JAMES LOEFFLER, Ph.D. (Rev. August 2020)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Kırmızı Çızgı
JAMESBARR KIRMIZI ÇIZGI• • Paylaşılamayan Toprakların Yakın Tarihi İngilizceden Çeviren: EKİN CAN GÖKSOY PEGASUS YAYıNLARı Britanya ve Fransa Arasında 20. Yüzyıla Yön Veren Güç Oyunları 1916'da, İngilizlerin Kut'ül Amare'de bozguna uğramasının hemen ardından iki adam, öngörü lü bir politikacı olan Sir Mark Sykes ile hınç dolu bir diplomat olan François Georges- Picot Orta Doğu'yu paylaşma planlarını görüşmek üzere gizlice buluştu. İki adamın vardığı anlaşma bir yandan İngiliz-Fransız Dostluk Antlaşması'nı tehlikeye sokacak gerilimleri hafifletmeyi amaç larken bir yandan da Akdeniz'den İran sınırına uzanan bir hat çiziyordu. Bu keskin hattın ku zeyindeki bölge Fransaya, güneyindeki bölge ise Britanya'ya gidecekti. İngiltere'nin Filistin, Mavera-i Ürdün ve Irak'taki mandaları ile Fran sanın Lübnan ve Suriye'deki mandaları iki büyük güç arasında bir huzursuzluk doğuracaktı. Gele cek otuz yıla damgasını vuracak bu sıkıntı, Orta Doğu'nun da onarılmaz bir biçimde şekillenme sine neden olacaktı. T. E. Lawrence, Winston Churchill ve Charles de Gaulle gibi siyasetçiler, diplomatlar, ajanlar ve askerlerden oluşan yıldız kadrosuyla Kırmızı Çizgi bizlere İngiliz ve Fransızların Orta Doğu'yu yönettiği, kısa ama -çok önemli bir dönemin hikayesini canlı bir biçimde anlatıyor. Kitap aynı zamanda bu iki güç arasındaki eski çekişmenin bugün bizim için çok daha tanıdık olan, Araplar ile Yahudiler arasındaki çatışmayı nasıl ateşledi ğini ve en nihayetinde 1941 'de İngilizler ile Fran sızlar, 1948'de de Araplar ile Yahudiler arasında ki savaşlara nasıl vesile olduğunu net bir şekilde ortaya koyuyor. James Barr'ın, Orta Doğu'nun kaderine yön veren ve bugün bölgenin adeta gayya kuyusu na dönüşmesinde hatırı sayılır bir rol oynayan İngilizler ile Fransızlar arasındaki gizli kapaklı mücadeleyi kaleme aldığı Kırmızı Çizgi, Orta Doğu'nun yakın tarihine ilgi duyan herkesin mutlaka okuması gereken bir kitap. -
JEWS and JAZZ (Lorry Black and Jeff Janeczko)
UNIT 8 JEWS, JAZZ, AND JEWISH JAZZ PART 1: JEWS AND JAZZ (Lorry Black and Jeff Janeczko) A PROGRAM OF THE LOWELL MILKEN FUND FOR AMERICAN JEWISH MUSIC AT THE UCLA HERB ALPERT SCHOOL OF MUSIC UNIT 8: JEWS, JAZZ, AND JEWISH JAZZ, PART 1 1 Since the emergence of jazz in the late 19th century, Jews have helped shape the art form as musicians, bandleaders, songwriters, promoters, record label managers and more. Working alongside African Americans but often with fewer barriers to success, Jews helped jazz gain recognition as a uniquely American art form, symbolic of the melting pot’s potential and a pluralistic society. At the same time that Jews helped establish jazz as America’s art form, they also used it to shape the contours of American Jewish identity. Elements of jazz infiltrated some of America’s earliest secular Jewish music, formed the basis of numerous sacred works, and continue to influence the soundtrack of American Jewish life. As such, jazz has been an important site in which Jews have helped define what it means to be American, as well as Jewish. Enduring Understandings • Jazz has been an important platform through which Jews have helped shape the pluralistic nature of American society, as well as one that has shaped understandings of American Jewish identity. • Jews have played many different roles in the development of jazz, from composers to club owners. • Though Jews have been involved in jazz through virtually all phases of its development, they have only used it to express Jewishness in a relatively small number of circumstances. -
Your Shabbat Edition • August 21, 2020
