Literatura académica sobre el tema "Jewish Occasional services"

The annual International Jewish-Christian Bible Week runs from a Sunday to a Sunday, allowing for the celebration of the Jewish Shabbat and the Christian Sunday by attending one another’s religious services. During the five years covered in this issue, it has been the author’s privilege to offer the sermon on the Saturday morning during the Jewish service. This enables him to explore new perceptions of the texts we have been studying that have arisen during the Week, but also to reflect on broader issues that might have arisen in the multiple interactions – interfaith, intercultural and interpersonal – that have taken place during the Week. Given the occasional negative associations that accompany the word ‘sermon’, I have preferred to use the term ‘epilogues’ to characterise these responses to the texts and experiences of the Week. The term also covers a more imaginative reflection on the Book of Proverbs (Hebrew: mishlei) that we have been studying – a visit to the City of Mishlei.

IN THE mid-seventeenth century the chapel of the Spanish embassy caused considerable concern to the authorities at Whitehall since they were frustrated in preventing scores of Londoners from attending it for masses and other Catholic devotions. This was a distinct issue from the traditional right of a Catholic diplomat in England to provide mass for his household or other compatriots,’ and from the custom of Sephardic Jews to gather in the embassy for Sabbath worship when they desired. While the practice of Londoners to attend mass secretly at the residences of various Catholic diplomats had developed early in the reign of Elizabeth and occasional arrests at their doors had acted as a deterrent, late in the reign of James I sizeable crowds began to frequent the Spanish embassy. John Chamberlain commented in 1621 that Gondomar had ‘almost as many come to his mass’ in the chapel of Ely House as there were attending ‘the sermon at St. Andrewes (Holborn) over against him’. Although Godomar left in 1622 and subsequently the embassy was closed for five years during the Anglo-Spanish War, it was later, from 1630 to 1655, that the Spanish chapel acquired not only a continuous popularity among Catholics of the area but also an unwelcome notoriety in the highest levels of government. This paper will suggest two primary factors which led to that development: the persistent ambition of the resident Spanish diplomats to provide a range of religious services unprecedented in number and character, and their successful adaptation to the hostile political conditions in the capital for a quarter of a century. The continuous Spanish diplomatic presence in London for this long period was in itself both unexpected and unique for it should be recalled that, for various reasons, all the other Catholic ambassadors, whether from France, Venice, Portugal, Savoy or the Empire, had to leave at different times and close their chapels. However, the site of the Spanish residence during these years by no means permanent since, as with other foreign diplomats, a new property was rented by each ambassador on arrival. There is, moreover, a wider significance in this inquiry because of the current evidence that by the eve of the Civil War the king was considered in the House of Commons to have been remiss in guarding his kingdom from a ‘Catholic inspired plot against church and state’, for while it has been well argued that a public disquiet over Henrietta-Maria's chapels at Somerset House and St. James's palace had by 1640 stimulated increasing suspicions of a Popish Plot, there were other protected chapels, particularly the Spanish, where scores of Londoners were seen to attend. Indeed, after the closure of the queen's chapels at Whitehall in 1642, the Spanish remained for the next thirteen years as silent evidence that Catholics seemed to be ‘more numerous’ and were acting ‘more freely than in the past’.

