The Thirteen Principles of Faith with Reflections and Questions for Discussion
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The Secular Music of the Yemenite Jews As an Expression of Cultural Demarcation Between the Sexes
JASO 27/2 (1996): 113-135 THE SECULAR MUSIC OF THE YEMENITE JEWS AS AN EXPRESSION OF CULTURAL DEMARCATION BETWEEN THE SEXES MARILYN HERMAN JEWISH men and women in Yemen are portrayed in the sociological and anthropo logical literature as having lived in separate conceptual and spatial worlds. As a result, two very separate bodies of song existed, one pertaining to men and the other to women. In this paper, I show how the culturally defined demarcation be tween the sexes is reflected and epitomized in the music of the Jews who lived in Yemen. i The key to this separation lies in the fact that women were banned from the synagogue altogether. This exclusion is not prescribed by Jewish law, and there is no precedent for it in the Bible or other Jewish literature or communities. The reason given for women being banned from the synagogue in Yemen was the fear that they might be menstruating. The condition of menstruation is, in Jewish law, This paper is based on my MA thesis (Herman 1985), which was written under the supervision and with the moral and academic support of Dr P. T. W. Baxter of Manchester University. My brother Geoffrey Herman willingly and painstakingly translated Hebrew articles into English for my benefit while I was writing this thesis. I. The period mainly referred to is the fifty years or so preceding 'Operation Magic Carpet', a series of airlifts between 1949 and 1950 in which the majority of Yemenite Jews were taken to Israel. 114 Marilyn Herman seen as ritually impure. -
Podcast Transcript Cantor Louise Treitman
Open My Heart: Living Jewish Prayer with Rabbi Jonathan Slater Cantor Louise Treitman. JONATHAN: Shalom. This is Rabbi Jonathan Slater, and welcome to “Open My Heart: Living Jewish Prayer”, a Prayer Project Podcast of the Institute for Jewish Spirituality. Together, we will investigate how personal prayer, in its many forms, is an important part of Jewish spirituality. Each Monday and Friday, we will offer a different practice, led by a different person, all praying from the heart. Today, we're blessed to have with us Cantor Louise Treitman, who is a student and a friend. Hey Louise. Really happy to have you here. Tell us a little bit about yourself. LOUISE: Thank you, Jonathan. It's so great to be with you today. I'm a cantor and I've served in the Boston area since the 1980s. I'm blessed to be Cantor Emerita of Temple Beth David in Westwood, Massachusetts, and I also – at Hebrew college in Newton, Massachusetts -- I teach rabbinical and cantorial and education students. It's a pluralistic seminary here. In recent years. I've been serving a World Union for Progressive Judaism congregation in Italy. First, I was in Florence and then most recently in Rome. This is for the High Holidays, and currently via Zoom for monthly Shabbatot. I've been involved with the Institute for Jewish Spirituality, IJS, almost since its beginning, and was thrilled to finally be in the first Clergy Cohort. I've led some of the regular Daily Meditations, and I've also been listening to these personal prayer practice podcasts since they started. -
The Role of Hebrew Letters in Making the Divine Visible
"VTSFDIUMJDIFO (SàOEFOTUFIU EJFTF"CCJMEVOH OJDIUJN0QFO "DDFTT[VS 7FSGàHVOH The Role of Hebrew Letters in Making the Divine Visible KATRIN KOGMAN-APPEL hen Jewish figural book art began to develop in central WEurope around the middle of the thirteenth century, the patrons and artists of Hebrew liturgical books easily opened up to the tastes, fashions, and conventions of Latin illu- minated manuscripts and other forms of Christian art. Jewish book designers dealt with the visual culture they encountered in the environment in which they lived with a complex process of transmis- sion, adaptation, and translation. Among the wealth of Christian visual themes, however, there