I Hereby Declare That the Work Presented in This Thesis Is My Own
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History of Hatikvah, Israel's National Anthem This Video Dives Into the History of Israel’S Iconic National Anthem, Hatikvah
Educator’s Guide History of HaTikvah, Israel's National Anthem This video dives into the history of Israel’s iconic national anthem, HaTikvah. While some students may be familiar with these words, do they know their meaning, or the anthem’s complex backstory? Originally a nine-stanza poem, HaTikvah’s melody may have been lifted from an earlier Italian or Czech song. Today, HaTikvah both inspires and irritates. It is an aspirational anthem, which connects Jews around the world, and it also alienates others who do not connect to the themes. This episode begs the important question: What’s more important in a national anthem- that it include all of its citizens or that it embody the spirit upon which the country was founded and that it strives to maintain? Video: https://unpacked.education/video/history-of-israels-national-anthem-does-hatikvah-mean -hope-for-all/ Further Reading 1. Dr. James Loeffler, “How ‘Hatikvah’ (The Hope) Became Israel’s National Anthem” https://www.myjewishlearning.com/article/hatikvah/ 2. Edwin Seroussi, “Hatikvah: Conceptions, Receptions and Reflections” http://www.jewish-music.huji.ac.il/content/hatikvah-conceptions-receptions-and-reflection s 3. Ilan Ben Zion, “How an unwieldy romantic poem and a Romanian folk song combined to produce ‘Hatikva’” https://www.timesofisrael.com/how-an-unwieldy-romantic-poem-and-a-romanian-folk-son g-combined-to-produce-hatikva/ 4. Benjamin Kerstein, “‘Hatikvah’ Keeps its Edge, Despite Everything” http://www.thetower.org/article/hatikva-keeps-its-edge-despite-everything/ © 2019 Unpacked for Educators All Rights Reserved 1 5. Dr. Rafael Medoff, “‘Hatikvah’ in the Holocaust” http://www.jewishledger.com/2013/04/hatikvah-in-the-holocaust/ 6. -
HESCHEL-KING FESTIVAL Mishkan Shalom Synagogue January 4-5, 2013
THE HESCHEL-KING FESTIVAL Mishkan Shalom Synagogue January 4-5, 2013 “Injustice anywhere is a threat to justice everywhere.” Dr. Martin Luther King, Jr. “In a free society, when evil is done, some are guilty, but all are responsible.” Rabbi Abraham Joshua Heschel Dr. Martin Luther King, Jr., fourth from right, walking alongside Rabbi Abraham Joshua Heschel, second from right, in the Selma civil rights march on March 21, 1965 Table of Contents Welcome...3 Featured Speakers....10 General Information....4 Featured Artists....12 Program Schedule Community Groups....14 Friday....5 The Heschel-King Festival Saturday Morning....5 Volunteers....17 Saturday Afternoon....6 Financial Supporters....18 Saturday Evening....8 Community Sponsors....20 Mishkan Shalom is a Reconstructionist congregation in which a diverse community of progressive Jews finds a home. Mishkan’s Statement of Principles commits the community to integrate Prayer, Study and Tikkun Olam — the Jewish value for repair of the world. The synagogue, its members and Senior Rabbi Linda Holtzman are the driving force in the creation of this Festival. For more info: www.mishkan.org or call (215) 508-0226. 2 Welcome to the Heschel-King Festival Thank you for joining us for the inaugural Heschel-King Festival, a weekend of singing together, learning from each other, finding renewal and common ground, and encouraging one another’s action in the spirit of Dr. Martin Luther King Jr. and Rabbi Abraham Joshua Heschel. Dr. King and Rabbi Heschel worked together in the battle for civil rights, social justice and peace. Heschel marched alongside King in Selma, Alabama, demanding voting rights for African Americans. -
An Interdisciplinary Journal
FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISMFast Capitalism FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM ISSNFAST XXX-XXXX CAPITALISM FAST Volume 1 • Issue 1 • 2005 CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM FAST CAPITA LISM FAST CAPITALISM FAST CAPITALISM FAST CAPITALISM -
Hanukkah Is Not Hypocrisy Rabbi Michael Lerner's Rejoinder To