The three key conditions for the existence of a state, according to the theory of state and law, are geographical territory, population and organized political power in that area. However, during the twentieth century in some African and Asian countries, due to various political, economic and other factors, problems began to appear in performance of their basic functions: ensuring public order and peace, providing health services, education. Modern science has introduced the term failed states to describe such countries. This scientific phenomenon has been the subject of numerous researches, and international organizations have been publishing annual indices of fragile, failed or unsuccessful world states for years. The first index of its kind was created in 2005 by the American non-profit organization The Fund for Peace in cooperation with the magazine Foreign Policy, which initially included 76 countries. The original term failed state was considered politically extremely incorrect, even when it referred to countries like South Sudan or Somalia, noting that such a term originated in the political terminology of developed countries by which all other countries at a lower level of development were considered to be failed ones. Therefore, in 2014, a new notion of a fragile state was created, and accordingly the existing index was renamed the Fragile State Index (FSI). This parameter determines the degree of fragility for each country on an annual basis, assessing four basic indicators: cohesion (functionality of the state apparatus), economic (overall economic situation), political (legitimacy of the state, availability of public services, respect for human rights and freedoms) and social (demographic structure of the community, number of displaced persons and refugees, external interventions). Based on the values of these indicators, countries are positioned in four groups: sustainable, stable, endangered and alarming. The paper also discusses Bosnia and Herzegovina as a potentially fragile state. Although it enjoys sovereignty and political independence, the 1995 Dayton Peace Agreement still provides for the strong participation of the international community in the performance of its basic state functions. Examples include the presence of international military and police forces from the early post-war years to the present (EUFOR), with a special emphasis on the position of High Representative for Bosnia and Herzegovina. The peace agreement gave him the status of his supreme interpreter, as well as the well-known Bonn powers that he used on several occasions to remove Bosnian political officials and the imposition of laws (Criminal Code of Bosnia and Herzegovina, Law on the Court of Bosnia and Herzegovina, Law on the Prosecutor's Office of Bosnia and Herzegovina) due to the inability of domestic parliamentary bodies to pass them independently. In addition to the extremely complicated constitutional structure, the functioning of Bosnia and Herzegovina is hampered by the inability to reach an agreement between political representatives on key issues in the country. In the first place, these are much-needed changes to the constitution of Bosnia and Herzegovina that would in the future allow members of minorities (Jews and Roma) to elect their own representatives in the Presidency of Bosnia and Herzegovina. In this regard, the European Court of Human Rights (ECtHR) in 2009 in the case of Sejdić-Finci assessed that the impossibility of minority participation in political decision-making is a gross violation of the European Convention for the Protection of Human Rights and Fundamental Freedoms. Numerous international organizations, primarily Human Rights Watch, have been warning for years about other problems in the country: national segregation of children under two schools under one roof, numerous attacks on Bosniak returnees in Republic of Srpska without adequate sanctions and extreme slowness in war crimes proceedings and the administration of transitional justice with the emergence of increasingly frequent denials of war crimes and victims. Although more than 25 years have passed since the end of the war, the participation of the international factor is still noticeable, and in some cases necessary.

BackgroundResearch shows violence against women likely increases during emergencies. COVID-19’s emergence exacerbated intimate partner violence (IPV), suggesting that healthcare services (HCS) should have increased IPV screening efforts and referrals of victims to support services. However, little is known about the prevalence of IPV screening and information provision during COVID-19 lockdowns.MethodsWe examined prevalence of ‘ever been screened’ (ES) for IPV and ‘receiving information about support services’ (RI) in HCS during COVID-19 lockdowns and compared these among non-immigrant Jewish women, immigrant Jewish and other women, and Palestinian women citizens in Israel. We collected data during Israel’s second and third COVID-19 lockdowns (October 2020–February 2021) using a structured, online, self-administrated Arabic-language and Hebrew-language questionnaire. Eligibility criteria included women ≥18 years old, citizens of Israel, in a current intimate relationship (permanent or occasional) who used social media or smartphones. In total, 519 women completed the survey: 73 Palestinian, 127 Jewish immigrants and others, and 319 non-immigrant Jewish.ResultsOverall, 37.2% of women reported any IPV, of whom just 26.9% reported ES, 39.4% reported RI and 13.5% reported both (ES&RI). Palestinian women reported higher IPV rates (49.3%) compared with non-immigrant Jewish (34.2%) and immigrant Jewish and other (37.8%) women; however, they reported lower ES (OR 0.64, 90% CI (0.34 to 1.86) and RI 0.29 (0.17 to 0.50).ConclusionsIn a survey during COVID-19 lockdowns, only about one-quarter of women who reported IPV were ES for IPV, or RI about support services, suggesting strengthened IPV screening is needed in HCS during emergencies, particularly targeting minority women, who report higher IPV but receive fewer services.

