Relevant bibliographies by topics / Yiddish Literary and Dramatic Society

Academic literature on the topic 'Yiddish Literary and Dramatic Society'

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Published: 27 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Yiddish Literary and Dramatic Society"

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Reiser, Daniel. "The Sanctification of Yiddish among Hasidim." AJS Review 44, no. 1 (January 31, 2020): 163–81. http://dx.doi.org/10.1017/s036400941900093x.

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AbstractThe sanctification of Yiddish in hasidic society occurred primarily in the first half of the twentieth century and intensified in the wake of the Holocaust. The roots of this phenomenon, however, lie in the beginnings of Hasidism in the eighteenth century. The veneration of Yiddish is linked to the hasidic attitude towards vernacular language and the status of the ẓaddik “speaking Torah.” Hasidism represented—and represents—an oral culture in which the verbal transfer of its sacred content sanctifies the language spoken by its adherents, in this case, Yiddish. This article presents a theological and sociological examination of the various stages of the sanctification of Yiddish among Hasidim from the movement's early stages to the late twentieth century.
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Lederhendler, Eli. "Against the Tide: The American Hebrew Yearbook, 1930–1949." AJS Review 17, no. 1 (1992): 51–82. http://dx.doi.org/10.1017/s0364009400011958.

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Despite the survival of Hebrew as a language of prayer, and the pockets of Hebrew and Yiddish readers and speakers that exist in America today, American Jewry is overwhelmingly English-oriented in its cultural endeavors as well as everyday communication. That is one of the measures of American Jewry's successful integration in American society, and may thus be regarded as one of its achievements.
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Yeghiazarian, Torange. "Dramatic Defiance in Tehran." TDR/The Drama Review 56, no. 1 (March 2012): 77–92. http://dx.doi.org/10.1162/dram_a_00144.

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Abramson, Glenda. "Israeli Drama and the Bible: Kings on the Stage." AJS Review 28, no. 1 (April 2004): 63–82. http://dx.doi.org/10.1017/s0364009404000054.

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Drama is the most neglected genre within Hebrew cultural development. In fact, until shortly before the foundation of the State of Israel, few plays in Hebrew had been staged. Although a large number of works in dramatic form had been written, particularly in the nineteenth century, few of them were viable theatrical dramas. They fell into the categories of rhetoric and allegory, devoid of believable dramatis personae. There were some milestones along the way, such as Somi's Zahut Bedihuta de-Kiddushin (An Eloquent Marriage Farce, c. 1600), Luzzatto's Leyesharim tehilla (Praise for the Righteous, 1743), and some modern plays, but these were not sufficiently feasible for the establishment of a dramatic tradition. An important factor qualifying the late development of Hebrew drama was the language, for within the communities' diglossia throughout the ages, Hebrew was reserved for more elevated discourse than playacting. Moreover, Hebrew, the language of the sacred texts, was inadequate for the expression of everyday life. Nowhere in the diaspora was there a Hebrew-speaking audience; there was no folk life in Hebrew as there was in Yiddish. Also, the potential playwrights were faced with the problem of the divine imperative in Jewish history, which precludes anything like the theodicy that gave rise to classical tragedy. Other religious restrictions against certain forms of representation, together with the small value Jewish religious authorities traditionally placed on theatre for its own sake, were also crucial factors mitigating against the drama's development.
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Saad Mansour, Dalia. "Antigone's Law: A Contemporary Dramatic Egyptian Version." British Journal of Translation, Linguistics and Literature 3, no. 1 (February 20, 2023): 50–51. http://dx.doi.org/10.54848/bjtll.v3i1.53.

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In the context of the adapted literary works, I watched a distinguished dramatic performance entitled Antigone's Law - a version of the ancient Greek Sophoclean play Antigone. The dramatic performance is the graduation project of a student at The American University in Cairo. The student acts with her colleagues in this dramatic performance directed by Dr. Dina Amin - the theatre professor at the American University in Cairo. The performance could be considered an Egyptian version rather than a literal adaptation as it embeds so many layers of meanings and different sociological dimensions that reflect the current Egyptian society.
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Tang, Ziqing. "The Thematic Interpretation of Robert Brownings Renaissance Dramatic Monologue." Communications in Humanities Research 19, no. 1 (December 7, 2023): 141–47. http://dx.doi.org/10.54254/2753-7064/19/20231219.

