Relevant bibliographies by topics / Jewish art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Jewish art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Jewish art"

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Wharton, Annabel Jane. "Jewish Art, Jewish art." IMAGES 1, no. 1 (2007): 29–35. http://dx.doi.org/10.1163/187180007782347584.

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AbstractAs the Jews have always produced art, the question arises, why is the notion of a Jewish Art so problematic? No effort is made in this paper to review or summarize the arguments for or against "Jewish Art." Rather, it attempts a modest shift in the terms of the debate. The essay addresses the question by considering the historiography of Jewish art in relation to both the End-of-Art debates and the Holocaust industry.This paper offers a provisional answer to the question: Why has Jewish art never managed to become Jewish Art? The End of Art debate conditions the discussion; the institutions of Jewish art provide its substance.
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Zemel, Carol. "Jewish Art, Naturally." IMAGES 1, no. 1 (2007): 26–28. http://dx.doi.org/10.1163/187180007782347610.

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AbstractThis essay sets out an agenda for the study of modern Jewish visual culture. Topics and issues raised encompass questions of idolatry, the ethics of visuality and picturing the unrepresentable, nationalism in traditional cultural historiography, diasporic art production, and a suggested review of Jewish cultural issues in theorists such as Aby Warburg, Erwin Panofsky and others of the interwar generation.
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Soltes, Ori Z. "Modern Jewish Art." Brill Research Perspectives in Religion and the Arts 2, no. 2 (December 26, 2018): 1–107. http://dx.doi.org/10.1163/24688878-12340004.

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AbstractIn Modern Jewish Art: Definitions, Problems, and Opportunities, Ori Z. Soltes considers both the emerging and evolving discussion on and the expanding array of practitioners of ‘Jewish art’ in the past two hundred years. He notes the developing problem of how to define ‘Judaism’ in the 19th century—as a religion, a culture, a race, a nation, a people—and thus the complications for placing ‘Jewish art’ under the extended umbrella of ‘religion and the arts.’ The fluidity with which one must engage the subject is reflected in the broadening conceptual and visual vocabulary, the extended range of subject foci and media, and the increasingly rich analytical approaches to the subject that have surfaced particularly in the past fifty years. Well-known and little-known artists are included in a far-ranging discussion of painting, sculpture, photography, video, installation art, ceremonial objects, and works that blur the boundaries between categories.
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Steyn, Juliet. "Imagining Jewish Art." Third Text 25, no. 3 (May 2011): 362–65. http://dx.doi.org/10.1080/09528822.2011.573327.

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Perry, Rachel E. "Not by Words Alone: Early Holocaust Graphic Narratives as a “Minor Art”." IMAGES 16, no. 1 (December 6, 2023): 131–57. http://dx.doi.org/10.1163/18718000-12340175.

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Abstract Immediately after the Holocaust, scores of Jewish survivors created graphic narratives, in word and image, about their individual and collective wartime experiences under Nazi oppression. This essay will make a case for these early postwar works as a “minor art.” “Minor” captures the material characteristics of this low-capital, low-circulation printed matter: slight in weight, small in size, modest in price, and ephemeral in quality. It also describes their “poor” images that pull, in form and structure, from popular culture (comics, cartoons, illustrated books) on the margins of modernist concerns (composite image-texts relying on narrative storytelling). Borrowing from Gilles Deleuze and Félix Guattari’s concept of “minor literature” as a deterritorialized, political, collective utterance, I argue that disciplinary notions of “art” and “testimony” have prevented us from seeing this “minor art” and recognizing how its vernacular, amateur art practices allowed survivors to reconstruct the past, remember communities and identities erased, and reclaim their own narratives of persecution. Created by a minority (a decimated Jewish community) working on the peripheries of the art world, they tell a Jewish story using Jewish frames of reference to create a community outside of majoritarian culture. What is at stake in them is not only a poetics of recollection but a politics of representation: of seeing with Jews as a critical act by dominated persons against the dominant, antifascist master narrative of WWII and the primary media of its dissemination, photography and film. Ultimately, this “minor art” can have major implications for both how we understand the crucial first decade of survivor initiatives and how we write our histories of Jewish art.
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Goren, Ahuvia. "The Lulav: Early Modern Polemical Ethnographies and the Art of Fencing." Religions 12, no. 7 (July 1, 2021): 493. http://dx.doi.org/10.3390/rel12070493.

