Hayyim Nahman Bialik - Poems
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
David Grossman
DAVID GROSSMAN Hans Christian Andersen Author Award 2020 Nominated by IBBY Israel A statement on the Grossman contribution to literature for children and young people. David Grossman (born in Jerusalem, 1954) is a major figure in contemporary Hebrew literature. He writes for older and younger readers, in alternating order: Following every adult book, Grossman publishes a book for younger readers, followed by an adult book, etc. In his literary and journalistic writing Grossman does not shy away from complicated and controversial issues. He fights for the human rights of people of all ages, genders, and ethnicities. He is active in social justice causes and in peace initiatives between Arabs and Jews. In 1982 he published his first children’s book, Duel, about a twelve- year-old boy who makes friends with an elderly man in a nursing home. His writing for children and young adults encompasses a wide range of topics. In his picture books, he focuses on aspects of children’s daily life (Uri’s Special Language; A Brand-New Baby Brother) or their rich and wonderful imaginations, which can generate all sorts of fears (Itamar Walks on Walls; Itamar Meets a Rabbit, Itamar the Dream Hunter), worries (Don’t Worry Ruti, Itamar the Dream Hunter), or fantasies, sometimes involving imaginary friends (Hadas’ Friend). In Grossman’s picture books, the child’s world contains an empathic adult, the father, who respects the child, listens to him lovingly, and is able to suggest an unusual solution to the difficulty confronting the child, which the child is in turn quick to accept (the Itamar books; Who Wants a Piggy-Back?, Don’t Worry Ruti, etc.) In his writing for young adults Grossman deals with complicated issues, including ones that were considered taboo in the young adult Hebrew literature of their day. -
Global Form and Fantasy in Yiddish Literary Culture: Visions from Mexico City and Buenos Aires
Global Form and Fantasy in Yiddish Literary Culture: Visions from Mexico City and Buenos Aires by William Gertz Runyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2019 Doctoral Committee: Professor Mikhail Krutikov, Chair Professor Tomoko Masuzawa Professor Anita Norich Professor Mauricio Tenorio Trillo, University of Chicago William Gertz Runyan [email protected] ORCID iD: 0000-0003-3955-1574 © William Gertz Runyan 2019 Acknowledgements I would like to express my gratitude to my dissertation committee members Tomoko Masuzawa, Anita Norich, Mauricio Tenorio and foremost Misha Krutikov. I also wish to thank: The Department of Comparative Literature, the Jean and Samuel Frankel Center for Judaic Studies and the Rackham Graduate School at the University of Michigan for providing the frameworks and the resources to complete this research. The Social Science Research Council for the International Dissertation Research Fellowship that enabled my work in Mexico City and Buenos Aires. Tamara Gleason Freidberg for our readings and exchanges in Coyoacán and beyond. Margo and Susana Glantz for speaking with me about their father. Michael Pifer for the writing sessions and always illuminating observations. Jason Wagner for the vegetables and the conversations about Yiddish poetry. Carrie Wood for her expert note taking and friendship. Suphak Chawla, Amr Kamal, Başak Çandar, Chris Meade, Olga Greco, Shira Schwartz and Sara Garibova for providing a sense of community. Leyenkrayz regulars past and present for the lively readings over the years. This dissertation would not have come to fruition without the support of my family, not least my mother who assisted with formatting. -
Rachel Seelig. Strangers in Berlin: Modern Jewish Literature Between East and West, 1913-1933
Studies in 20th & 21st Century Literature Volume 42 Issue 2 Article 28 June 2018 Rachel Seelig. Strangers in Berlin: Modern Jewish Literature Between East and West, 1913-1933. Ann Arbor: U of Michigan P, 2016. Adam J. Sacks Brown University, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, German Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Sacks, Adam J. (2018) "Rachel Seelig. Strangers in Berlin: Modern Jewish Literature Between East and West, 1913-1933. Ann Arbor: U of Michigan P, 2016.," Studies in 20th & 21st Century Literature: Vol. 42: Iss. 2, Article 28. https://doi.org/10.4148/2334-4415.2017 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Rachel Seelig. Strangers in Berlin: Modern Jewish Literature Between East and West, 1913-1933. Ann Arbor: U of Michigan P, 2016. Abstract Review of Rachel Seelig. Strangers in Berlin: Modern Jewish Literature Between East and West, 1913-1933. Ann Arbor: U of Michigan P, 2016. 225 pp. Keywords Berlin; Modernism; Poetry; Jews This book review is available in Studies in 20th & 21st Century Literature: https://newprairiepress.org/sttcl/vol42/ iss2/28 Sacks: Review of Strangers in Berlin Rachel Seelig. Strangers in Berlin: Modern Jewish Literature Between East and West, 1913-1933. -