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Robert Brownings dramatic monologue is a unique form in British Victorian literature. Its unique style reflects various characteristics of that time, and therefore, by analyzing Brownings dramatic monologues, various aspects of Victorian society and culture, as well as individual roles and struggles, can be deeply understood. Moreover, Brownings works provide rich materials and profound thinking for literary research, and hold an important position in the field of literature. In order to better explain the styles of his works, this article provides an in-depth analysis of Brownings two famous poems, My Last Duchess and The Bishop Orders His Tomb at Saint Praxeds Church. These current article examine characters, themes, and historical backgrounds, showcasing Brownings unique approach to Renaissance content. In addition, this study compared Brownings Renaissance dramatic monologues with three Renaissance poets: Shakespeare , John Milton and William Wordsworth , this comparative analysis highlights the uniqueness of Brownings perspective, the differences in understanding the Renaissance compared to his predecessors, and his contribution to the genre of dramatic monologues. In summary, this study aims to reveal Robert Brownings artistic views and the subtle differences in themes in his Renaissance dramatic monologues. It provides an understanding of Brownings unique position in literary schools and his contributions to the literary world.
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Hurrell, Janet. "THE COLLECTIVE ADMINISTRATION OF LITERARY AND DRAMATIC RIGHTS — AUTHORS' LICENSING AND COLLECTING SOCIETY (ALCS)." Library Management 9, no. 3 (March 1988): 22–24. http://dx.doi.org/10.1108/eb054907.

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Menke, Timm, and Carol Anne Costabile-Heming. "Intertextual Exile. Volker. Braun's Dramatic Re-Vision of GDR Society." German Quarterly 72, no. 2 (1999): 208. http://dx.doi.org/10.2307/408393.

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Senthil Kumar.S and Puthiyarasu.P. "Women in the Drama of Girish Karnad With Reference Yayati & Hayavadana." INTERNATIONAL JOURNAL OF SCIENCE TECHNOLOGY AND HUMANITIES 2, no. 2 (October 30, 2015): 55–58. http://dx.doi.org/10.26524/ijsth55.

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Drama constitutes an integral part of any civilized society. It is true that the dramatic instinct is quite universal. The theatre whether in the sacred or the secular from has never failed holds its powerful appeal to men. Undeniably every nation and every race has its own dramatic history. Drama as the best from of literary composition mirrors the social, political and cultural history of a people and him characteristic nature of the genius of any nation cannot be fully comprehended and appreciated without its study.
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Kellman, Steven. "Multilingual Literature of the United States." Polylinguality and Transcultural Practices 19, no. 1 (March 16, 2022): 19–27. http://dx.doi.org/10.22363/2618-897x-2022-19-1-19-27.

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Like the Russian Federation, the United States is a multilingual, multicultural society. A nation of immigrants and indigenous peoples, it has produced a rich body of literature in dozens of languages in addition to English that scholars have only in recent decades begun to pay attention to. Of particular note are texts in Spanish, Yiddish, Chinese, French, Hebrew, German, Arabic, Norwegian, Welsh, Greek, Turkish, Italian, Korean, Polish, Portuguese, Russian, Vietnamese and numerous American Indian languages. In this paper we observe the most significant texts of multilingual American literature. The corpus of literary works shows us, that despite Americans pervasive and enduring xenolinguaphobia - aversion to other languages - the United States, like other large countries, is a heterogeneous amalgam. Ignoring the variety of works written in languages other than English impoverishes the national culture and handicaps serious readers.
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Books on the topic "Yiddish Literary and Dramatic Society"

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Yiddish Literary and Dramatic Society. Yiddish literary and dramatic society. South Africa: [s.n.], 2006.