YOUR SHABBAT EDITION • AUGUST 21, 2020 Stories for you to savor over Shabbat and through the weekend, in printable format. Sign up at forward.com/shabbat. GET THE LATEST AT FORWARD.COM 1 GET THE LATEST AT FORWARD.COM News Colleges express outrage about anti- Semitism— but fail to report it as a crime By Aiden Pink Binghamton University in upstate New York is known as including antisemitic vandalism at brand-name schools one of the top colleges for Jewish life in the United known for vibrant Jewish communities like Harvard, States. A quarter of the student population identifies as Princeton, MIT, UCLA and the University of Maryland — Jewish. Kosher food is on the meal plan. There are five were left out of the federal filings. historically-Jewish Greek chapters and a Jewish a Universities are required to annually report crimes on capella group, Kaskeset. their campuses under the Clery Act, a 1990 law named When a swastika was drawn on a bathroom stall in for 19-year-old Jeanne Clery, who was raped and Binghamton’s Bartle Library in March 2017, the murdered in her dorm room at Lehigh University in administration was quick to condemn it. In a statement Pennsylvania. But reporting on murders is far more co-signed by the Hillel director, the school’s vice straightforward, it turns out, than counting bias crimes president of student affairs said bluntly: “Binghamton like the one in the Binghamton bathroom. University does not tolerate hate crimes, and we take all instances of this type of action very seriously.” Many universities interpret the guidelines as narrowly as possible, leaving out antisemitic vandalism that But when Binghamton, which is part of the State would likely be categorized as hate crimes if they University of New York system, filed its mandatory happened off-campus. -
Copyright by Benjamin Jonah Koch 2011
Copyright by Benjamin Jonah Koch 2011 The Dissertation Committee for Benjamin Jonah Koch Certifies that this is the approved version of the following dissertation: Watchmen in the Night: The House Judiciary Committee’s Impeachment Inquiry of Richard Nixon Committee: David Oshinsky, Supervisor H.W. Brands Dagmar Hamilton Mark Lawrence Michael Stoff Watchmen in the Night: The House Judiciary Committee’s Impeachment Inquiry of Richard Nixon by Benjamin Jonah Koch, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Dedication To my grandparents For their love and support Acknowledgements I owe an immense debt of gratitude to my dissertation supervisor, David Oshinsky. When I arrived in graduate school, I did not know what it meant to be a historian and a writer. Working with him, especially in the development of this manuscript, I have come to understand my strengths and weaknesses, and he has made me a better historian. Thank you. The members of my dissertation committee have each aided me in different ways. Michael Stoff’s introductory historiography seminar helped me realize exactly what I had gotten myself into my first year of graduate school—and made it painless. I always enjoyed Mark Lawrence’s classes and his teaching style, and he was extraordinarily supportive during the writing of my master’s thesis, as well as my qualifying exams. I workshopped the first two chapters of my dissertation in Bill Brands’s writing seminar, where I learned precisely what to do and not to do. -
Converted but Not Quite Accepted Meetings with the Student Rabbi Were Disappoint- Ing and Almost Discouraging
to listen to people more deeply, rather than put them shock. Not only were there many bright children now off with words. Probably all those years of fencing in my classes, but also lots of wealthy, cultured class- and fighting with professors to learn and get the job mates. I suddenly became the "country bumpkin." I done carried over onto the job at first. Almost all first was the W.A.S.P. minority and read a library book all year teachers have to learn to co-operate and compro- alone in school on the Jewish holidays. mise much more so than they did in their college days. Eventually I became a part of the culture. Families I began to really like the man, and as our