Hanukkah is not Hypocrisy Rabbi Michael Lerner’s rejoinder to Michael David Lukas December 2, 2018 [The real miracle of Hanukkah is]: that people can unify against oppression and overcome what at first seems like overwhelming odds against the forces that have all the conventional instruments of power in their hands, if and only if they can believe that there is something about the universe that makes such a struggle winnable. On the eve of Chanukah, Dec. 2nd, the N.Y. Times chose to publish an article entitled “The Hypocrisy of Hanukah” by Michael David Lukas. It is worth exploring not only because of the way it reveal the shallowness of contemporary forms of Judaism that are more about identity than about belief and boiled down to please a mild form of liberalism, but also because of the way it reveals how ill suited contemporary liberalism is to understand the appeal of right-wing nationalist chauvinism and hence to effectively challenge it. Lukas portrays the problem of contemporary non-religious Jews in face of the powerful and pervasive symbols of music of Christmas. Like most Jews, he doesn’t believe in the supposed miracle of a light that burned for eight days, so he digs deeper and what he finds outrages him: that Chanukah was, in his representation, a battle between cosmopolitan Jews who wanted to embrace the enlightened thought of Greek culture and a militaristic chauvinistic fundamentalist force, the Maccabees. Since he is sure that those Maccabees would reject him and his liberal ideas and politics, he is tempted to abandon the whole thing, but he decides not to do so because he needs something at this time of year to offer his young daughter who is attracted to Santa Claus, because he thinks that offering his daughter something he personally believes to be worse than nonsense is, as he puts, “it’s all about beating Santa.” I want to sympathize with his plight but offer some very different perspectives. -
Communism's Jewish Question
Communism’s Jewish Question Europäisch-jüdische Studien Editionen European-Jewish Studies Editions Edited by the Moses Mendelssohn Center for European-Jewish Studies, Potsdam, in cooperation with the Center for Jewish Studies Berlin-Brandenburg Editorial Manager: Werner Treß Volume 3 Communism’s Jewish Question Jewish Issues in Communist Archives Edited and introduced by András Kovács An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License, as of February 23, 2017. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-041152-2 e-ISBN (PDF) 978-3-11-041159-1 e-ISBN (EPUB) 978-3-11-041163-8 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover illustration: Presidium, Israelite National Assembly on February 20-21, 1950, Budapest (pho- tographer unknown), Archive “Az Izraelita Országos Gyűlés fényképalbuma” Typesetting: -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. -
A History of Modern Palestine
A HISTORY OF MODERN PALESTINE Ilan Pappe’s history of modern Palestine has been updated to include the dramatic events of the s and the early twenty-first century. These years, which began with a sense of optimism, as the Oslo peace accord was being negotiated, culminated in the second intifada and the increase of militancy on both sides. Pappe explains the reasons for the failure of Oslo and the two-state solution, and reflects upon life thereafter as the Palestinians and Israelis battle it out under the shadow of the wall of separation. I P is Senior Lecturer in Political Science at the University of Haifa in Israel. He has written extensively on the politics of the Middle East, and is well known for his revisionist interpretation of Israel’s history. His books include The Making of the Arab–Israeli Conflict, – (/) and The Modern Middle East (). A HISTORY OF MODERN PALESTINE One Land, Two Peoples ILAN PAPPE University of Haifa, Israel CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press The Edinburgh Building, Cambridge, CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521683159 © Ilan Pappe 2004, 2006 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Second edition 2006 7th printing 2013 Printed and bound in the United Kingdom by the MPG Books Group A catalog record for this publication is available from the British Library. -
What You Do Matters