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Barber, C. L. Shakespeare's Festive Comedy: A Study of Dramatic Form and Its Relation to Social Custom. Princeton, N.J: Princeton University Press, 2012.

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Shakespeare, William. The Tragedy of Romeo and Juliet: With new dramatic criticism and an updated bibliography. Edited by J. A. Bryant Jr. New York, USA: New American Library, 1987.

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Pavlovich, Chekhov Anton. Cherry orchard: A comedy in four acts. New York: Dramatists Play Service, 2017.

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Pavlovich, Chekhov Anton. Vishnevyi sad =: The cherry orchard. London: Bristol Classical Press, 1992.

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Pavlovich, Chekhov Anton. The Cherry Orchard: A comedy in four acts. New York: Theatre Communications Group, 2015.

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Pavlovich, Chekhov Anton. The cherry orchard: A comedy in four acts. London: Sovereign, 2012.

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Pavlovich, Chekhov Anton. The cherry orchard: A comedy in four acts. 2nd ed. New York: Dramatists Play Service, 1995.

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Pavlovich, Chekhov Anton. The cherry orchard. London: Faber and Faber, 1989.

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Pavlovich, Chekhov Anton. The cherry orchard: A comedy in four acts. London: Methuen Drama, 1995.

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Book chapters on the topic "Yiddish Literary and Dramatic Society"

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Bauer, Thomas. "Dominique Braga’s Literary Stride." In Pour le Sport, 145–56. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856899.003.0007.

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Cynthia Laborde investigates the representation of sports in children’s literature, especially in the stories about le Petit Nicolas and his friends, published as a series of books from 1960 to 1965 by author René Goscinny and illustrator Jean-Jacques Sempé. Her analysis focuses both on gender roles and on differences between adults’ and children’s views of athletic activities, using Barthes’ Mythologies and Of Sports and Men as reference points, and situating the stories within the social and cultural context of post-World War II France. She suggests that during this period—when urbanization produced rapid and dramatic changes in French society, as traditional communities were dismantled with families relocating to city centres in search of employment—sports provided a means of establishing a sense of community for children and adults alike. Sports also reflected and reinforced binary gender roles, and Laborde shows how Nicholas learns these gender performances through his parents’ actions and assertions about sports. She argues that the representation of sports throughout the Le Petit Nicolas series is characterized by a tension between two views: that of adults, for whom sports are a serious endeavour; and that of children, who do not distinguish between the game and real life.
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Stampfer, Shaul. "Literacy among Jews in Eastern Europe in the Modern Period." In Families, Rabbis and Education, 190–210. Liverpool University Press, 2010. http://dx.doi.org/10.3828/liverpool/9781874774853.003.0010.

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This chapter describes the literacy of the Jews of eastern Europe in the modern period. This is an interesting topic because, on the one hand, these Jews were heirs to a long tradition of literacy. At the same time, they lived in a multilingual world. In that society, Jews usually spoke Yiddish to each other; prayed in Hebrew; came into contact with bureaucrats who spoke the languages of rulers such as Russian or German; and dealt with customers and clients who spoke Polish, Ukrainian, Lithuanian, and Belorussian. Most of the latter were oppressed languages with limited possibilities for publication and literary expression. Thus, when considering the literacy of east European Jews, one has to consider literacy in their vernacular (Yiddish), in their literary language (Hebrew), and also in non-Jewish languages. Literacy in the first two categories is significant as a reflection of cultural patterns and exposure to the written word. Meanwhile, literacy in the last category is a reflection both of acculturation and exposure or openness to general culture and society.
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Billington, Sandra. "Kings of Winter Festive Groups." In Mock Kings in Medieval Society And Renaissance Drama, 30–54. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198119678.003.0003.