personal as well as my friends included me at their Seders, conferences toward conversion progressed, I develop- and Bar Mitzvahs were the major social event for ed a new respect for his type of restless, inquiring three years running. I became more familiar with scholarship. He was most generous in loaning me any temple procedure than I had ever been with any book in his personal library, something other rabbis church. With this background I entered my first might hesitate to do, especially with books they marriage with a Jewish boy from my high school. treasure. The idea of my conversion occurred to me, and I Finally on March 21, 1975 I stood in front of the remember remarking that "Maybe I could . ." open Ark and converted to Judaism. I'll admit to (being a rather tentative person at that time); I was being so nervous that I stumbled over the words of told that that would be a crazy thing to do. -
Jewish Giants of Music
AMERICAN JEWISH HISTORICAL SOCIETY Fall 2004/Winter 2005 Jewish Giants of Music Also: George Washington and the Jews Yiddish “Haven to Home” at the Theatre Library of Congress Posters Milken Archive of American Jewish Music th Anniversary of Jewish 350 Settlement in America AMERICAN JEWISH HISTORICAL SOCIETY Fall 2004/Winter 2005 ~ OFFICERS ~ CONTENTS SIDNEY LAPIDUS President KENNETH J. BIALKIN 3 Message from Sidney Lapidus, 18 Allan Sherman Chairman President AJHS IRA A. LIPMAN LESLIE POLLACK JUSTIN L. WYNER Vice Presidents 8 From the Archives SHELDON S. COHEN Secretary and Counsel LOUISE P. ROSENFELD 12 Assistant Treasurer The History of PROF. DEBORAH DASH MOORE American Jewish Music Chair, Academic Council MARSHA LOTSTEIN Chair, Council of Jewish 19 The First American Historical Organizations Glamour Girl GEORGE BLUMENTHAL LESLIE POLLACK Co-Chairs, Sports Archive DAVID P. SOLOMON, Treasurer and Acting Executive Director BERNARD WAX Director Emeritus MICHAEL FELDBERG, PH.D. Director of Research LYN SLOME Director of Library and Archives CATHY KRUGMAN Director of Development 20 HERBERT KLEIN Library of Congress Director of Marketing 22 Thanksgiving and the Jews ~ BOARD OF TRUSTEES ~ of Pennsylvania, 1868 M. BERNARD AIDINOFF KENNETH J. BIALKIN GEORGE BLUMENTHAL SHELDON S. COHEN RONALD CURHAN ALAN M. EDELSTEIN 23 George Washington RUTH FEIN writes to the Savannah DAVID M. GORDIS DAVID S. GOTTESMAN 15 Leonard Bernstein’s Community – 1789 ROBERT D. GRIES DAVID HERSHBERG Musical Embrace MICHAEL JESSELSON DANIEL KAPLAN HARVEY M. KRUEGER SAMUEL KARETSKY 25 Jews and Baseball SIDNEY LAPIDUS PHILIP LAX in the Limelight IRA A. LIPMAN NORMAN LISS MARSHA LOTSTEIN KENNETH D. MALAMED DEBORAH DASH MOORE EDGAR J. -
Korff, Baruch (1)” of the John Marsh Files at the Gerald R
The original documents are located in Box 19, folder “Korff, Baruch (1)” of the John Marsh Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 19 of the John Marsh Files at the Gerald R. Ford Presidential Library TnE WHITE HOUSE . WASHINGTON Some items in this folder were not digitized because it contains copyrighted materials. Please contact the Gerald R. Ford Presidential Library for access to these materials. The News- Once Over Lightly --NON-·PROF/TN-ON·PARTI-MN WE, THE PEOPLt! At Home Africa-In the three-way civil war which has wracked Angola since Portugal granted it independence, national VNITED STATES CITIZENS CONGRESS troops captured 20 Soviet soldiers. They claimed they Washington-Nelson Rockefeller may quit national were waiting for a Streetcar Named Detente. 1221 CONNECTICUT AVENUE, NORTHWEST • WASHINGTON, D. C. • 20036 politics in 197 6. He believes that it's better to be left than President. Buenos Aires--Women's Lib is taking a beating in ''I am in earnest. -
The New Reform Temple of Berlin: Christian Music and Jewish Identity During the Haskalah
