo: A, Brener In The Light Of Memories Yonatan Karmon July 28 1931 February 6 2020 Dear Readers, This issue is entirely devoted to the man who molded Israeli folk dance for the stage and who greatly influenced the dances מגזין לריקודי עם ומחול done in dance sessions (harkadot). In recent years, we, the editors of “Rokdim-Nirkoda” magazine, have decided to interview and present articles about important Yaron Meishar עמותת ארגון המדריכים and significant people who have shaped and influenced Israeli והיוצרים לריקודי עם folk dance in the early years of the country (State of Israel). Vol. No. 103 | May 2020 Yonatan is of course, is one of the most notable of them. To Receive This Issue Please Press VIP Therefore, in November 2019, I called Yonatan in Paris and asked that our reporter, Miri Krymolowski, who was supposed arrive Publisher: in Paris, interview him for our magazine. “Not about today’s “Rokdim-Nirkoda” – Rokdim in activities”, I said, “but rather about your place in the history association with the Israeli Dance and development of Israeli folk dance from the 1940s to the Ruth Goodman Institute Inc. (IDI), U.S.A., Robert beginning of the 21st century. Levine, President, Ted Comet, Chairman No doubt there is much to hear from him, I thought. Editors: Yonatan happily agreed and asked me to call him when he arrives Yaron Meishar, Ruth Goodman, in Israel at the beginning of January 2020, and we scheduled a Danny Uziel time to meet for an interview at the café that was next to his Editorial Staff – Nirkoda: house in Tel Aviv…The meeting did not take place…I received Danny Uziel Shani Karni Aduculesi, Judy Fixler, word that Yonatan was no longer with us. -
Dress Culture in the Young State of Israel Anat Helman
——————————————————— iNTRODUCTION ——————————————————— A Coat of Many Colors: Dress Culture in the Young State of Israel — 1 — ISRAEL: SOCIETY, CULTURE, AND HISTORY Series Editor: Yaacov Yadgar, Political Studies, Bar-Ilan University Editorial Board: Alan Dowty, Political Science and Middle Eastern Studies, University of Notre Dame Tamar Katriel, Communication Ethnography, University of Haifa Avi Sagi, Hermeneutics, Cultural studies, and Philosophy, Bar-Ilan University Allan Silver, Sociology, Columbia University Anthony D. Smith, Nationalism and Ethnicity, London School of Economics Yael Zerubavel, Jewish Studies and History, Rutgers University ——————————————————— iNTRODUCTION ——————————————————— A Coat of Many Colors: Dress Culture in the Young State of Israel Anat Helman Boston 2011 — 3 — Library of Congress Cataloging-in-Publication Data Helman, Anat. A coat of many colors : dress culture in the young state of Israel / Anat Helman. p. cm. -- (Israel: society, culture, and history) Includes bibliographical references and index. ISBN 978-1-934843-88-8 (hardback) 1. Clothing and dress--Israel--History--20th century. 2. Israel--Politics and government-- 20th century. 3. Israel--Social life and customs--20th century. I. Title. GT1430.I8H45 2011 391.0095694'0904--dc22 2011006281 Copyright © 2011 Academic Studies Press All rights reserved Book design by Adell Medovoy Published by Academic Studies Press in 2011 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-1-644-69326-1. -
The 24Th World WIZO Enlarged General Meeting
WIZOJANUARY 2008 O No. 317 O www.wizo.orgReviewUSA $3.50 NIS 14 The 24th World WIZO Enlarged General Meeting §³´¤¤µ§¨¤´«¨¤¤²´© INVESTING IN PEOPLE FOR ISRAEL’S FUTURE INVIRTAMOS EN EL POTENCIAL HUMANO PARA EL FUTURO DE ISRAEL INVESTISSONS DANS LE POTENTIEL HUMAIN POUR L'AVENIR D'ISRAËL INVESTIEREN IN DIE ZUKUNFT DER MENSCHEN IN ISRAEL INVESTINDO NO POTENCIAL HUMANO PARA O FUTURO DE ISRAEL The 2 th WORLD WIZO EGM January 13-17, 2008 Tel 4Aviv WIZOReview January 2008 l No. 317 l www.wizo.org Annual Subscription: U.S.$ 12.50, NIS 50. Single Copy: U.S.$ 3.50, NIS 14 Rebeca Sieff WIZO Center, 38 David Hamelech Blvd., Tel Aviv, Israel 12 14 Tel: 03-6923805 Fax: 03-6923801 Internet: www.wizo.org E-mail: [email protected] 26 Cover: The 24th World WIZO Enlarged General Meeting: Investing in People for Israel’s Future Contents 22 04 President's Desk 05 Chairperson's Column 32 The Story of WIZO Tribute to WIZO by leading Israeli poet 06 Then and Now Haim Hefer An absorbing comparison between 1948 and 2008 in the approach to Early Age Childcare, 34 Rosa Ginossar: The First Female Education and the Status of Women, revealing Lawyer in Zion little-known facts A fascinating portrait of Rosa Ginossar, WIZO's 12 Indian Dreams second president and the first female lawyer in the pre-state Jewish yishuv in Palestine Welcome to our new Federation! 