BackgroundAdolescent gynecomastia, a benign proliferation of male breast tissue, can lead to psychological issues during adolescence. The prevalence varies widely (4%−69%). The incidence peaks are during neonatal, pubertal, and senescent periods. Its affect on emotional well-being necessitates understanding and occasional intervention. This study aimed to determine the incidence of gynecomastia among male adolescents aged 12–15 years.MethodsA retrospective cross-sectional study utilized the Clalit Health Care Services database (2008–2021) with a population of approximately 4.5 million. Participants aged 12–15 years were included if diagnosed with gynecomastia (International classification of diseases-9 code 611.1) and having a body mass index (BMI) measurement and no obesity diagnosis (ICD9 code 278.0). Data analysis included incidence rates and associations with ethnicity, age, BMI, and socioeconomic status.Results531,686 participants included with an incidence of 1.08%. Of all participants, 478,140 had a BMI ≤ 25 with an incidence of 0.7%, and 0.25%–0.35% yearly, and 70% of gynecomastia patients were aged 13–14 years. The prevalence of gynecomastia differed between Jews (1.28%) and Arabs (0.67%), but the disparity diminished when socioeconomic status was considered.ConclusionsThis unprecedented Population study establishes a definitive rate of true pubertal gynecomastia, revealing a lower yearly incidence as compared to previous reports. The higher observed prevalence among Jewish adolescents, may be caused due to complex interactions between different influencing factors. Understanding these dynamics can aid in formulating more targeted interventions and policy strategies to address gynecomastia's affect on adolescent well-being.

Summary Mixed cities are defined as ethnically diverse cities located within turbulent contexts of intensive, ongoing intergroup political conflict. As such, they may pose serious challenges to social workers’ efforts to develop culturally competent practices, especially in the public service sector. This article examined social workers’ constructions of cultural competence in the social public services delivered to Arab and Jewish clients in Israeli mixed cities. Based on extensive qualitative data gathered from 80 public social workers in Haifa, Acre, and Jerusalem, this study discusses the strengths and limitations of the cultural competence approach, especially when applied in the context of varying degrees of political conflict. Findings Findings illustrated three approaches to the provision of social welfare services: (1) the “universal” construction, which corresponds to universal and egalitarian value-based approach, by which social work professionalism is claimed sufficient to ensure equal treatment for Israeli Arab and Jewish clients; (2) the “indispensable” cultural approach, which indicates that cultural competence is vital and unavoidable in addressing the ethno-diversity needs of Israeli Arab and Jewish clients in mixed cities; and (3) the “critical” construction, which critiques the cultural competence and universal approaches as lacking the complexity to address the problematic ethno-political nature of mixed city settings. Applications The study proposes to adopt an integrated cultural competence approach that combines vital elements of each discrete construction to guide social workers’ practices in mixed cities. Context-informed priorities may occasionally emphasize some elements and minimize others. Institutional support and training is necessary for the proposition to work.

Introduction Australia has embraced Barbie since the doll was launched at the Toy Fair in Melbourne in 1964, with Mattel Australia established in Melbourne in 1969. Barbie was initially sold in Australia with two different hairstyles and 36 separately boxed outfits. As in the US, the initial launch range was soon followed by a constant stream of additional outfits as well as Barbie’s boyfriend Ken and little sister Skipper, pets, and accessories including her dreamhouse and vehicles. Also released were variously themed Barbies (including those representing different careers and nationalities) and a seemingly ever-expanding group of friends (Gerber; Lord, Forever). These product releases were accompanied by marketing, promotion, and prominent placement in toy, department, and other stores that kept the Barbie line in clear sight of Australian consumers (Hosany) and in the forefront of toy sales for many decades (Burnett). This article focusses on a thread of subversion operating alongside the purchase of these Barbie dolls in Australia, when the phenomenon of handmade ‘do-it-yourself’ intersected with the dolls in the second half of the 1960s. Do-It-Yourself ‘Do-it-yourself’ (often expressed as DIY) has been defined as “anything that people did for themselves” (Gelber 283). The history of DIY has been researched in academic disciplines including sociology, cultural studies, musicology, architecture, marketing, and popular culture. This literature