THE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAH Samuel Teeple A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2018 Committee: Arne Spohr, Advisor Eftychia Papanikolaou © 2018 Samuel Teeple All Rights Reserved iii ABSTRACT Arne Spohr, Advisor During the first decades of the nineteenth century, Israel Jacobson (1768-1828) created a radically new service that drew upon forms of worship most commonly associated with the Protestant faith. After finding inspiration as a student in the ideas of the Haskalah, or Jewish Enlightenment, Jacobson became committed to revitalizing and modernizing Judaism. Musically, Jacobson’s service was characterized by its use of songs modeled after Lutheran chorales that were sung by the congregation, organ accompaniment, choral singing, and the elimination of the traditional music of the synagogue, a custom that had developed over more than a millennium. The music of the service worked in conjunction with Protestant-style sermons, the use of both German and Hebrew, and the church- and salon-like environments in which Jacobson’s services were held. The music, liturgy, and ceremonial of this new mode of worship demonstrated an affinity with German Protestantism and bourgeois cultural values while also maintaining Judaism’s core beliefs and morals. In this thesis, I argue that Jacobson’s musical agenda enabled a new realization of German-Jewish identity among wealthy, acculturated Jews. Drawing upon contemporary reports, letters, musical collections, and similar sources, I place the music of Reform within its wider historical, political, and social context within the well-documented services at the Jacobstempel in Seesen and the New Reform Temple in Berlin. -
Works of Bach Include Allusions Revealing Anti- Jewish Attitudes Professor Will Discuss Composer’S ‘Contempt’ in Rutgers Program
2/6/2019 Works of Bach include allusions revealing anti-Jewish attitudes | New Jersey Jewish News Works of Bach include allusions revealing anti- Jewish attitudes Professor will discuss composer’s ‘contempt’ in Rutgers program By DEBRA RUBIN February 4, 2019, 11:05 am Johann Sebastian Bach — Marissen says performance of his works should be an “educational opportunity.” Johann Sebastian Bach, the 18th-century German musician, is considered one of the greatest classical music composers — by many, the greatest — of all time. But unknown to many of his modern listeners, a number of his cantatas and librettos are lled with blatant expressions of the religious anti-Semitism of his time. The choral accompaniments are based on the anti-Semitism inherent in the Lutheran Church of the period as proclaimed by Martin Luther, a seminal gure in the Protestant Reformation and a staunch anti-Semite. “In some cases, it is explicit and people sometimes don’t know it because it’s in German,” said Michael Marissen, the Daniel Underhill Professor Emeritus of Music at Swarthmore College in Pennsylvania. “Some people say it’s the music that counts, but I think that’s ethically lazy.” Marissen is a scholar of medieval, Renaissance, Baroque, and classical European music, and he has written several books on Bach and Handel, including: “Bach & God,” “Lutheranism, Anti-Judaism, and Bach’s St. John Passion,” and “Tainted Glory in Handel’s Messiah.” On Wednesday, Feb. 20, Marissen will present “Religious Contempt in the Music of Bach” at Rutgers University’s Mason Gross Performing Arts Center in New Brunswick; he will focus on the composer’s attitudes toward Jews and https://njjewishnews.timesofisrael.com/works-of-bach-include-allusions-revealing-anti-jewish-attitudes/ 1/3 2/6/2019 Works of Bach include allusions revealing anti-Jewish attitudes | New Jersey Jewish News Judaism. -
President Truman's Recognition of Israel