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Abstract French medieval society was prolific in producing festive kings, who were elevated to their temporary eminence according to one of the two alternative ways that real kings were exalted; either by election or by fortune. Literary and dramatic confraternities appointed kings to lead them in both serious, learned debates and satirical sotties, while minstrel brotherhoods were governed by a king appointed from outside. In the church at New Year, a chief fool was elected as king, or rex stultorum, and, at Twelfth Night in kings’ courts, a rex fabarum was selected through the chance portion of cake containing the bean. Some of these Norman customs took root in the English court. I 277 is the earliest known date when a king of the minstrels.
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Gollance, Sonia. "The Choreography of Acculturation." In It Could Lead to Dancing, 16–41. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613492.003.0002.

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The prohibition on men and women dancing together was derived from biblical precedent and Jewish laws regulating sexual behavior. While even traditional communities had varied interpretations of what mixed-sex dancing entailed, in literature such boundaries were frequently transgressed. Where rabbinic condemnations of mixed-sex dancing before 1780 emphasize the connection between dancing and forbidden sexual behavior, later and more literary texts use dance to discuss influences from outside of the Jewish community. Writers utilized dance as a metaphor for Jewish modernity, which communicates their concerns with society while entertaining their readers. German Jewish and Yiddish literature targeted readerships that often differed in terms of class background and knowledge of Jewish tradition, yet they shared a fascination with literary dance scenes.
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Campbell, Julie D. "At Play in Italy and France." In Women, Entertainment, and Precursors of the French Salon, 1532–1615. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728652_ch01.

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Italian ludic literary society influenced characteristics of sixteenth- and seventeenth-century société mondaine in France. Giambattista Marino, invited to France by Marie de’ Medici, served as a go-between for Italian and French seventeenth-century salon society. The queen’s marriage and patronage practices reflect sixteenth-century transnational exchanges of powerful women through marriage, as well as their patronage of poets and scholars. Such women’s tastes in literary, intellectual, and dramatic entertainments, as well as modes of ludic social interaction, proved sufficiently popular to endure into the seventeenth century, illustrating Bernard Suits’s notion that games people play are harbingers of things to come and Roger Caillois’s observation that the principles of games are often accepted and reflected in the larger culture.
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Baecker, Ronald M. "Free speech, politics, and government." In Computers and Society. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827085.003.0010.

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Politics and government are undergoing dramatic changes through the advent of new technology. The early developers of community networks (mentioned in Section 1.2) had hopeful visions of information technology (IT)-facilitating participatory democracy. Yet the most memorable visions have been literary dystopias, where surveillance is omnipresent and governments have absolute control. We shall begin by highlighting some of these important writings. We shall then consider a current and present topic—the cultural and legal frameworks governing free speech and other forms of expression on the internet. We review several kinds of ‘undesirable’ speech that test our commitment to free speech—messages that are viewed as obscene, hateful, seditious, or encouraging of terrorism. Next, we examine methods governments worldwide use to censor web content and prevent digital transmission of messages of which they disapprove, as well as a similar role for social media firms in what is now known as content moderation. We shall also mention one new form of rampant and very harmful internet speech— fake news. Fake news becomes especially troubling when it is released into and retransmitted widely into filter bubbles that select these messages and echo chambers that focus and sensationalize such points of view to the exclusion of other contradictory ideas. The prevalence and dangers of fake news became obvious during post facto analyses of the 2016 US presidential campaign. The internet and social media enable greater civic participation, which is usually called e-democracy or civic tech. Most such uses of social media are relatively benign, as in online deliberations about the desired size of a bond issue, or internet lobbying to get libraries to stay open longer during the summer. However, for more significant issues, such as violations of fundamental human rights, or unpopular political decisions that incite public unrest, social media communications may facilitate political protest that can lead to political change. IT also plays a role in elections—social media can be used to mobilize the electorate and build enthusiasm for a candidate. Correspondingly, surveys and big data are used to target potential voters during political campaigns and to tailor specific messages to key voters.
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Sinkoff, Nancy. "Strategy and Ruse in the Haskalah of Mendel Lefin of Satanow." In New Perspectives on the Haskalah, 86–102. Liverpool University Press, 2001. http://dx.doi.org/10.3828/liverpool/9781874774617.003.0006.