was one that the Jews could not integrate into their religious culture: they were not prepared to create anthropomorphic representations of God. This stand does not imply that Jewish imagery never met the challenge involved in representing the Divine. Among the most lavish medieval Hebrew manu- scripts is a group of prayer books that contain the liturgical hymns that were commonly part of central European prayer rites. Many of these hymns address God by means of lavish golden initial words that refer to the Divine. These initials were integrated into the overall imagery of decorated initial panels, their frames, and entire page layouts in manifold ways to be analyzed in what follows. Jewish artists and patrons developed interesting strategies to cope with the need to avoid anthropomorphism and still to give way to visually powerful manifestations of the divine presence. Among the standard themes in medieval Ashkenazi illuminated Hebrew prayer books (mahzorim)1 we find images of Moses receiving the tablets of the Law on Mount Sinai (Exodus 31:18, 34), commemorated during the holiday of Shavuot, the Feast of Weeks (fig. -
Rosh Hashanah Ubhct Ubfkn
vbav atrk vkp, Rosh HaShanah ubhct ubfkn /UbkIe g©n§J 'UbFk©n Ubhc¨t Avinu Malkeinu, hear our voice. /W¤Ng k¥t¨r§G°h i¤r¤eo¥r¨v 'UbFk©n Ubhc¨t Avinu Malkeinu, give strength to your people Israel. /ohcIy ohH° jr© px¥CUb c,§ F 'UbFknUbh© ct¨ Avinu Malkeinu, inscribe us for blessing in the Book of Life. /vcIy v²b¨J Ubhkg J¥S©j 'UbFk©n Ubhc¨t Avinu Malkeinu, let the new year be a good year for us. 1 In the seventh month, hghc§J©v J¤s«jC on the first day of the month, J¤s«jk s¨j¤tC there shall be a sacred assembly, iIº,C©J ofk v®h§v°h a cessation from work, vgUr§T iIrf°z a day of commemoration /J¤s«et¨r§e¦n proclaimed by the sound v¨s«cg ,ftk§nkF of the Shofar. /U·Gg©, tO Lev. 23:24-25 Ub¨J§S¦e r¤J£t 'ok«ug¨v Qk¤n Ubh¥vO¡t '²h±h v¨T©t QUrC /c«uy o«uh (lWez¨AW) k¤J r¯b ehk§s©vk Ub²um±uuh¨,«um¦nC Baruch Atah Adonai, Eloheinu melech ha-olam, asher kid’shanu b’mitzvotav v’tzivanu l’hadlik ner shel (Shabbat v’shel) Yom Tov. We praise You, Eternal God, Sovereign of the universe, who hallows us with mitzvot and commands us to kindle the lights of (Shabbat and) Yom Tov. 'ok«ug¨v Qk¤n Ubh¥vO¡t '²h±h v¨T©t QUrC /v®Z©v i©n±Zk Ubgh°D¦v±u Ub¨n±H¦e±u Ub²h¡j¤v¤J Baruch Atah Adonai, Eloheinu melech ha-olam, shehecheyanu v’kiy’manu v’higiyanu, lazman hazeh. -
On the Proper Use of Niggunim for the Tefillot of the Yamim Noraim
On the Proper Use of Niggunim for the Tefillot of the Yamim Noraim Cantor Sherwood Goffin Faculty, Belz School of Jewish Music, RIETS, Yeshiva University Cantor, Lincoln Square Synagogue, New York City Song has been the paradigm of Jewish Prayer from time immemorial. The Talmud Brochos 26a, states that “Tefillot kneged tmidim tiknum”, that “prayer was established in place of the sacrifices”. The Mishnah Tamid 7:3 relates that most of the sacrifices, with few exceptions, were accompanied by the music and song of the Leviim.11 It is therefore clear that our custom for the past two millennia was that just as the korbanot of Temple times were conducted with song, tefillah was also conducted with song. This is true in our own day as well. Today this song is expressed with the musical nusach only or, as is the prevalent custom, nusach interspersed with inspiring communally-sung niggunim. It once was true that if you wanted to daven in a shul that sang together, you had to go to your local Young Israel, the movement that first instituted congregational melodies c. 1910-15. Most of the Orthodox congregations of those days – until the late 1960s and mid-70s - eschewed the concept of congregational melodies. In the contemporary synagogue of today, however, the experience of the entire congregation singing an inspiring melody together is standard and expected. Are there guidelines for the proper choice and use of “known” niggunim at various places in the tefillot of the Yamim Noraim? Many are aware that there are specific tefillot that must be sung "...b'niggunim hanehugim......b'niggun yodua um'sukon um'kubal b'chol t'futzos ho'oretz...mimei kedem." – "...with the traditional melodies...the melody that is known, correct and accepted 11 In Arachin 11a there is a dispute as to whether song is m’akeiv a korban, and includes 10 biblical sources for song that is required to accompany the korbanos. -