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In recent years, scholars have devoted a great deal of attention to the history of scholarship in general and, more specifically, to the emergence of critical historical and anthropological literature from and within ecclesiastical scholarship. However, few studies have discussed the Jewish figures who took part in this process. This paper analyzes the role played by historiographical and ethnographical writing in seventeenth- and eighteenth-century Italian Jewish–Christian polemics. Tracing various Christian polemical ethnographical depictions of the Jewish rite of shaking the lulav (sacramental palm leaves used by Jews during the festival of Sukkot), it discusses the variety of ways in which Jewish scholars responded to these depictions or circumvented them. These responses reflect the Jewish scholars’ familiarity with prevailing contemporary scholarship and the key role of translation and cultural transfers in their own attempts to create parallel works. Furthermore, this paper presents new Jewish polemical manuscript material within the relevant contexts, examines Jewish attempts to compose polemical and apologetic ethnographies, and argues that Jewish engagement with critical scholarship began earlier than scholars of this period usually suggest
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Eiserman, Jennifer. "Understanding Jewish Art Jewishly: A Rationale and a Model for Including Jewish Art in Canadian Post-Secondary Coursework." Canadian Review of Art Education / Revue canadienne d’éducation artistique 47, no. 1 (December 30, 2020): 22–31. http://dx.doi.org/10.26443/crae.v47i1.103.

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Abstract: This paper surveys literature in art education that explores cultural inclusivity. It then surveys Jewish Canadian history in order to provide a sketch of the cultural context, providing a rationale for teaching Jewish art at Canadian universities. A brief history of the nature of Jewish art and its relationship to that of the dominant cultures in which Jews have lived will be described. It proposes a model for teaching Jewish art and art by Jewish artists in Canadian universities that can provide students with opportunities to truly understand the cultural context in which this work is created, using Israeli-Canadian Sylvia Safdie’s Dust as an example. Keywords: Diversity; Inclusivity; Jewish Art; Sylvia Safdie. Résumé : Cet article se penche sur la littérature du domaine de l’enseignement des arts qui traite d’inclusivité culturelle. On y explore ensuite l’histoire juive canadienne pour dresser un tableau du contexte culturel et fournir un motif d’enseigner l’art juif dans les universités canadiennes. Y sont décrits un bref historique de la nature de l’art juif ainsi que sa relation avec les cultures dominantes au sein desquelles évoluent les Juifs. L’article propose un modèle pour enseigner dans les universités canadiennes l’art juif et des œuvres réalisées par des artistes juifs. Ce modèle permet aux étudiants de mieux comprendre le contexte culturel dans lequel ces œuvres sont créées, notamment *Dust*, œuvre de l’israélo-canadienne Sylvia Safdie. Mots-clés : diversité, inclusivité, art juif, Sylvia Safdie.
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Silver, Larry. "Jewish Art and Modernity." Ars Judaica: The Bar Ilan Journal of Jewish Art 13 (May 2017): 49–64. http://dx.doi.org/10.3828/aj.2017.5.

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Zafrani, Avishag. "Criticism and Jewish Art." Critique d’art, no. 61 (December 1, 2023): 146–53. http://dx.doi.org/10.4000/critiquedart.109568.

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Sperber, David. "Breaking the Taboo: Ritual Impurity in Israeli and American Jewish Feminist Art." Israel Studies 28, no. 2 (June 2023): 29–55. http://dx.doi.org/10.2979/is.2023.a885228.

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ABSTRACT: The article examines works by two Orthodox artists, an American, Mierle Laderman Ukeles (b. 1939) and an Israeli, Hagit Molgan (b. 1972), both concerned with the Jewish laws and rituals of niddah (menstruation) and tevilah (immersion). The analysis of the similarities and differences between works from two major Jewish centers, Israel and the United States, provides insight into how critical responses in works of art point to complex cultural divides. Scholars and curators of Jewish art tend to examine Jewish-Israeli art as distinct from Jewish art created elsewhere. Due to this disconnect, the relationship between Jewish-Israeli art and its patrons around the world has received little attention before now. Consequently, the discussion of art created in different spaces and times contributes to a richer, more contextualized understanding of diasporic art.
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Dissertations / Theses on the topic "Jewish art"

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Lewy, Mordechay. "Corporeality in Jewish Thought and Art." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2011/5331/.