what you do matters 2008–09 ANNUAL REPORT 2 ANNUAL REPORT 2008–09 WHAT YOU DO MATTERS 3 FRONT COVER ESTELLE LAUGHLIN HOLOCAUST SURVIVOR AND MUSEUM VOLUNTEER what they do Dear friends—this past November, however impressive our far-reaching 40-foot-high portraits of Estelle impact, we must constantly challenge Laughlin and other Museum survivor ourselves to do more. In a century volunteers were projected one by one already threatened by an alarming onto the exterior of our building. rise in hatred and antisemitism as The symbolism was stunning as each well as genocide, there are simply illuminated the night. Estelle had just no time-outs. turned ten when Germany invaded Our global institution is on the Poland. Over the next four years, she front lines confronting these issues managed to survive the Warsaw ghetto, thanks to your generosity and an the Majdanek death camp, and two extraordinary constellation of other slave labor camps. With dreams still partners equally passionate in our haunted by these memories, Estelle cause. On the pages that follow you shares her story with audiences here will meet some of them. While we and across the country in order to, as cannot eradicate hatred and evil, she says, “keep truth alive and visible.” together we remain unrelenting in In telling their stories, Holocaust our commitment to remember and to survivors put the horror of the genocide teach the lessons of the Holocaust— of Europe’s Jews into a profoundly not just to impart the truth of history’s personal context. They move us beyond greatest crime but to ignite the personal the monolithic event and unfathomable sense of responsibility that stands at numbers to the anguish of each the heart of strong, just societies. -
25 Years of Visionary Leadership
SEEING AROUND CORNERS BIONEERS YEARS 25 OF VISIONARY LEADERSHIP YEARBOOK BIONEERS YEARBOOK: 25 YEARS OF VISIONARY LEADERSHIP TABLE OF CONTENTS Creation Story. 2 Seeing Around Corners . 8 PROGAMS: Media Outreach. 19 Bioneers Conference . 26 Resilient Communities Network. 34 Everywoman’s Leadership . 43 Indigenous Knowledge . 49 Restorative Food Systems . 56 Youth Leadership . 62 TOPIC TRACKS: Ecological Design . 69 Restoring the Biosphere . 73 Ecological Medicine . 78 Eco-nomics . 81 Edited by Kenny Ausubel Justice: Human Rights, Equity and the Rights of Nature . 86 Designed by Diane Rigoli, www.RigoliCreative.com Nature, Culture and Spirit . 91 Editorial Assistance by Shannon Biggs and Mia Murrietta Cover “Emergent” painting by Isabella Kirkland Photos by Sarah Cavanaugh, Jennifer Esperanza, Louis Acknowledgements . 97 Gakumba, Ira Garber, Scott Hess, Ana June, Rosemarie Lion, Jan Mangan, Doug Mason, Tim Porter, Republic of Light, Cara Romero, Seth Roffman, Genevieve Russell, Zoe Urness 1 BIONEERS CREATION STORY: HE SAID/SHE SAID Bioneers Creation Story: He Said/She Said Kenny Ausubel founded Bioneers with Nina Simons, his business partner and wife. From its origins, the Bioneers creation story has been a co-creation story. He Said By Kenny Ausubel ioneers was born in the water. Specifically in a hot tub at Ten Thousand Waves in the mountains above my home of Santa “THE MOST PROFOUND INSIGHT OF B Fe, New Mexico. I was visiting with Josh Mailman, a friend modern science is that every one of us and visionary leader in social finance. Of course, stories don’t al- is the universe becoming aware of itself ways begin at the beginning. Creation has ancestors. -
2006–07 Annual Report (PDF)
What canI do? Can hatred be stopped? Will future generations remember the Holocaust? After the Holocaust, why can’t the world stop genocide? What canI do? Am I a bystander? A living memorial to the Holocaust, the United States Holocaust Memorial Museum inspires leaders and citizens to confront hatred, prevent genocide, promote human dignity and strengthen democracy. Federal support guarantees the Museum’s permanent place on the National Mall, but its educational programs and global outreach are made possible by the generosity of donors nationwide through annual and legacy giving. 