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. -
Elia Samuele Artom Go to Personal File
Intellectuals Displaced from Fascist Italy © Firenze University Press 2019 Elia Samuele Artom Go to Personal File «When, in 1938, I delivered my last lecture at this University, as a libero docente Link to other connected Lives on the [lecturer with official certification to teach at the university] of Hebrew language move: and literature I would not have believed...»: in this way, Elia Samuele Artom opened Emanuele Menachem the commemoration of his brother-in-law, Umberto Cassuto, on 28 May 1952 in Artom 1 Enzo Bonaventura Florence, where he was just passing through . Umberto Cassuto The change that so many lives, like his own, had to undergo as a result of anti- Anna Di Gioacchino Cassuto Jewish laws was radical. Artom embarked for Mandatory Palestine in September Enrico Fermi Kalman Friedman 1939, with his younger son Ruben. Upon arrival he found a land that was not simple, Dante Lattes whose ‘promise’ – at the center of the sources of tradition so dear to him – proved Alfonso Pacifici David Prato to be far more elusive than certain rhetoric would lead one to believe. Giulio Racah His youth and studies Elia Samuele Artom was born in Turin on 15 June 1887 to Emanuele Salvador (8 December 1840 – 17 June 1909), a post office worker from Asti, and Giuseppina Levi (27 August 1849 – 1 December 1924), a kindergarten teacher from Carmagnola2. He immediately showed a unique aptitude for learning: after being privately educated,3 he obtained «the high school honors diploma» in 1904; he graduated in literature «with full marks and honors» from the Facoltà di Filosofia e 1 Elia Samuele Artom, Umberto Cassuto, «La Rassegna mensile di Israel», 18, 1952, p. -
Nomos and Narrative Before Nomos and Narrative
Nomos and Narrative Before Nomos and Narrative Steven D. Fraade* I imagine that when Robert Cover's Nomos and Narrative essay' first reached the editors of the Harvard Law Review, their befuddlement derived not so much from Cover's framing of his review of the 1982 Supreme Court term with a philosophically opaque discussion of the interdependence of law and narrative, but from the illustrations that he drew from biblical and rabbinic texts of ancient and medieval times. For Cover, both intellectually and as a matter of personal commitment, these ancient texts evoke a "nomian world," rooted more in communally shared stories of legal origins and utopian ends than in the brutalities of institutional enforcement, one from which modem legal theory and practice have much to learn and to emulate. Since my own head is buried most often in such ancient texts, rather than in modem courts, I thought it appropriate to reflect, by way of offering more such texts for our consideration, on the long-standing preoccupation with the intersection and interdependency of the discursive modes of law and narrative in Hebrew biblical and rabbinic literature, without, I hope, romanticizing them. Indeed, I wish to demonstrate that what we might think of as a particularly modem tendency to separate law from narrative, has itself an ancient history, and to show how that tendency, while recurrent, was as recurrently resisted from within Jewish tradition. In particular, at those cultural turning points in which laws are extracted or codified from previous narrative settings, I hope to show that they are also renarrativized (or remythologized) so as to address, both ideologically and rhetorically, changed socio-historical settings.2 I will do so through admittedly * Steven D. -
Hayyim Nahman Bialik's Meditation on the Silence of the Divine In
Is There a God in the Heavens? Hayyim Nahman Bialik’s Meditation on the Silence of the Divine in ‘On the Slaughter’ Dvir Abramovich Introduction Regarded as the greatest Hebrew poet of modern times, Hayyim Nahman Bialik (1873-1934) was instrumental in the revival of the Hebrew language and in expressing the Jewish people’s pain and yearnings in a time of great change.1 Translated into more than thirty languages, formally, Bialik’s corpus can be divided into verse articulating the national revival, interior poetry guyed in the personal, and songs of nature. But still today, the bard towers above all others as the artist who, more than anyone else, embodied in his work the spirit and mood of Jewish nationalism in the twentieth century. Never before had a poet developed such a cult of followers and evoked such popularity and admiration as Bialik did, setting his