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The essay compares the dichotomous concepts of corporeality and spirituality in Judaism and Christianity. Through the ages, deviations from normative principles of beliefs could be discerned in both religions. These can be attributed either to the somewhat confrontational interaction between Jews and Christians in the Medieval urban environment or to the impact of Hellenic civilization on both monotheistic religions. Out of this dynamic impact emerged Christian art with a predilection to expressed corporeality, whereas Jewish religiosity found its artistic expression in a spiritual noniconographical mode. A genuine Jewish art and iconography could develop only after a certain degree of assimilation and secularization. Marc Chagall was the first protagonist of a mature expression of Jewish iconography.
Im Essay werden Körperlichkeit und Spiritualität als dichotomes Begriffspaar im Judentum (und Islam) gegenüber dem Christentum verglichen. Im Geschichtsverlauf wurden bei beiden Religionen Abweichungen von den sogenannten normativen Glaubenssätzen festgestellt. Diese können sowohl auf gegenseitige Beeinflussung (Anpassung durch Konfrontation im Mittelalter zwischen Judentum und Christentum) wie auch auf externe Akkulturationsprozesse (Hellenisierungsprozess im antiken Judentum) zurückgeführt werden. Es entsteht ein dynamisches Wechselspiel, wobei in der christlichen Kunst eine allmähliche Verkörperlichung stattfindet, während sich die jüdische Religiosität und der Kunstausdruck auf eine Vergeistigung festlegen. Eine eigenständige jüdische Kunstsprache und Ikonographie konnte allerdings erst nach einem gewissen Assimilationsgrad und Säkularisierungsprozess entstehen. Bei Marc Chagall hatte sie ihre erste Reife erreicht.
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Davidson, Lindy Reznick. "Innovative incorporation of cultural arts in Jewish education : how to enlighten the Jewish community with quality cultural arts programming /." Ann Arbor, Mi : University Microfilms, 2005. http://wwwlib.umi.com/dissertations/fullcit/1427969.

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Tsang, Wing-yi. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40040355.

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Tsang, Wing-yi, and 曾穎怡. "Jewish imagery and orientalism in nineteenth and early twentieth century European art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B40040355.

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Nichol, Richard C. "The art and science of Messianic Jewish preaching." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Manor, Dalia. "Art in Zion : the genesis of modern national art in Jewish Palestine." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398108.

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Béchard-Léauté, Anne. "The contribution of émigré art historians to the British art world after 1933." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/244931.

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The purpose of this Ph.D. thesis on émigré art historians in Britain is not only to show how alien the concept of art history was to the British before 1933, but also to assess and qualify the subsequent practical and theoretical contribution of art historians who immigrated to Britain. These 93 art historians who immigrated to Great Britain after 1933 had a major impact on the British art world. Yet, apart from a few monographs on Sir Ernst Gombrich and Sir Nikolaus Pevsner, no in-depth study has ever been done on this influx of scholars who changed the - picture of art history in Britain and, by extension, worldwide. Part one is a biographical enquiry based on both archival and historical research undertaken in Germany, work done in various private estates and public archives in Britain - the majority of which have never been utilised before - and interviews carried out both in Germany and Britain. It addresses fundamental issues about lewishness and the arts and gives an overview of the stages of Nazi persecution of art-related professions in Central Europe. It then categorises different groups which emerged in Britain between 1933 and 1945, depending on both gender issues and the intellectual background of the emigres. Eventually, it investigates the settlement of émigré art historians in Britain. This involves an analysis of the reasons which led refugee art historians to choose Great Britain as a first exile country. It focuses on help networks, problems of subsistence in a country where art history was under-developed, internment, the role played in the war effort, "Remigration" and, finally, the institutional acceptance of different emigre art historians by British scholars. The second section of my thesis is theoretical. It investigates the intellectual reaction of the émigrés to the British formalist tradition as well as the encounter of British scholars with the Central Europeans' non-aesthetical input. After emigration, some iconographers tried to steer clear of conventional style analysis, Geistesgeschichte or any other method involving criteria based on nationalistic components. It has been noted that émigré art historians took extreme care to winnow out any ideological inflection from their work by undertaking systematic research. However, a case study of the adaptation of the two most prominent emigre art historians emphasises the diversity in this "ideological withdrawal" and demonstrates that emigration was a key factor in their intellectual development. Pevsner's adherence to Hegelian and nationalistic analysis was transformed into a broader international version so as to escape the ideological debate. On the other hand, Gombrich's rejection of systems is an exacerbated phenomenon of the detachment from Hegelian historiography. This part eventually analyses another factor which had a deep influence on the works of the émigrés, i.e. language. Emigration was an important stage in the development of art history as the transfer to a new language helped clarify the art historical terminology of the émigrés. The third part of this thesis sheds some light on the active role of emigre art historians in Britain. It includes substantial work on the influence of the emigres on the structuring of art historical education, a survey of the emigres' new attempts in museology and a study of the unprecedented input of émigré art historians in art collecting, art dealing and art publishing. This thesis shows the extent of the influence of emigre art historians both in intellectual and practical domains. In the realm of theories, the British art theorists acknowledged a need for a more scientific discipline while remaining very attached to their tradition of "art appreciation", and the same phenomenon applied to their attitude towards art-historical education. In the practical arena, the British art scene was also professionalised through this influx of scholars. This Ph.D. thesis concludes that the post-1933 emigration of art historians professionalised the British art world but that this was achieved through a popularisation of the methods and techniques originally imported by the emigres.
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Smith, Dana. "The Jewish Kulturbund in Bavaria, 1934-1938 : art and Jewish self-representation under National Socialism." Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/27224.