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This chapter focuses on Menahem Mendel Lefin of Satanow, a fascinating maskil, who was a link between the German and the east European Haskalah. Because he often wrote in Yiddish, he has usually been seen as a populist who advanced the maskilim's criticism of east European Jewish life and culture. He attacked the intoxication with mysticism, became involved in the literary battle against hasidism, and proposed the maskilim as leaders who could heal the ills of Jewish society. In contrast to the view of Lefin as a populist, which was rooted in earlier scholarship's nationalist bias, the chapter notes his sophisticated use of literary strategies aimed at different audiences according to the language of the text. It illustrates these strategies in an analysis of a text written for his fellow Jews; an adaptation and translation of a travel story in the New World meant as a tool of social criticism and anti-hasidic polemics; and also in a text written for a wider audience, an anonymous French memorandum that Lefin submitted to the Polish Sejm in 1791.
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Prushkovska, Iryna. "TURKISH TRANSLATIONS OF SHAKESPEARE’S WORKS: LITERARY INTEGRATION." In European vector of development of the modern scientific researches. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-077-3-18.

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The article is devoted to the analysis of the functioning of Turkish translations of Shakespeare's poetry and dramaturgy, the formation of a holistic picture of the stages of discovery of Shakespeare by the Turks. The aim of the study is to identify and present the main points related to the transfer of Shakespeare's word into Turkish culture through translations from European languages. The proposed study is focused on translation aspects, as translation has become the first link in the dialogue between English and Turkish literature during the contact and interaction of Turkish literature with the Western, the processes of familiarization of the Shakespeare with the Turks, the perception and reproduction of Shakespeare's creativity on Turkish soil. In this study we used such methods as the cultural-historical method, which focuses on the translation of Shakespeare's works in relation to the cultural-historical development of Turkish society; a comparative method aimed at comparing the original sonnets and dramas of Shakespeare with translations into Turkish; receptive-aesthetic method, focused on focusing on how the pictorial and expressive artistic means of Shakespeare's works in Turkish translations are projected on the recipient (reader), convey to him the author's idea. Particular attention is focused on the translation analysis of some sonnets and dramas. Working with factual material revealed the basic prerequisites for entry into the Turkish literature of Shakespeare's works (Divan literature, the period of reforms), made it possible to characterize the first stage of translation studies – namely, the translation of Shakespeare through the prism of the French language, and accordingly the translation from the French language. As a result, we conclude that no artistic translation, especially poetic one, can be definitive, since there are always unrealized reserves of the original hidden in the multifacetedness of its associative relations. And each translation is only a certain link, the voicing of voices in the process of functioning of the artistic image. This can be explained by the considerable number of translations in Turkish of both the poetic and dramatic works of Shakespeare from the second half of the 19th century to the present. Also the great potential of the Turkish youth in the translation field has been revealed, which is certainly facilitated by the popularity of English and literature in higher education. institutions.
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Fargnoli, Nicholas, and Michael Patrick Gillespie. "I." In James Joyce A To Z, 107–14. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195110296.003.0009.

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Abstract Ibsen, Henrik (1828-1906) Norwegian dramatist, widely acknowledged as the first great modern playwright. Ibsen’s emphasis on psychological drama in his plays from Brand (1866) through When We Dead Awaken (1899) radically reconstituted contemporary expectations about dramatic form. As early as his student days at BELVEDERE COLLEGE, Joyce demonstrated an outspoken enthusiasm for Ibsen’s plays and for the reconsideration of artistic premises that they demanded. Despite the intellectual conservatism of the school, Joyce sustained this ardor throughout his years at UNIVERSITY COLLEGE, DUBLIN. On 20 January 1900, Joyce read before the LITERARY AND HISTORICAL SOCIETY of University College an essay entitled “DRAMA AND LIFE,” which showed the impact upon him of Ibsen and of advanced continental artistic thinking generally.
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Yuhan, Nataliia. "VIOLENCE IN YOUTH ENVIRONMENT AS A SOCIO-PSYCHOLOGICAL PHENOMENON (BASED ON GERMAN-LANGUAGE DRAMATURGY OF THE 2010S)." In Science, technology and innovation in the modern world. Publishing House “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-364-4-23.