unique imprimatur on an entire generation. It is worth quoting at length Sara Feinstein, author of a literary biography on Bialik, who elucidates the esteem in which Bialik is held in Israel and in the Jewish world: Anyone somewhat familiar with Modern Hebrew literature recognises the name Hayyim-Nahman Bialik … a special phenomenon … reflecting the shock waves of his own generation and serving as a bridge of transition between old-world attitudes and modernity, between powerless victimization and vigorous self-determination … one of the most powerful influences in the transformation of Jewish culture during the first three decades of the twentieth century … Despite his long periods of silence, Bialik’s supremacy Dvir Abramovich is Director of the Program in Jewish Culture & Society at The University of Melbourne. -
Polish Demons, Yiddish Demonology
Title: Polish Demons, Yiddish Demonology: Kawalerowicz’s Mother Joan of the Angels and The Dybbuk Author: Natalia Vesselova, University of Ottawa In an obituary published in The Independent, John Riley quotes one of the last interviews given by Jerzy Kawalerowicz, where he declares pointedly: “I do not think it possible to find in my work the influence of any school or director.” His films contradict this unpersuasive statement. In my presentation I am going to reveal and analyze the influence exerted on Kawalerowicz’s Mother Joan of the Angels (Matka Joanna od Aniołów, 1961) by Michał Waszyński’s Yiddish-Polish film classic The Dybbuk (Der Dibuk, 1937). In Kawalerowicz’s film, a priest comes to a rabbi (both roles played by the same actor) in search of an answer to the mystery of demons possessing the Ursulines in the local nunnery. The rabbi refuses any revelation, saying that he cannot summarize in a few words the knowledge gained by generations of his forefathers, and admits having no clear explanation of demonic nature. What he tells the priest, though, is the story of his own unsuccessful exorcism of a girl possessed by the spirit of her dead lover. This is an exact reproduction of The Dybbuk’s plot, so that the rabbi himself can be viewed as a character imported from the Jewish film. In addition to the parable of love as diabolical possession, Kawalerowicz borrows from the earlier film’s symbols (the white bridal garments), narrative elements (opening one’s soul to evil spirits voluntarily), and visual effects (chiaroscuro and camera technique). -
SA-SIG-Newsletter June 2005
S. A. SIG http://www.jewishgen.org/SAfrica/ Editor: Bubbles Segall [email protected] Southern African Jewish Genealogy Special Interest Group Newsletter Vol. 6, Issue 1 September 2005 In this Issue President’s Message – Saul Issroff 2 Editorial – Bubbles Segall 3 Meeting of the SA-SIG at the Las Vegas 2005 Symposium – Roy Ogus 4 SA-SIG Treasurer’s Report – Mike Getz 6 The Lost and Found Family – Sue and Elliot Axel 7 Plungyan of yesterday and Plunge today – Abel Levitt 10 19,234,000,000,000,000 bytes – Gary Mokotoff 13 Memories of Habonim in Port Elizabeth during the Thirties – Phyllis Sachar 14 Mendele Mocher Sforim – Manfred Schwartz 14 Zadok and Sara Bluma Zilber – Dov Sidelsky 17 © 2005 SA-SIG. All articles are copyright and are not to be copied or reprinted without the permission of the author. The contents of the articles contain the opinions of the authors and do not reflect those of the Editor, or of the members of the SA-SIG Board. The Editor has the right to accept or reject any material submitted, or edit as might be appropriate. PRESIDENT’S MESSAGE My grandson's imminent bar mitzvah in New York The Southern Africa Jewish has focussed me on the sorts of life milestone events Genealogy Special Interest Group where we have little or no records from past (SA-SIG) generations. The Southern Africa Jewish Genealogy Special Although we genealogists are adept at getting birth, Interest Group (SA-SIG) was created to provide a marriage, and death records, we seldom see records forum for a free exchange of ideas, research tips, and of a bris milah, a pidyon haben, a bat or bar information of interest to those researching Jewish mitzvah. -
YIDDISH FILM BETWEEN TWO WORLDS DATES November 14, 1991 - January 9, 1992