2006–07 | ANNUAL REPORT UNITED STATES HOLOCAUST MEMORIAL MUSEUM UNITED STATES HOLOCAUST MEMORIAL MUSEUM ushmm.org 100 Raoul Wallenberg Place, SW Washington, DC 20024-2126 ushmm.org What must be done? What is the Museum’s role in the 21st century? What have we learned from history? From Our Leadership he crimes of the Holocaust were once described as “so calculated, so malignant, and Tso devastating that civilization cannot bear their being ignored because it cannot survive their being repeated.” How do we move from memory to action? When Justice Robert Jackson uttered these words at Nuremberg, could he have possibly imagined that six decades later his assertion would be a matter of doubt? These words marked what seemed to be a pivotal moment, a watershed in which all that followed would remain in the long shadow of the crime. There was a commitment to not ignore, to not repeat. Yet today, we must ask: Have we arrived at another pivotal moment in which the nature of the crime feels quite relevant, yet the commitment to prevent another human tragedy quite hollow? What must be done? What can we do as individuals? As institutions? | FROM OUR LEADERSHIP 1 For us the key question is: What is the role of the United States Holocaust Memorial Museum? 2 | CONFRONTING ANTISEMITISM AND DENIAL 16 | PREVENTING GENOCIDE The Museum cannot eliminate evil and hatred. -
2020-Hatikvah-Platform-And-Slate.Pdf
WWW.HATIKVAHSLATE.NET | TEXT “HATIKVAH” TO 474747 Vote for the Hatikvah Slate to Support a Democratic Jewish State! OUR PLATFORM We are inspired by Israel’s Declaration of Independence We stand with Israelis demanding the protection of the –which proclaimed the State “will be based on the rights of women, including equal pay for equal work, precepts of liberty, justice and peace as taught by the equal opportunity in politics, an end to enforced Prophets; and will uphold the full social and political segregation, and an end to discrimination against equality of all its citizens, without distinction of race, women’s full participation in public events, both military creed, or sex; and will guarantee full freedom of and civilian. conscience worship, education and culture.” Our commitment is to democracy and the rule of law, We stand with Israelis fighting against vigilante “modesty believing that all citizens of the State of Israel must be patrols” and other acts of harassment against women. treated equally, and their civil and human rights protected. We oppose policies of discrimination, fear, We stand with Israelis that welcome asylum seekers, treat and tribalism. foreign workers with the dignity that they deserve, and fight against racism in their society, be it against Jews of We fiercely oppose the current policy of permanent color or people of other faiths. occupation and annexation. It is unjust and will end Israel’s democracy. The occupation is sustained by We stand with Israelis striving to ensure full legal and ongoing policies of repression that only serve to social equality for the LGBTQ community, including exacerbate conflict and require daily violence to marriage rights. -
“Hatikvah:” One of the Greatest Anthems Ever Written
“Hatikvah:” One of the Greatest Anthems Ever Written As we approach Israel at 70, it is appropriate to consider the country’s national anthem, “Hatikvah,” a famous piece of music that was not officially adopted as the country’s anthem until 2004. There are other surprises connected to this piece. Most notably, the music is not original, and the words were penned, more than 130 years before they became the anthem, by a troubled poet who died in utter poverty in New York City in 1909. The melody of “Hatikvah” comes from no one source. Samuel Cohen (1870-1940), a Zionist who emigrated to Palestine in 1888, had read Naftali Herz Imber’s poem, “Tikvatenu,” and was inspired to set the words to music. He did not compose an original melody, however, noting, as translated by the music scholar Edwin Seroussi, “In my home country [in northwest Rumania today], we used to sing in the choir the Rumanian song ‘Hâis, cea!’ (‘Right, Left!’ which was the refrain of a song entitled ‘Carul cu Boi’).” Indeed, the melody of “Hatikvah” was inspired by Eastern European folk music. Its pattern is familiar to singers and scholars, and finds its way into many European songs and instrumental music. In sum, it is an old melody that originated somewhere in Europe and made its way to Palestine. That is the dynamic and destiny of many melodies: they travel. The music for America’s anthem, “The Star-Spangled Banner,” for example, has its origins in a British drinking song. Although we can’t source the melody, we certainly know who wrote the words.