charts DIY practice across such domestic production as making clothes, furniture, and toys, growing food, and home improvements including renovating and even building entire houses (Carter; Fletcher) to more externally facing cultural production including music, art, and publications (Spencer). While DIY behaviour can be motivated by such factors as economic necessity or financial benefit, a lack of product availability or its perceived poor quality, and/or a desire for customisation, it can also be linked to the development of personal identity (Wolf and McQuitty; Williams, “A Lifestyle”; Williams, “Re-thinking”). While some mid-century considerations of DIY as a phenomenon were male-focussed (“Do-It”), women and girls were certainly also active at this time in home renovation, house building, and other projects (‘Arona’), as well as more traditionally gendered handicraft activities such as sewing and knitting. Fig. 1: Australian Home Beautiful magazine cover, November 1958, showing a woman physically engaged in home renovation activities. Australia has a long tradition of women crafting (by sewing, knitting, and crocheting, for instance) items of clothing for themselves and their families, as well as homewares such as waggas (utilitarian quilts made of salvaged or other inexpensive materials such as old blankets and grain sacks) and other quilts (Burke; Gero; Kingston; Thomas). This making was also prompted by a range of reasons, including economic or other necessity and/or the pursuit of creative pleasure, personal wellbeing, or political activism (Fletcher; Green; Lord, Vintage). It is unsurprising, then, that many have also turned their hands to making dolls’ clothes from scraps of fabrics, yarns, ribbons, and other domestic materials, as well as creating entire dolls’ houses complete with furniture and other domestic items (Benson). In the late eighteenth and nineteenth centuries, many Australian dolls themselves were handmade, with settlers and migrants importing European traditions of doll-making and clothing with them (Cramer). In the early twentieth century, mass-produced dolls and clothing became more available and accessible, however handmade dolls’ clothes continued to be made and circulated within families (Elvin and Elvin, The Art; Elvin and Elvin, The Australian). An article in the Weekly in 1933 contained instructions for making both cloth dolls and clothes for them (“Home-Made”), with many such articles to follow. While the 1960s saw increased consumer spending in Australia, this research reveals that this handmade, DIY ethos (at least in relation to dolls) continued through this decade, and afterwards (Carter; Wilson). This making is documented in artefacts in museum and private collections and instructions in women’s magazines, newspapers, and other printed materials including commercially produced patterns and kits. The investigation scans bestselling women’s magazine The Australian Women’s Weekly (the Weekly) and other Australian print media from the 1960s that are digitised in the National Library of Australia’s Trove database for evidence of interest in this practice. Do-It-Yourself Barbie Doll Patterns for Barbie clothes appeared in Australian women’s magazines almost immediately after the doll was for sale in Australia, including in the Weekly from 1965. The first feature included patterns for a series of quite elaborate outfits: a casual knitted jumpsuit with hooded jacket, a knitted three-piece suit of skirt, roll-necked jumper and jacket, a crocheted afternoon dress, tied with a ribbon belt and accessorised with a knitted coat and beret, and a crocheted full length evening gown and opera coat (“Glamorous”). A sense of providing the Weekly’s trusted guidance but also a reliance on makers’ individuality was prominent in this article. Although detailed instructions were provided in the feature above, for example, readers were also encouraged to experiment with yarns and decorative elements. Fig. 2: Crocheted and knitted ‘afternoon ensemble’ in “Glamorous Clothes for Teenage Dolls” feature in the Weekly, 1965. Another richly illustrated article published in 1965 focussed on creating high fashion wigs for Barbie at home. The text and photographs guided readers through the process of crafting five differently styled wigs from one synthetic hair piece: a “romantic, dreamy” Jean Shrimpton-style coiffure, deep-fringed Sassoon hairdo, layered urchin cut, low set evening bun, and pair of pigtails (Irvine, “How”). Again, makers were encouraged to express their creativity and individuality in decorating these hairstyles, with suggestions (but not directions) to personalise these styles using ribbons, tiny bows and artificial flowers, coloured pins, seed pearls, and other objects that might be to hand. Fig. 3: Detailed instructions for creating one of the wigs. Three Barbie dolls (identified as ‘teen dolls’ rather than by the brand) were featured on the cover of the Weekly on 5 January 1966, for a story about making dolls’ outfits from handkerchiefs (Irvine, “New”). This was framed as a “novel” way to use the excess of fancy hankies often received at Christmas, promising that the three ensembles could thriftily and cleverly be made from three handkerchiefs in a few hours. The instructions detail how to make a casual two-piece summer outfit accessorised with a headscarf, a smart town ensemble highlighted with flower motifs cut from broderie anglaise, and a lavish evening gown. Readers were assured this would be an engaging, “marvellous fun” as well as creative activity, as each maker needed to individually design each garment in terms of working with the individual features of the handkerchiefs they had, incorporating such elements as floral or other borders, lace edging, and overall patterns such as spots or checks (Irvine, “New”). The long-sleeved evening gown was quite an ambitious project. The gown was not only fashioned from a fine Irish linen, lace-bordered hankie, meaning some of the cutting and sewing required considerable finesse, but the neckline and hemline were then hand-beaded, as were a circlet of tiny pearls to be worn around the doll’s hair. Such delicacy was required for all outfits, with armholes and necklines for Barbie dolls very small, requiring considerable dexterity in cutting, sewing, and finishing. Fig. 4: Cover of The Australian Women’s Weekly of 5 January 1966 featuring three Barbie dolls. Only two issues later, the magazine ran another Barbie-focussed feature, this time about using oddments found around the home to make accessories for Barbie dolls. Again, the activity is promoted as thrifty and creative: “make teen doll outfits and accessories economically—all you need is imagination and a variety of household oddments” (“Turn”). Included in the full coloured article is a ‘hula’ costume made from a short length of green silk fringe and little artificial flowers sewn together, hats fashioned from a bottle top and silk flower decorated with scraps of lace and ribbon, a cardboard surfboard, aluminium foil and ice cream stick skis, and miniature ribbon-wound coat hangers. This article ended with an announcement commonly associated with calls for readers’ recipes: “what clever ideas have you got? … we will award £5 for every idea used” (“Turn”). This was a considerable prize, representing one-third of the average minimum weekly wage for full-time female workers in Australia in 1966 (ABS 320). Fig. 5: Brightly coloured illustrations making the Weekly’s “Turn Oddments into Gay Accessories”, 1966, a joyful read. This story was reinforced with a short ‘behind the scenes’ piece, which revealed the care and energy that went into its production. This reported that, when posing the ‘hulagirl’ on a fountain in Sydney’s Hyde Park, the doll fell in. While her skirt was rescued by drying in front of a fan, the dye from her lei ran and had to be scrubbed off the doll with abrasive sandsoap and the resulting stain then covered up with make-up. After the photographer built the set (inside this time), the shoot was finally completed (“The Doll”). A week later, the Weekly advertised a needlework kit for three new outfits: a beach ensemble of yellow bikini and sundress, red suit with checked blouse, and blue strapless evening gown. The garment components, with indicated gathering, seam, stitching, and cutting lines, were stamped onto a piece of fine cotton. The kit also included directions “simple enough for the young beginner seamstress” (“Teenage Doll’s”). Priced at 8/6 (85¢ in the new decimal currency introduced that year) including postage, this was a considerable saving when compared to the individual Mattel-branded clothing sets which were sold for sums ranging from 13/6 to 33/6 in 1964 (Burnett). Reader demand for these kits was so high that the supplier was overwhelmed and the magazine had to print an apology regarding delays in dispatching orders (“The Weekly”). Fig. 6: Cotton printed with garments to cut out and sew together and resulting outfits from the Weekly’s “Teenage Doll’s Wardrobe” feature, 1966. This was followed by another kit offer later in the year, this time explicitly promoted to both adult and “little girl” needleworkers. Comprising “cut out, ready to sew [material pieces] … and easy-to-follow step-by-step instructions”, this kit made an embroidered white party dress with matching slip and briefs, checked shorts and top set, and long lace and net trimmed taffeta bridesmaid dress and underclothes (“Three”). Again, at $1.60 for the kit (including postage), this was much more economical (and creative) than purchasing such outfits ready-made. Fig. 7: Party dress from “Three Lovely Outfits for Teenage Dolls” article in the Weekly, 1966. Making dolls’ clothes was an educationally sanctioned activity for girls in Australia, with needlecraft and other home economics subjects commonly taught in schools as a means of learning domestic and professionally transferable skills until the curriculum reforms of the 1970s onwards (Campbell; Cramer; Issacs). In Australia in the 1960s, Barbie dolls (and their