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This thesis has two foci: the development of a National Socialist anti-­ Jewish cultural policy and the processes of internal Jewish community cultural self-­representations. At the most basic level it is an organisational history of the Jewish Kulturbund in Bavaria between 1934 and 1938. Ultimately, however, the thesis is about the people: the artists, how they employed certain mediums for specific uses and how these events were received. The Kulturbund was the lone state approved Jewish cultural organisation in Nazi Germany; it was, in other words, the only public space for Jewish cultural performance and consumption. Activity began in Berlin in the summer of 1933 and expanded to cities, towns and villages throughout the country. Unlike the majority of these early branches, however, the Jewish Kulturbund in Bavaria developed independently of Berlin's main offices. Bavarians maintained autonomous control of their cultural league until the autumn of 1935. Organised Bavarian Jewish cultural life was 'liquidated' upon official state orders after 9 November 1938. This thesis analyses the Kulturbund programme as an internal projection of willed identity for Bavarian Jews. Kulturbund events - particularly in the early seasons when National Socialist censorship was ill-defined and haphazardly enforced - reflected the ways its membership chose to stage their own understandings of what it meant, to them, to be 'Jewish'. It was a process of dissimilation and internal community building that helped its membership navigate their experiences of political persecution and social flux. What developed in the Bavarian programme from February 1934 until November 1938 was a representation of 'Jewishness' that was self-described as both religious- and heritage-based with a regional bent.
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COHEN, MARGARET WINTERS. "A NEW TRADITION: JEWISH PORTRAITURE IN SEVENTEENTH-CENTURY AMSTERDAM." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054309065.

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Rosen, Aaron Matthew. "Brushes with the past : art history and Jewish imagination." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612180.

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Books on the topic "Jewish art"

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Associates, Hugh Lauter Levin, ed. Jewish art. [New York]: Hugh Lauter Levin Assoc., Inc, 1995.

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Sed-Rajna, Gabrielle. Jewish art. New York: H.N. Abrams, 1997.

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Baigell, Matthew. American artists, Jewish images. Syracuse, N.Y: Syracuse University Press, 2006.

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Gutmann, Joseph. What can Jewish history learn from Jewish art? New York: The Center for Jewish Studies, Graduate School and University Center, The City University of New York, 1989.

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Kirzner, Yitzchok. The art of Jewish prayer. Northvale, N.J: Jason Aronson, 1991.

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Barbara, Kirshenblatt-Gimblett, and Karp Jonathan 1960-, eds. The art of being Jewish in modern times. Philadelphia: University of Pennsylvania Press, 2008.

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Lipszyc, Wisna. Album żydowski =: Jewish album. Warszawa: Wydawn. Nauk. PWN, 1993.