14 WIZO Changed My Life 37 WIZO Around the World Reports from our Federations across the globe Three personal and touching stories from a Jewish Israeli young man, an Arab Israeli If you would like to receive a -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 Permalink https://escholarship.org/uc/item/3mq0x9w4 Author Erez, Oded Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Oded Erez 2016 ABSTRACT OF THE DISSERTATION Becoming Mediterranean: Greek Popular Music and Ethno-Class Politics in Israel, 1952-1982 by Oded Erez Doctor of Philosophy in Musicology Universoty of California, Los Angeles, 2016 Professor Tamara Judith-Marie Levitz, Chair This dissertation provides a history of the practice of Greek popular music in Israel from the early 1950s to the 1980s, demonstrating how it played a significant role in processes of ethnization. I argue that it was the ambiguous play between Greek music’s discursive value (its “image”) and the semiotic potential of its sound and music-adjacent practices, that allowed for its double-reception by Euro-Israeli elites and Working-class immigrants from Arab and Muslim countries (Mizrahim). This ambiguity positioned Greek music as a site for bypassing, negotiating, and subverting the dichotomy between Jew and Arab. As embodied in the 1960s by the biggest local star of Greek music––Aris San (1940- 1992) ––and by Greek international films such as Zorba the Greek, Greece and “Greekness” were often perceived as an unthreatening (i.e. -
Let My People Know Limmud FSU: the Story of Its First Decade
Let My People Know Limmud FSU: The Story of its First Decade LET MY PEOPLE KNOW Limmud FSU: The Story of its First Decade Mordechai Haimovitch Translated and Edited by Asher Weill Limmud FSU New York/Jerusalem Copyright@Limmud FSU International Foundation, New York, 2019 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form without the prior permission of the copyright holder Editor’s Notes. Many place names in this book are interchangeable because of the various stages of historical or political control. We have usually chosen to use the spellings associated with Jewish history: eg. Kiev not Kviv; Lvov not Lviv; Kishinev not Chișinău; Vilna not Vilnius, etc. Every attempt had been made to trace the source of the photographs in the book. Any corrections received will be made in future editions. Limmud FSU International Foundation 80, Central Park West New York, NY 10023 www.Limmudfsu.org This book has been published and produced by Weill Publishers, Jerusalem, on behalf of Limmud FSU International Foundation. ISBN 978-965-7405-03-1 Designed and printed by Yuval Tal, Ltd., Jerusalem Printed in Israel, 2019 CONTENTS Foreword - Natan Sharansky 9 Introduction 13 PART ONE: BACK IN THE USSR 1. A Spark is Kindled 21 2. Moscow: Eight Years On 43 3. The Volunteering Spirit 48 4. The Russians Jews Take Off 56 5. Keeping Faith in the Gulag 62 6. Cosmonauts Over the Skies of Beersheba 66 7. The Tsarina of a Cosmetics Empire 70 PART TWO: PART ONE: BACK IN THE USSR 8. -
The Presentation of Israel's Army Entertainment Troupes on Television
TRAUMA AND KITSCH: THE PRESENTATION OF ISRAEL'S ARMY ENTERTAINMENT TROUPES ON TELEVISION DAN ARAV AND DAVID GUREVITZ This chapter examines how Israel's army entertainment troupes are presented on television, using this presentation as a test case for how the media handle war and trauma. The use of the moving picture to depict the army entertainment troupes combines a nurturing of militarism and national feelings with nostalgic, forgiving and sometimes even ironic recollections. Hence, Israeli television serves as a hegemonic mechanism that seems to be normalising trauma by presenting it in an innocent aesthetic wrapping. From a psychoanalytic perspective, this process can be seen as an ongoing refusal to process the trauma, instead recycling it as a demonstrative act in the form of acting out. Thus, television prevents any possibilities for critical viewing or for developing a new political standard. From 1968, when Israel Television was inaugurated as Israel's official television station, to today's era of burgeoning commercial, thematic and public-service channels, television in Israel has been a major player in creating and disseminating the national story and in defining the collective identity. In its forty years of existence, television has been at Israel's side during all of its many wars. It has reflected the transition of Israeli society from a collectivist-socialist society to one marked by multiculturalism, globalism and commercialism. Hence, a major characteristic has emerged that reflects television's attitude towards Israel's national imaginary. This characteristic, "softened militarism", tends to wrap the trauma of war in Israel in the guise of entertainment that is almost ironic. -