clothing and furniture) were recommended for girls aged nine-years-old and older (Dyson), while older girls obviously also continued to interact with the dolls. A 1968 article in the Weekly, for example, praised a 13-year-old girl’s efforts in reinterpreting an adult dress pattern that had appeared in the magazine and sewing this for her Barbie (Dunstan; Forde). It was also suggested that the dolls could be used by girls who designed their own clothes but did not have a full-sized dressmaker’s model, with the advice to use a Barbie model to test a miniature of the design before making up a full-sized garment (“Buy”). Making Things for Barbie Dolls By 9 February 1966, the ‘using oddments’ contest had closed and the Weekly filled two pages with readers’ “resourceful” ideas (“Prizewinning”). These used such domestic bits and pieces as string, wire, cord, cotton reels, egg cartons, old socks, toothpicks, dried leaves, and sticky tape to create a range of Barbie accessories including a mob cap from a doily, hair rollers from cut drinking straws and rubber bands, and a suitcase from a plastic soap container with gold foil locks. A party dress and coat were fashioned from an out-of-date man’s tie and a piece of elastic. There was even a pipe cleaner dog and cardboard guitar. A month later, fifty more winning entries were published in a glossy, eight-page colour insert booklet. This included a range of clothing, accessories, and furniture which celebrated that “imagination and ingenuity, rather than dollars and cents” could equip a teen doll “for any occasion” (“50 Things”, 1). Alongside day, casual, and evening outfits, rainwear, underwear, jewellery, hats, sunglasses, footwear, a beauty case, hat boxes, and a shopping trolley and bags, readers submitted a skilfully fashioned record player with records in a stand as well as a barbeque crafted from tiny concrete blocks, sun lounge, and deckchairs. Miniature accessories included a hairdryer and lace tissue holder with tiny tissues and a skindiving set comprising mask, snorkel, and flippers. The wide variety of negligible-cost materials utilised and how these were fashioned for high effect is as interesting as the results are charming. Fig. 8: Cover of insert booklet of the entries of the 50 winners of the Weekly’s making things for Barbie from oddments competition, 1966. That women were eager to learn to make these miniature fashions and other items is evidenced by some Country Women’s Association groups holding handicraft classes on making clothes and accessories for Barbie dolls (“CWA”). That they were also eager to share the results with others is revealed in how competitions to dress teenage dolls in handmade outfits rapidly also became prominent features of Australian fetes, fairs, agricultural shows, club events, and other community fundraising activities in the 1960s (“Best”; “Bourke”; “Convent”; “Fierce”; “Frolic”; “Gala”; “Guide”; “Measles”; “Parish”; “Personal”; “Pet”; “Present”, “Purim”; “Successful”; “School Fair”; “School Fair Outstanding”; “School Fete”; “Weather”; Yennora”). Dressing Barbie joined other traditional categories such as those to dress baby, bride, national, and bed dolls (the last those dolls dressed in elaborate costumes designed as furniture decorations rather than toys). The teenage doll category at one primary school fete in rural New South Wales in 1967 was so popular that it attracted 50 entries, with many entries in this and other such competitions submitted by children (“Primary”). As the dolls became more prominent, the categories using them became more imaginative, with prizes for Barbie doll tea parties (“From”), for example. The category of dressing Barbie also became segmented with separate prizes for Barbie bride dolls, both sewn and knitted outfits (“Hobby and Pet”) and day, evening, and sports clothes (“Church”). There is no evidence from the sources surveyed that any of this making concentrated on producing career-focussed outfits for Barbie. Do-It-Yourself Ethos A do-it-yourself ethos was evident across the making discussed above. This refers to the possession of attitudes or philosophies that encourage undertaking activities or projects that involve relying on one’s own skills and resources rather than consuming mass-produced goods or using hired professionals or their services. This draws on, and develops, a sense of self-reliance and independence, and uses and enhances problem-solving skills. Creativity is central in terms of experimentation with new ideas, repurposing materials, or finding unconventional solutions to challenges. While DIY projects are often pursued independently and customised to personal preferences, makers also often collaboratively draw on, and share, expertise and resources (Wilson). It is important to note that the Weekly articles discussed above were not disguised advertorials for Barbie dolls or other Mattel products with, throughout the 1960s, the Barbies illustrated in the magazine referred to as ‘teen dolls’ or ‘teenage dolls’. However, despite this and the