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The topic of violence and aggression is extremely relevant in modern society. It provokes the scientific reflection of scholars and practitioners in various fields (political scientists, psychologists, philosophers, cultural scientists, sociologists, philologists, theater experts) and it finds vivid reflection in modern drama. The purpose of this work is to study the author's interpretations of the causes and consequences of violence in the youth environment based on German-language dramatic works of the 2010s. The resolution of this research task determines the logic of presenting the material in this part of the collaborative monograph. We describe the socio-psychological basis of violence from the perspectives of social psychology, philosophy, sociology, political science, etc. The peculiarities of socio-psychological causes and consequences of youth aggression and violence conceptually substantiated by playwrights in artistic texts are investigated. The research methodology is based on an interdisciplinary approach and literary methods, including a holistic analysis of a literary work, descriptive, systemic-analytical, hermeneutic, receptive methods, the method of semantic interpretation, feminist, and multicultural approaches to the study of the text. The results of the researchshow that the problem of violence in German-language drama of the 2010s received an original author's artistic interpretation, based on a deep study of the socio-psychological foundations of such deviant behavior among young people. It is considered by modern playwrights in different aspects: the uncontrolled aggression of a teenage murderer in a school shooting situation, a robbery attack carried out by teenagers from disadvantaged families; the abuse and murder of a disabled young man by skinheads and neo-Nazis; violence against women based on national cultural differences and stereotypes in a multicultural environment; school bullying and cyberbullying; partner's sexual aggression and family violence. Modern playwrights look for the basis of antisocial behavior not only in society and in the family, but also in collective memory and national archetypes. Representatives of postmodernism and the dramaturgy of "new realism" explore the theme of violence in the genres of documentary (verbatim), psychological drama, turn to the traditions of experimental, "post-dramatic", "station" theaters, "theater in a classroom", combining in dramatic texts the realism of the image with bright conventionality. Practical implications. Materials and conclusions can be the basis of lecture courses and textbooks on the history of modern German-language literature, as well as can be used in psycho-corrective and psychological-prophylactic work with adolescents and young people. The value/originality of this work lies in the fact that it has a scientific novelty: in modern literary studies, until now, no attempt has been made to comprehensively and systematically (in an interdisciplinary context) analyze the problem of violence in German-language drama of the 2010s.
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Conference papers on the topic "Yiddish Literary and Dramatic Society"

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Krupchanov, A. "THE THEME OF DEATH IN THE LITERARY WORKS OF YU.M. POLYAKOV." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3742.rus_lit_20-21/265-269.

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The themes of life and death, love and death, creativity and death, social upheavals and death are key in the writer's work. In the early period of his work, for example, in the novella One Hundred Days Before the Order (1980, published 1987), the final scene does not give a verydefinite answer - the soldier found in the ditch is either asleep or dead. The final remains open. In the works of the 1990s, the theme of death can be resolved both satirically (The Goat in the Milk (1994, published 1995)), tragic (The Sky of the Fallen (1997)) and dramatic (The Voroshilovsky Rifleman (1999)). At the turn of the 2000s and in the early 2000s, the writer used artistic techniques (metatext, Deus ex machina) that made it possible to “cancel” the physical death of the main characters (“I Plotted an Escape” (1999) and “The Mushroom King, or 36 Hours in the Life of an Almost Lonely Man” (2005)). This does not cancel the hero's severe moral crisis, but it preserves the possibility of positive changes. The novel the Plaster Trumpeter (2008-2022) is also a metatext. The writer dwells on such aspects as the attitude to death in society, the death of historical figures, death as an existential philosophical phenomenon, death and art. Death becomes almost the only irrevocable and authentic phenomenon in the life of a modern person surrounded by mirages. An important clarification of the author's position, in comparison with his previous work, can be considered the emphasis on the fact that art, regardless of whether it shows the physical death of a person or not, should help him to abandon mirages, see the truth and give hope to overcome at least moral death.
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