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Sed-Rajna, Gabrielle. L' art juif. Paris: Presses universitaires de France, 1985.

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Emanuele, Luzzati. Viaggio nel mondo ebraico di Emanuele Luzzati. Genova: Tormena, 2000.

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Workshop on the University Teaching of Jewish Art (1st 1991 Universiṭah ha-ʻIvrit bi-Yerushalayim). Teaching Jewish art in the university. Jerusalem: International Center for University Teaching of Jewish Civilization, 1992.

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Book chapters on the topic "Jewish art"

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Pava, Moses L. "The Art of Ethical Dialogue." In Jewish Ethics as Dialogue, 35–56. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100794_3.

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Levine, Lee I. "The Appearance of Jewish Figural Art." In The Routledge Handbook of Jews and Judaism in Late Antiquity, 338–50. London: Routledge, 2023. http://dx.doi.org/10.4324/9781315280974-27.

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Smith, Dana. "Epilogue." In Jewish Art in Nazi Germany, 188–94. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-12.

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Smith, Dana. "The Final Curtain." In Jewish Art in Nazi Germany, 176–87. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-11.

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Smith, Dana. "A Bavarian Musical Department without Bavarian Musicians." In Jewish Art in Nazi Germany, 132–48. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-9.

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Smith, Dana. "Jewish Music and ‘the Most German of the Arts'." In Jewish Art in Nazi Germany, 72–91. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-5.

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Smith, Dana. "The ‘Kulturbund’ and the ‘Kunststadt’." In Jewish Art in Nazi Germany, 92–109. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-6.

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Smith, Dana. "From Munich to Berlin." In Jewish Art in Nazi Germany, 113–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-8.

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Smith, Dana. "Introduction." In Jewish Art in Nazi Germany, 1–23. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-1.

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Smith, Dana. "Jewish Exclusion from the ‘German’ Cultural Sphere." In Jewish Art in Nazi Germany, 27–49. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-3.

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Conference papers on the topic "Jewish art"

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Su, Jian. "How Does New York Cultural Environment Impact Jewish Theater Production?" In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.031.

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Wang, Zhe. "On the Sources of Saul Bellow’s Sentiments for Jewish Intellectuals." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.011.

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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Tang, Jie, and Changfei Yu. "The Heterotopia of Exile in the Autobiography of Jewish Refugee." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.490.

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Vatamanu, Catalin. "THE VOICE OF GOD AND ITS ANTHROPOMORPHIC REPRESENTATION IN THE JEWISH AND CHRISTIAN ART." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s06.019.

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Cheremnykh, Galina. "The Evolution of the Jewish National Identity in the Work of Ilya Heifetz." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.016.

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Ciocanu, Sergius. "Jewish Cemeteries of the city of Chisinau. Preliminary considerations." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.10.

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Historical documents highlight the existence of three cemeteries belonging to the city’s Jewish community on the territory of today Chisinau. Th e use of two of them, the most ancient, was interrupted in the 19th century. Th e cemeteries were preserved until the middle of the 20th century when they were destroyed by Soviet authorities. Today, in their place are high-rise buildings and private houses. Th e third Jewish historic cemetery was established in 1819. In the middle of the 20th century, the authorities reduced its territory, and a city park was equipped and residential high-rise buildings were built. In 1970, the cemetery was closed. In the last decades of the century, the remaining part of the cemetery fell into degradation. In 1993, according to the decision of the Parliament, the Jewish cemetery was inscribed in the Register of Monuments of the Republic of Moldova Protected by the State. Since 2018, this property has become a branch of the Public Institution Museum of the History of the Jews of the Republic of Moldova.
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"Jewish National Custom and Its Religious Origin." In 2017 International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2017. http://dx.doi.org/10.25236/ssah.2017.23.

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10

"Research on Jewish National Customs and Religious Origins." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.35.

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Reports on the topic "Jewish art"

1

TITOVA, E. FEATURES OF MIGRATION POLICY IN THE JEWISH AUTONOMOUS REGION. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-54-70.