Abstract This Dissertation Addresses a Lacuna in the Study of the Literary
Abstract This dissertation addresses a lacuna in the study of the literary portrayals of divine retribution in the Old Testament. Focusing on narrative texts, this work posits the presence of the divine messenger opposition type-scene, conventional scenes in which an antagonist opposes a divine messenger on whom God inflicts extreme fates that often seem disproportionate to the offense and occur in the absence of any divine proscription. Opposition to the messenger seems to be the offense grave enough to merit the peculiar fates these characters experience. The introduction discusses how the historical analysis of divine retribution has been limited to theological treatments. Recent studies have slightly expanded the analysis to sociological and anthropological approaches, but literary approaches to the topic have been scant. Addressing the intersection of convention and historiography provides a foundation for moving the discussion forward. Employing a literary-critical treatment—supplemented by form-, source-, historical-, and redaction-critical approaches where beneficial—to multiple narrative passages reveals the presence of the proposed type-scene. Chapter 2 explores Moses as the prototypical prophet validated through the bizarre fates experienced by his opponents. Korah’s destruction, Miriam’s leprosy, and the biting serpents all represent divine responses to opposition to Moses. Korah’s rebellion represents a paradigmatic template of the type-scene, one in which God validates Moses. Chapter 3 examines the type-scene in narratives involving the classical prophets. The stories of Jeroboam’s deformity, Ahab’s death, the fiery death of Ahaziah’s military squads, the mauling by bears of Bethel youths, Gehazi’s leprosy, and the trampling of a court official during the siege of Samaria all utilize the type-scene in a manner that validates the legitimacy of a prophet. -
The Theme of Love in Yemenite Hebrew Literature*
THE THEME OF LOVE IN YEMENITE HEBREW LITERATURE* By REUBEN AHRONI Ohio State University THE EROTIC IMPULSE is a vital and dynamic force in life, and the theme of love is ageless and universal. "A pretty girl, a cup of wine, a garden, the song of a bird, the murmur of a brook'' -proclaims Moshe lbn Ezra-' 'are the cure of the lover, the joy of the distressed ... the wealth of the poor, and the medicine of the sick. " 1 Thus Ibn Ezra advises: Cling to the breast of the beautiful by night And kiss the lips of the pretty by day.2 This prescription of Moshe lbn Ezra for a happy and joyful life is characteristic of many of the Medieval Spanish Hebrew poets. Despite their deep piety, these poets knew how to express in their writings the splendor of the fields and flowery meadows, and the enchantment of feminine beauty .3 Indeed, these writings offer us a glimpse into the hidden vistas of their lives: their joys and sorrows, their triumphs and frustrations. The greatness of poetry, says Mardell, is in its eroticism, for it is "most true then to life, which is largely erotic" (1976, p. 15). *All translations of Yemenite Hebrew poetry into English are my own. I would like to thank the Graduate School of the Ohio State University, the College of Humanities, and the Melton Center for Jewish Studies, for supporting my research on Yemenite Hebrew Literature. I. See Seper he'anaq (The Necklace. also known as The Tarshish), Part 3, verses 52-55. -
The UK Community Shabbaton at Home - a Unique Opportunity