clear DIY ethos at work, women in Australia could, and did, make such Barbie-related items as commercial ventures. This included local artisanal dressmaking businesses that swiftly added made-to-measure Barbie doll clothes to their ranges (“Arcade”). Some enterprising women sold outfits and accessories they had made through various non-store venues including at home-based parties (“Hobbies”), in the same way as Tupperware products had been sold in Australia since 1961 (Truu). Other women sought sewing, knitting, or crocheting work specifically for Barbie doll clothes in the ‘Work wanted’ classified advertisements at this time (‘Dolls’). Conclusion This investigation has shown that the introduction of the Barbie doll unleashed more than consumer spending in Australia. Alongside purchases of the branded doll, clothes, and associated merchandise, Australians (mostly, but not exclusively, women and girls) utilised (and developed) their skills in sewing, knitting, crochet, and other crafts to make clothes for Barbie. They also displayed significant creativity and ingenuity in using domestic oddments and scraps to craft fashion accessories ranging from hats and bags to sunglasses as well as furniture and many of the other accoutrements of daily life in the second half of the 1960s in Australia. This making appears to have been prompted by a range of motivations including thrift and the real pleasures gained in crafting these miniature garments and objects. While the reception of these outfits and other items is not recorded in the publications sourced during this research, this scan of the Weekly and other publications revealed that children did love these dolls and value their wardrobes. In a description of the effects of a sudden, severe flood which affected her home south of Cairns in North Queensland, for instance, one woman described how amid the drama and terror, one little girl she knew packed up only “her teenage doll and its clothes” to take with her (Johnstone 9). The emotional connection felt to these dolls and handcrafted clothes and other objects is a rich area for research which is outside the scope of this article. Whether adult production was all ultimately intended to be gifted (or purchased) for children, or whether some was the work of early adult Barbie collectors, is also outside the scope of the research conducted for this project. As most of the evidence for this article was sourced from The Australian Women’s Weekly, a similarly close study of other magazines during the 1960s, and of whether any DIY clothing for Barbie also included career-focussed outfits, would add more information and nuance to these findings. This investigation has also concentrated on what happened in Australia during the second half of the 1960s, rather than in following decades. It has also not examined the DIY phenomenon of salvaging and refurbishing damaged Barbie dolls or otherwise altering and customising their appearance in the Australian context. These topics, as well as a full exploration of how women used Barbie dolls in their own commercial ventures, are all rich fields for further research both in terms of practice in Australia and how they were represented in popular and other media. Alongside the global outpouring of admiration for Barbie as a global icon and the success of the recent live action Barbie movie (Aguirre; Derrick), significant scholarship and other commentary have long criticised what Barbie has presented, and continues to present, to the world in terms of her body shape, race, activities, and career choices (Tulinski), as well as the pollution generated by the production and disposal of these dolls (“Feminist”; Pears). An additional line of what can be identified as resistance to the consumer-focussed commercialism of Barbie, in terms of making her clothes and accessories, seems to be connected to do-it-yourself culture. The exploration of handmade Barbie doll clothes and accessories in this article reveals, however, that what may at first appear to reflect a simple anti-commercial, frugal, ‘make do’ approach is more complex in terms of how it intersects with real people and their activities. 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This concluding chapter explains how it was no surprise that Christian artisans did not shy away from decorating Jewish objects for devotional purposes. When exceptional situations like the movement of the artisans' services back and forth are observed, instances of peaceful exchange and probably even friendly coexistence, even if ephemeral, do emerge. Such “moments of grace” did not occur only among members of the artistic community. While a mass of documentation records the hostility and violence that marked Christian–Jewish relationships during these centuries, instances of tolerance surface in the documents as well, if only occasionally. The chapter contends that in the future, more rich archives are sure to reveal information about cordial Jewish relationships between Jews and Christians in past centuries.