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The article reveals the features of the state mechanism for regulating labor migration in the Jewish Autonomous Region. It is noted that labor migration is an integral part of the economic development of the region. The purpose of the study is the peculiarities of solving the problems of optimizing the mechanisms for regulating labor migration in the Jewish Autonomous Region (JAO). The practical significance of the study is underscored by the growing resource requirements of the Jewish Autonomous Region. The importance of attracting labor migrants from the widest list of countries, to increase the exchange of experience and improve interethnic relations, the organization of programs to increase the flow of willing workers and promising employers, is highlighted. The scientific novelty of the research is in the designation of the latest methods and state programs aimed at improving the efficiency of the labor migration management mechanism. Every year, the number of migrants illegally staying on the territory of Russia is growing, and the authorities of the Russian Federation are trying to improve the methods of control of foreign citizens entering the country, which makes it easier, but at the same time more effective, to exercise control over migrants and distribute it in. areas such as the patent system, employee-to-employer linkage and simplified taxation.
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Yilmaz, Ihsan, and Nicholas Morieson. Nationalism, Religion, and Archaeology: The Civilizational Populism of Benjamin Netanyahu and Likud. European Center for Populism Studies (ECPS), October 2022. http://dx.doi.org/10.55271/pp0015.

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This paper examines civilizational populism in Israel and focuses on the largest and most powerful party in Israel since the 1980s, National Liberal Movement (Likud), and its most significant leader of the past twenty years, the populist politician Benjamin Netanyahu. We show how Netanyahu incorporates ‘civilizationism’ into his populist discourses by, first, using the notion that Jewish civilization predates all others in the region to establish the legitimacy of the state of Israel, the hegemony of Jewish culture within Israel, and at times his own political decisions. Second, through his portrayal of the Arab-Muslim world as an antisemitic and barbaric bloc that, far from being a civilization, threatens Western civilization through its barbarism. Equally, this paper shows how Netanyahu argues that Israel is akin to protective wall that protects Western Civilization from the Islamist barbarians who wish to destroy it, and therefore on this basis calls for Europeans and North Americans to support Israel in its battle for civilization and against “the forces of barbarism.”
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Berger, J. M. A Paler Shade of White: Identity & In-group Critique in James Mason’s Siege. RESOLVE Network, April 2021. http://dx.doi.org/10.37805/remve2021.1.

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Discussions of extremist ideologies naturally focus on how in-groups criticize and attack out-groups. But many important extremist ideological texts are disproportionately focused criticizing their own in-group. This research report will use linkage-based analysis to examine Siege, a White nationalist tract that has played an important role shaping modern neo-Nazi movements, including such violent organizations as Atomwaffen Division and The Base. While Siege strongly attacks out-groups, including Jewish and Black people, the book is overwhelmingly a critique of how the White people of its in-group fall short of Nazi ideals. Siege’s central proposition—that the White in-group is disappointing, deeply corrupt, and complacent—shapes its argument for an “accelerationist” strategy to hasten the collapse of society in order to build something entirely new. Finally, this report briefly reviews comparable extremist texts from other movements to draw insights about how in-group critiques shape extremist strategies. These insights offer policymakers and law enforcement tools to anticipate and counter violent extremist strategies. They also highlight less-obvious avenues for potential counter-extremist interventions and messaging campaigns.
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Kenes, Bulent. Richard B. Spencer: The founder of alt-right presents racism in a chic new outfit. European Center for Populism Studies (ECPS), June 2021. http://dx.doi.org/10.55271/lp0010.

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Richard Bertrand Spencer is a well-groomed, well-educated advocate for the creation of a “white ethno-state” in North America for a “dispossessed white race.” He has also called for “peaceful ethnic cleansing” to halt the “deconstruction” of what he describes as “white culture” and to achieve a “white homeland.” Spencer has become the most recognizable public face of the white supremacist and nationalist movements. As an ardent white supremacist and ethnonationalist, Spencer says America belongs to white people, who he claims have higher average IQs than Hispanics and African Americans, and that the latter are genetically predisposed to crime. In Spencer’s “America,” Asians, Muslims, and Jews don’t qualify as “white” either.
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Velychko, Zoriana, and Roman Sotnyk. LINGUISTIC PRESENTATION AND TERMINOLOGICAL ASPECTS OF THE HOLODOMOR OF THE 1920s AND 1930s. Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12166.