The UK Community Shabbaton at home - A Unique Opportunity “In a crisis, be aware of the danger but recognize the opportunity.” President John F. Kennedy. We are in a crisis, there is no doubt about it. However, as President Kennedy said, we must recognise the opportunity. Two weeks ago, my children were getting worried. It was the first lockdown Shabbat, what were they going to do? No children or youth services, no guests, no going round to friends’ houses. ‘I am not looking forward to Shabbat’, said one of them. So we decided to create the first ‘Family Shaw Shabbaton at home’. We planned a programme with a schedule with games, readings and activities. We had ‘shul at home’ altogether, which in some ways was more meaningful than a regular Shabbat. Every meal was a focus of discussions and singing. We all had a wonderful time. The thought struck me during Shabbat, why cannot everyone do this? Have a Shabbaton at home. Thankfully, Rabbi Daniel Fine of Stanmore and Canons Park United Synagogue had a similar idea and along with Rabbi Michael Laitner of the United Synagogue and David Reuben, our Director of Programmes we have spent the last ten days devising the first ever ‘UK Community Weekend at Home’. A project of Mizrachi UK in partnership with the United Synagogue. Huge thanks to them as well as to Richard Verber from the United Synagogue who has helped with all the IT and Gemma Denby from Mizrachi UK for liaising with all the communities. Tens of thousands of homes all across the UK are joining together both with their communities in spirit as well as nationally to celebrate Shabbat in your homes. -
Halachic Minyan”
Guide for the “Halachic Minyan” Elitzur A. and Michal Bar-Asher Siegal Shvat 5768 Intoduction 3 Minyan 8 Weekdays 8 Rosh Chodesh 9 Shabbat 10 The Three Major Festivals Pesach 12 Shavuot 14 Sukkot 15 Shemini Atzeret/Simchat Torah 16 Elul and the High Holy Days Selichot 17 High Holy Days 17 Rosh Hashanah 18 Yom Kippur 20 Days of Thanksgiving Hannukah 23 Arba Parshiot 23 Purim 23 Yom Ha’atzmaut 24 Yom Yerushalayim 24 Tisha B’Av and Other Fast Days 25 © Elitzur A. and Michal Bar-Asher Siegal [email protected] [email protected] Guide for the “Halachic Minyan” 2 Elitzur A. and Michal Bar-Asher Siegal Shevat 5768 “It is a positive commandment to pray every day, as it is said, You shall serve the Lord your God (Ex. 23:25). Tradition teaches that this “service” is prayer. It is written, serving Him with all you heart and soul (Deut. 2:13), about which the Sages said, “What is service of the heart? Prayer.” The number of prayers is not fixed in the Torah, nor is their format, and neither the Torah prescribes a fixed time for prayer. Women and slaves are therefore obligated to pray, since it is a positive commandment without a fixed time. Rather, this commandment obligates each person to pray, supplicate, and praise the Holy One, blessed be He, to the best of his ability every day; to then request and plead for what he needs; and after that praise and thank God for all the He has showered on him.1” According to Maimonides, both men and women are obligated in the Mitsva of prayer. -
Welcome to Spark, the Tribe Parasha Activity Sheet That Will Help You Bring Judaism to Life in a Varied and Exciting Way
Welcome to Spark, the Tribe Parasha activity sheet that will help you bring Judaism to life in a varied and exciting way. I’d like these activities to enthuse the children and show them how the Torah given almost 3500 years ago is still as relevant and as exciting in our lives today. Thank you for offering to run a Children’s Service, for all the hard work you put into it and for making a real difference to so many young people. The US is very proud of the numerous Children’s Services that are run every week across the UK and this would not happen without you. Spark gives you an overview of the weekly Parasha, songs, an activity, discussion questions or D’var Torah linked to the Parasha or important event that week. Every Children’s Service will be different, in terms of how many participants there are, their age range, its length and the varying abilities of the children. Please read through the document and find the activities that will best suit the needs of your group. It is advisable to read it before Shabbat in case there is some preparation that may be needed in advance. I am sure the children at your shul will benefit from Spark. Please be in touch if you have any queries, feedback or if we can be of any help. Thank you again for the work you do in enabling so many young Jews to access their heritage and traditions in such an exciting way. All it takes is a small spark of interest, to ignite a flame of passion for Judaism. -