The Museum of Modern Art For Immediate Release May 1991 FACT SHEET EXHIBITION YIDDISH FILM BETWEEN TWO WORLDS DATES November 14, 1991 - January 9, 1992 ORGANIZATION Adrienne Mancia, Curator, Department of Film, The Museum of Modern Art; Sharon Pucker Rivo, Executive Director, The National Center for Jewish Film, located at Brandeis University; and J. Hoberman, author and film critic, The Village Voice. SPONSOR Supported by a grant from The Nathan Cummings Foundation. Funding for the accompanying publication was provided by the John D. and Catherine T. MacArthur Foundation. The gallery exhibition is made possible by the Rita J. and Stanley H. Kaplan Foundation in memory of Gladys and Saul Gwirtzman. CONTENT This first major retrospective of Yiddish cinema comprises films made in the United States and Europe from the 1920s through the 1980s. The exhibition includes melodramas, farces, tragedies, musical comedies, and documentaries that capture the talents of such international stars as Ida Kaminska, Lila Lee, Solomon Mikhoels, Molly Picon, and Maurice Schwartz. While only a fragment of the once vibrant world of Yiddish theater and cinema survives, these films depict the concerns and values of Yiddish culture and preserve the nuances of the Yiddish language. Chronicling the struggle for Jewish identity on both sides of the Atlantic, the exhibition features Yiddle with His Fiddle (1936) and The Dybbuk (1937), from Poland; Jewish Luck (1925) and The Return of Nathan Beck (1934), from Russia; East and Hest (1923), from Austria; and Uncle Moses (1932), Tevye (1939), and God, Man, and Devil (1950), from the United States. Several recent films, including Brussels Transit (1980), from Belgium, and If They Give, Take (1983), from Israel, offer a contemporary glimpse of Yiddish-language drama. -
Reform Or Consensus? Choral Synagogues in the Russian Empire
arts Article Reform or Consensus? Choral Synagogues in the Russian Empire Vladimir Levin The Center for Jewish Art, the Hebrew University of Jerusalem, Jerusalem 9190501, Israel; [email protected] Received: 5 May 2020; Accepted: 15 June 2020; Published: 23 June 2020 Abstract: Many scholars view the choral synagogues in the Russian Empire as Reform synagogues, influenced by the German Reform movement. This article analyzes the features characteristic of Reform synagogues in central and Western Europe, and demonstrates that only a small number of these features were implemented in the choral synagogues of Russia. The article describes the history, architecture, and reception of choral synagogues in different geographical areas of the Russian Empire, from the first maskilic synagogues of the 1820s–1840s to the revolution of 1917. The majority of changes, this article argues, introduced in choral synagogues were of an aesthetic nature. The changes concerned decorum, not the religious meaning or essence of the prayer service. The initial wave of choral synagogues were established by maskilim, and modernized Jews became a catalyst for the adoption of the choral rite by other groups. Eventually, the choral synagogue became the “sectorial” synagogue of the modernized elite. It did not have special religious significance, but it did offer social prestige and architectural prominence. Keywords: synagogue; Jewish history in Russia; reform movement; Haskalah; synagogue architecture; Jewish cultural studies; Jewish architecture 1. Introduction The synagogue was the most important Jewish public space until the emergence of secular institutions in the late nineteenth century. As such, it was a powerful means of representation of the Jewish community in its own eyes and in the eyes of the non-Jewish population. -
Abbreviations and Bibliography
ABBREVIATIONS AND BIBLIOGRAPHY Albeck Hanoch Albeck, Sifah Sidre, Misnah, Seder Zera'im (Jerusalem and Tel Aviv, 1957) Arak. 'Arakin Aruch Alexander Kohut, ed., Aruch Completum, 8 vols. (Vienna 1878-92; second edition, 1926), and Supplementary Volume, ed., Samuel Krauss et al. (Vienna, 193 7) A.Z. 'Abodah Zarah b. Babli, Babylonian Talmud; ben, "son of," as in "Simeon b. Gamaliel" Bacher Wilhelm Bacher, Die Agada der Tannaiten (Strassling, 1903) B.B. Baba' Batra' Beer-Holtzmann G. Beer and 0. Holtzmann, eds., Die Mischna: Text, iiberset::;ung und ausfiihrliche Erkliirung, I. 7-8 Seder Zera'im: Maaserotl Mauser Sheni by Wolfgang Bunte (Berlin, 1962) Bek. Bekhorot Bert Obadiah b. Abraham of Bertinoro, d.c. 1500, Commentary to Mishnah, in Romm edition of Mishnah Bes. Be~ah Bik. Bikkurim Blackman Mishnayoth, I. Order Zeraim. Pointed Hebrew text, English transla tion, introductions, notes ... by Philip Blackman (London, 1955; second edition, New York, 1964) B.M. Baba' Mesi'a' B.Q Baba' Qamma' B.R. Julius Theodor and Chanoch Albeck, eds. Midrasch Bereschit Rabbah (Berlin, 1903-1936) Bunte See Beer-Holtzmann Celsus Aulus Cornelius Celsus. De Medicina, W. G. Spencer, trans. (Cambridge, MA, 1935-1938) Columella Columella. De Re Rustica, trans. H. B. Ash, et al. (London, 1941-1955) D Tosefta, editio princeps (Venice, 1521) Dalman, Arbeit Gustav Dalman, Arbeit und Sitte in Paliistina, 8 vols. (Gutersloh, 1928- 1942) Danby The Mishnah, trans. Herbert Danby (London, 1933) Dem. Dem'ai Deut. Deuteronomy Dorland W. A. N. Dorland, ed., Dorland's Illustrated Medical Dictionary (Philadelphia, 195 7) E Tosefta, MS. Erfurt. See Lieberman. pp. 8-11 Ed.