aH3 PRESIDENT TRUMAN'S RECOGNITION OF ISRAEL by IAN JAMES BICKERTON B. A., Hons, University of Adelaide, 1961 (\\'-\ A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree { '^ MASTER OF ARTS • - r j - Department of History and Philosophy KANSAS STATE UNIVERSITY Manhattan, Kansas 1966 ' Approved by ; / 'UW^l^W ''^^^ Major Professor < (/ LP ^ TABLE OF CONTENTS Page PREFACE ii Chapter I. THE UNITED STATES AND PALESTINE: THE QUESTIONS 1 II. PRESIDENT TRUMAN FACES THE PROBLEM 22 III. UNITED NATIONS PARTITION AND AMERICAN RECOGNITION 45 EPILOGUE 84 APPENDIX A 90 APPENDIX B 93 BIBLIOGRAPHY 98 ABSTRACT PREFACE In 1948 A.D., just over 2,000 years after the Diaspora* of 6 8 B.C., a Jewish state came into existence in Palestine. This was of considerable significance to the United States. Not only was it an additional consideration in the formulation of foreign policy towards the Middle East, but America had played a major part in the establish- ment of the state of Israel. President Truman has been subjected to considerable attack as a result of this, by critics who interpret his actions as being motivated by an ethnic pressure group and domestic politics rather than by the national interest. This study analyzes the factors leading up to the decision by President Truman to recognize Israel. Such an analysis reveals that although tremendous pressure was exerted by Zionist organizations. Congressmen, the press and the Democratic National Committee, on Truman to support the foundation of a Jewish state in Palestine, he was reluc- tant to do so. Nor was it domestic politics that led him finally to act. -
The Dynamics of Change in Jewish Oriental Ethnic Music in Israel Author(S): Amnon Shiloah and Erik Cohen Source: Ethnomusicology, Vol
Society for Ethnomusicology The Dynamics of Change in Jewish Oriental Ethnic Music in Israel Author(s): Amnon Shiloah and Erik Cohen Source: Ethnomusicology, Vol. 27, No. 2 (May, 1983), pp. 227-252 Published by: University of Illinois Press on behalf of Society for Ethnomusicology Stable URL: http://www.jstor.org/stable/851076 Accessed: 19/04/2010 03:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=illinois. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for Ethnomusicology and University of Illinois Press are collaborating with JSTOR to digitize, preserve and extend access to Ethnomusicology. -
Jewish Music
Musing about Jewish Music by Joshua R. Jacobson For the past few decades, teaching workshops on Jewish belong to a particular community of faith. When I conduct music at conventions of the American Choral Directors Asso- Handel's Messiah in concert, whether in a church or an audito- ciation, I have noticed a growing interest in multiculturalism- rium, I am aesthetically and spiritually involved, without com- albeit an interest fraught with complex motivations. The staple promising my belief systems as a traditional Jew. of the choral repertoire-settings by great composers of masses, Other school conductors take a less radical path-they at- requiems, passions, cantatas, anthems, and motets-has come tempt to balance their programming. The "December dilemma" under fire. Some Jews and Muslims have expressed concern is solved by adding some Chanullliah music to a Christmas about the effect 01) their children of constant exposure to concert. Another disaster! Some of the greatest music has been Christian liturgy. Some Mrican Americans and Asian Ameri- inspired by themes of the Christmas season. Chanukkah, by cans have questioned the exclusivity of music from the Euro- contrast, is a minor holiday. Music publishers, seeing a vacuum pean traditions. As a result, many conductors today are seeking and smelling a market, have flooded us with a deluge of inane the "politically correct" path, attempting to be as inclusive as dreidel songs. The contrast of the highest art of one religion and possible. Occasionally, the results are disastrous. the worst kitsch of the other is, frankly, embarrassing. Why is In some school systems conductors have been told to avoid December the only month in which these conductors consider liturgical music altogether.