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The article reveals and analyses a wide range of terms for the Holodomor of the 1920s and 1930s in Ukraine. The main objectives of the study are to find out the peculiarities of the linguistic presentation of the Holodomor phenomenon in scientific, popular science, and journalistic discourses, and to reveal semantic differences in the use of various terms for the Holodomor used in different languages. The main methodological bases of the study are linguistic analysis, socio-cultural method, qualitative content analysis, comparative method, etc. The method of retrospection must be used to substantiate the hypothesis. Thus, the reasons for the formation of the semantic contours of the terms “Holodomor”, “Famine”, “Great Famine”, “Terror by Famine”, “Big Hunger”, etc. were clarified. At the same time, the semantic nuances of word use are identified. As a conclusion, the authors substantiate the fundamental importance of using the term “Holodomor-genocide” in scientific circulation as the one that most accurately represents the essence of the historical phenomenon of the Holodomor. Based on the analysis of the documents, the content of the term “genocide” is formulated. It is explained that the Holodomor is genocide of the Ukrainian people, just as the Holocaust is genocide of the Jewish people. The authors prove the anti-Ukrainian orientation of the consistent and deliberate policy of Stalin and his followers against the Ukrainian nation, which culminated in the murder by starvation. These research findings are significant not only for the development of Ukrainian terminology or international terminology. They are also of great importance for modern politics, political science and historiography, and jurisprudence, especially in the context of a new genocide – the Russian Federation’s full-scale war of aggression against Ukraine. Keywords: Holodomor; genocide; Ukraine; Stalin’s terror; terminology.
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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), April 2023. http://dx.doi.org/10.55271/rp0037.

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My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
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Yilmaz, Ihsan, and Nicholas Morieson. Religious populism in Israel: The case of Shas. European Center for Populism Studies (ECPS), March 2022. http://dx.doi.org/10.55271/pp0011.

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Since the 1990s, populism has become increasingly prevalent in Israeli politics. While scholars and commentators have often focused on the populist rhetoric used by Benjamin Netanyahu, his is hardly the only manifestation of populism within Israel. For example, Shas, a right-wing populist party which seeks to represent Sephardic and Haredi interests within Israel, emerged in the 1980s and swiftly became the third largest party in the country, a position it has maintained since the mid 1990s. Shas is unique insofar as it merges religion, populism, and Sephardic and Haredi Jewish identity and culture. Indeed, Shas is not merely a political party, but a religious movement with its own schools and religious network, and it possesses both secular and religious leaders. In this article, we examine the religious populism of Shas and investigate both the manner in which the party constructs Israeli national identity and the rhetoric used by its secular and religious leadership to generate demand for the party’s religious and populist solutions to Israel’s social and economic problems. We show how the party instrumentalizes Sephardic ethnicity and culture and Haredi religious identity, belief, and practice, by first highlighting the relative disadvantages experienced by these communities and positing that Israeli “elites” are the cause of this disadvantaged position. We also show how Shas elevates Sephardic and Haredi identity above all others and claims that the party will restore Sephardic culture to its rightful and privileged place in Israel.
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8

Титаренко, Д. М. Геноцид єврейського населення на Донеччині під час нацистської окупації: деякі дискусійні аспекти проблеми. ДонНУ, 2008. http://dx.doi.org/10.31812/123456789/6496.

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В статье освещены дискуссионные аспекты уничтожения еврейского населения на территории Донецкой области в период нацистской оккупации. Исследование базируется на материалах украинских и российских государственных архивов, архива управления Службы безопасности Украины в Донецкой области, федеральных архивов Германии, воспоминаниях очевидцев. В работе рассматриваются проблемы статистики числа жертв, ответственности вермахта за геноцид, основания и функционирования гетто в Сталино (Юзовке), реакции местного населения на геноцид, содержания антисемитской пропаганды. The article is aimed at characterizing the peculiarities, the most controversial aspects of the destruction of the Jews in the Donets’k oblast during the Nazi occupation. The investigation is based on the materials of the Ukrainian central and oblast’s state archives, the archives of the Security Service of Ukraine (SBU) in Donets’k oblast, the Federal archives of Germany, the state archives of Russian Federation as well as the recollections by eyewitnesses. The problems of the statistics of the sacrifices, the responsibility of the Wehrmacht for the genocide, the conditions of the establishment and functioning of ghetto in Stalino (Iuzivka), the reaction of the local population to the genocide, the essence of the anti-Semitic propaganda are emphasized.
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