Bibliography Archives and Collections
——————————————————— bIBLIOGRAPHY ——————————————————— Bibliography Archives and Collections Axelrod Newsreel Collection CZA Central Zionist Archives HMA Haifa Municipal Archive IDFA IDF Archive ISA Israeli State Archives Jabotinsky Archive JCA Jerusalem City Archive KAA Kibbutz Afikim Archive KALA Kibbutz Alonim Archive KHA Kibbutz Hazorea Archive KKAA Kibbutz Kiryat Anavim Archive KKL-JNF Jewish National Fund‘s Photo Archive NNL National Library NPC National Photo Collection PC Poster Collection, Manuscript Department at the National Library RKMA Religious Kibbutz Movement Archive SA Steven Spielberg Jewish Film Archives SCA Shenkar College Archive, the Rose Collection of Clothes and Textiles TAA Tel-Aviv–Jaffa Municipal Historical Archive YTA Yad Tabenkin Archive — 205 — ——————————————————— bIBLIOGRAPHY ——————————————————— Newspapers and Journals Al hamishmar Min ha‘ir el hakfar Alonekh Omer Ashmoret Palestine Post Baderekh Rimon Bamachaneh Sheluchot yotzei teiman Bamachaneh la’oleh Smol - Shavu’a Tov Beterem Sport la’am Dagesh Sport yisrael Davar Tafrit Dorot Tevel Dvar hapo’elet Yalkut lessivim vetekhnologyah shel Dvar hashavu’a tekstil Epoca Yediot aharonot Frontpage Yediot aharonot: koteret Gazit Yediot aharonot: 7 yamim Haaretz Yediot hitachadut baalei hakolno’a Haboker beyisrael Hador Yom yom Hadshot sport Zmanim Hahed Haisha Haisha bamedinah Hamaor: biton neshei agudat yisrael Hamodi’a Ha’olam hazeh Hasport haleumi Hava laisha velaofnah Hayei sha’ah Hazofeh Hedei hanegev Herut Hu vehi Jerusalem Post Kolno’a Kol yisrael Lagever Laisha Ma’ariv Matzpen — 206 — ——————————————————— bIBLIOGRAPHY ——————————————————— Books and Articles Abdar, Carmella. 1999. Head Adornment of the Habanic Bride in the 1960s in Is- rael: A Bridge between Past and Future. Rimonim 6–7: 112–27 [Hebrew]. ———. 2008. Ma’ase Rokem: Dress and Jewelry in the Tradition of the Jews of Yemen, ed. -
Israeli Society Via the Arts SOC 178 American Jewish University Campus in Israel Young Judaea Year Course
Israeli Society Via the Arts SOC 178 American Jewish University Campus in Israel Young Judaea Year Course Introduction: One of major contributions of the Zionist movement is the development of “Hebrew Culture” - artistic expressions of a people returning to their land and language, while simultaneously forging a new society. Hebrew Culture attempts to blend the ancient with modern, the secular with religious; using both native and Diaspora influences. This course will explore the development of Hebrew (Israeli) music/poetry, visual arts, film/television, dance and theatre from the 1870’s to the present through lectures, visits, screenings and performance. The student will be exposed to a variety of artistic expressions and delve into the historical events that surrounded them. Several key questions will be posed throughout the course, including: What is Hebrew culture and how has it helped shape Israeli society? Does Hebrew Culture differ significantly from ‘Jewish’ Culture? What is the future of Hebrew Culture in the age of globalization? Format: Students are required to attend classes, participate in discussions and to be present at selected evening performances (details to be provided) Required Readings (Selected chapters): Kronish, A. (1996). World Cinema: Israel. Ofrat, G. (1998). One Hundred Years of Art in Israel. Oren, T. (2004). Demon in the Box: Television and Israeli Society. Regev, M. (2004). Popular Music and National Culture in Israel. Taub, M. (2004). Modern Israeli Drama. Loshitzky, Y. (1997). Identity Politics on the Israeli Screen. Hertzerg, H. & Ben-Rafael, E. (2000). Language and Communication In Israel. Evaluation: The final grade for this course will be determined by the following methods: - Attendance and participation 15% - Bi-weekly reading reviews: 30% 1 page critical reviews of selected source book articles will demonstrate proficiency with regular readings - Mid-term test 25% - Artist Profile: 30% Students will select an Israeli artist from any of the disciplines (i.e.