This chapter examines the emergence of expulsion as a political practice in England. It considers the shifting logics that inspired and justified the forced removal of Jews and foreigners from the accession of Henry II in the mid-twelfth century through the long reign of his grandson Henry III. On at least three occasions in the early thirteenth century, King Henry III declared that Jewish residence in England rested on the Jews' ongoing fiscal service to him. In two instances, furthermore, he asserted outright that those Jews who were too poor to satisfy his demands were to be expelled from the realm. This series of events reflects the intersection of two distinct frameworks by which medieval Christians understood the place of Jews within their society: servitude and foreignness. It is worth emphasizing that the early growth of Jewish lending occurred alongside Christian moneylending, not as a response to its absence. For all that the anti-Jewish assaults of the late twelfth century were amplified by economic factors, it is not until the ousting of Leicester's Jewish community that one finds English authorities openly invoking usury to justify expulsion. The chapter then looks at the extortion and expulsion of Italian merchant-bankers.

This chapter explores and challenges the basis for modern criticism against Jewish leaders in the Middle Ages. It then reviews the work of one of the most important rabbinic figures in that perilous time, Rabbi Isaac Aboab, focusing especially on the texts of his sermons. Aboab left Spain for Portugal in the summer of 1492 and died less than a year later. Aboab's stature as one of the most important talmudists of his generation is attested by many. There is clear evidence that Aboab took preaching seriously, reflecting on the techniques and conventions of the art, occasionally preaching twice on the same sabbath (at Shaharit and Minhah services), delivering wedding sermons and eulogies as well as the expected sermons for Shabat Hagadol and Shabat Shuvah (the sabbaths immediately preceding Passover and Yom Kippur, respectively).

Joseph Roth was an Austrian-Jewish journalist and novelist. He was born in the shtetl of Brody, near Lemberg (Lviv, Lvov) in Galicia, in the easternmost part of the Austro-Hungarian Empire. Quitting his studies in philosophy and German literature in Lemberg and Vienna, he volunteered for the army in 1916. During military service he started reporting for various periodicals. After moving to Berlin in 1920, he achieved success as a socially engaged journalist, occasionally writing as ‘Der rote Roth’. He wrote for Die neue Berliner Zeitung, the Berliner Börsen-Courier, the social democratic newspaper Vorwärts, and the renowned liberal Frankfurter Zeitung, for which he reported from all over Europe.

By the mid-1980s, the Leipziger Synagogalchor fulfilled its function as Chor des Verbandes and also traveled abroad as part of GDR’s diplomatic visits strategy. Instrumentalized in foreign politics, in actuality Jewish culture became a metaphor for absence. The Karl-Marx-Stadt community counted no more than a dozen members and it is surprising that services took place at all, even if occasionally. Magdeburg and Halle began to jointly celebrate Passover. To counteract their desolate situation, communities relied on established outsiders for special events. The Leipziger Synagogalchor’s political exploitation became ever more transparent when in January 1987 the Leipzig office of Foreign Information developed a concept for a ten-minute film feature of the choir for export to non-socialist countries.

Abstract Paul comes before the believers at Rome as slave of the Messiah, Jesus (1.1). (Throughout what follows, the use of boldface type in the main text [not footnotes] is intended to indicate a quotation from the part of Romans under discussion. Italic boldface indicates that Paul is citing or alluding to the LXX.) For those attuned to the Scriptures, the word slave at once ties Paul to the Jewish and scriptural tradition of those who belong to God (compare LXX Judg. 2.8, 4 Kingd. 18.12, Jer. 7.25, Isa. 49.3). The notion of being “slave of the god” (though not common) is also occasionally found in pagan contexts. Lucius Apuleius, after his deliverance by the grace of Isis, rejoices that he has begun to be “slave to the goddess” and is in his turn exhorted to accept willingly “the yoke of service” (Metamorphoses 11.15).