Marc Shapiro: What Do Adon Olam and ס”ט
Marc Shapiro: What Do Adon ?Mean ס”ט Olam and [Mean ? [1 ס”ט What Do Adon Olam and by ס”ט By Marc B. Shapiro 1. People often refer to me as a Modern Orthodox intellectual. There are actually quite a number of us out there. If you hear someone using words like “ontological,” “existential,” “mimetic,” and now, “tergiversation”[2] you can assume he in in our club. Also, another telltale sign is that when we give divrei Torah you will hear us refer to Philo, the Apocrypha, Pseudepigrapha (if we are confident that we can pronounce the word properly[3]), Shadal, or Cassutto.[4] Of course, we are careful to only say Midrash, and never Medrish, as the latter pronunciation is a sure sign of a Philistine. It is no secret that Modern Orthodox intellectuals like to look down on Artscroll, and to let others know about this. So we must find places where Artscroll makes mistakes. It is not enough to point to the vastly different historical conceptions between us and Artscroll; we need to find places where Artscroll simply got it wrong (for one such example see here). This will show that even if they are conquering the world, they shouldn’t think that they are so brilliant. I am not speaking about the Artscroll Talmud (which we use when no one is looking) or the Artscroll “History” series, which is not popular with the Modern Orthodox.[5] I am referring to the Artscroll siddur and chumash which have taken over the Orthodox world. (The Modern Orthodox intellectuals must have been so busy these last twenty years producing articles read by each other that it never occurred to them to produce their own siddur and chumash.)[6] But finding these errors is easier said than done. -
Lullaby”: the Story of a Niggun1
“Lullaby”: The Story of a Niggun1 MICHAEL BECKERMAN AND NAOMI TADMOR Introduction In the winter of 1943, a song was performed in the Terezín Ghetto. It was an art song with a Hebrew text, yet its melody had also featured as a folk song, a pop tune, and a wordless vocalization; later, it would become a religious hymn. This article seeks to uncover the story of this tune: how it emerged, how it acquired a text, how it got to Terezín, how it was treated there, and what meanings can be drawn from its manifestations. The piece in question is Gideon Klein’s “Lullaby.” Our inquiry started as we noted an anomaly, a disagreement between recordings. At a key point in the composition, we realized that two performers sing different pitches, which is not unusual in many song traditions, but is entirely atypical of a notated art song. Example 1a: Excerpt from Isabelle Ganz’s recording of Gideon Klein’s “Lullaby”2 Example 1b: Excerpt from Wolfgang Holzmair’s recording of Gideon Klein’s “Lullaby.”3 Listen at: http://dx.doi.org/10.3998/mp.9460447.0010.101 We wondered, how could this difference be explained? Was one version mistaken? If so, which one, and why did the mistake occur? Does it have any significance? While attempting to answer these questions, we found ourselves embarking on a scholarly pilgrimage, which took us from a shtetl-like community within a Russian imperial city, where the tune originated as a Hasidic niggun, to Anglo-Palestine in the 1930s and 40s, where it was transformed, and from there further to the European diaspora in the 1940s, to countries such as England and Poland, and then to Nazi Germany, where the version on which Klein’s song was based, was created; from there we crossed the Atlantic to New York, where a version of the original niggun was first notated, and then back to Terezín.