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Autore: Grafiati

Pubblicato: 26 luglio 2024

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1

Nitza Davidovitch, Nitza, e Eyal Lewin. "The Polish-Jewish Lethal Polka Dance". Journal of Education Culture and Society 10, n. 2 (2 settembre 2019): 15–31. http://dx.doi.org/10.15503/jecs20192.15.31.

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Aim. This paper analyses the inherent paradoxes of Jewish-Polish relations. It portrays the main beliefs that construct the contradicting narratives of the Holocaust, trying to weigh which of them is closer to the historic truth. It seeks for an answer to the question whether the Polish people were brothers-in-fate, victimized like the Jews by the Nazis, or if they were rather a hostile ethnic group. Concept. First, the notion of Poland as a haven for Jews throughout history is conveyed. This historical review shows that the Polish people as a nation have always been most tolerant towards the Jews and that anti-Semitism has existed only on the margins of society. Next, the opposite account is brought, relying on literature that shows that one thousand years of Jewish residence in Poland were also a thousand years of constant friction, with continuous hatred towards the Jews. Consequently, different accounts of World War II are presented – one shows how the Polish people were the victims, and the others deal with Poles as by-standers and as perpetrators. Results and conclusion. Inconsistency remains the strongest consistency of the relations between Jews and Poles. With the unresolved puzzle of whether the Polish people were victims, bystanders or perpetrators, this paper concludes with some comments on Israeli domestic political and educational attitudes towards Poland, that eventually influence collective concepts. Cognitive value. The fact that the issue of the Israeli-Polish relationship has not been deeply inquired, seems to attest to the reluctance of both sides to deal with what seems to form an open wound. At the same time, the revival of Jewish culture in Poland shows that, today more than ever, the Polish people are reaching out to Israelis, and are willing to deal with history at an unprecedented level. As Israelis who wish to promote universal values, a significant encounter with the Polish people may constitute a door to acceptance and understanding of others. Such acceptance can only stem from mutual discourse and physical proximity between the two peoples.

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BAĞIROVA, G. M. "ROMAN QARİNİN “ÇİNGİZ XAİMANIN RƏQSİ” ROMANINDA POSTMODERNİST ELEMENTLƏR". Actual Problems of study of humanities 2, n. 2024 (15 luglio 2024): 115–19. http://dx.doi.org/10.62021/0026-0028.2024.2.115.

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Postmodernist Elements in Romain Gary’s Novel “The Dance of Genghis Cohn” Summary An outstanding representative of French literature of the 20th century, Romain Gary’s literary career is distinguished by its variety and color. The writer periodically presents the problems of the time he lived in and the Jewish identity to which he belongs. Also in his works “The dance of Genghis Cohn” highlighted the German-Jewish problem in a unique way. Using various principles of the postmodern novel, Romain Gary has created an interesting novel. From this point of view, the article first gives brief information about postmodern literature, and then analyzes the novel. Key words: Postmodernism, French literature, irony, the grotesque, the Holocaust

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Solomon, Alisa. "Balancing Act: Fiddler's Bottle Dance and the Transformation of “Tradition”". TDR/The Drama Review 55, n. 3 (settembre 2011): 21–30. http://dx.doi.org/10.1162/dram_a_00091.

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The Bottle Dance in Fiddler on the Roof was inspired by what the director/choreographer Jerome Robbins called “field research” at Orthodox Jewish weddings. Reshaped and expanded by Robbins's masterful showbiz sensibility, it became a show-stopping number—and, thus transformed, filtered back out of the musical into Jewish celebrations to confer “tradition.”

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Hezser, Catherine. "Freak, not Sage: An Exploration into Freakishness in Modern Jewish Culture". Culture and Dialogue 3, n. 1 (14 giugno 2015): 51–71. http://dx.doi.org/10.1163/24683949-00301006.

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The images of the clown and the freak and representations of the grotesque body are recurrent motifs in modern Jewish literature, film, art, theatre and dance. Kafka’s novella Metamorphosis is an early prototype of the changeling who leaves conventional human appearance behind and is gradually transformed into an insect-like creature. The story served as a prototype for Woody Allen’s film Zelig, in which the main protagonist adopts a variety of different personas, amongst them a Nazi in the Third Reich. The theme of morphing into a freak, clown, or grotesque body reappears in various forms in contemporary Jewish culture and art: The American Jewish writer Philip Roth declared in the 1960s that he was not a Jewish sage but a Jewish freak. Freakishness, clowns, and the circus have a subversive potential: they constitute a digression from what is considered normal appearance and behaviour and play with presumptions, expectations, and social values. A study of this subject reveals the constant dialogue between religion and culture as far as Judaism is concerned.

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Repertório, Teatro &. Dança. "MOVIMENTOS DE DANÇA E LITERATURA: SALOMÉ E A CABEÇA DE JOÃO BATISTA NO RELATO DE MARCOS [Enéias Farias Tavares (UFSM)] [Juliana de Abreu Werner T. (UFRGS)]". REPERTÓRIO, n. 15 (7 luglio 2010): 176. http://dx.doi.org/10.9771/r.v0i15.5223.

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<div>A dança perpassa a história de todas as civilizações antigas. Na cultura primitiva, ela estabelece uma forma de comunicação única entre um povo e suas tradições. Essa comunicação ocorre por meio de um vocabulário próprio de movimentos e gestos corporais que também farão parte dos rituais religiosos. No caso dos textos judaicos, a dança está associada a comemorações bélicas, à conquista militar, à realização pessoal e ao culto à divindade, além de exemplificar um aspecto do “ritual pagão” dos povos não-judaicos. Por sua vez, o episódio envolvendo a filha de Herodias, Salomé, registrado nos evangelhos de <em>Mateus e Marcos</em>, foi relido nos séculos posteriores figurando sua dança apenas em associação com a licenciosidade romana. O objetivo desse texto é analisar a relação dos textos velho-testamentários com a dança e opô-la ao relato de Marcos, ressaltando o modo peculiar com que o autor constrói sua narrativa. Nesse sentido, buscamos uma aproximação entre o texto literário bíblico e as práticas da dança no contexto judaico e romano.</div><div><br /></div><div><div><br />Dance passes through the history of all ancient civilizations. In the culture of primitive society, it provides a unique form of communication between people and their traditions. This communication occurs through a specific vocabulary of movements and body gestures which is also part of religious rituals. In the case of Jewish texts, the dance is associated with the celebration of war, military conquest, personal accomplishment and to worship their god, besides its "pagan worship" nature in non-Jewish cultures. On the other hand, the story of the dance of Salome, in <em>Matthew and Mark</em>, was reread in later centuries fi guring dance only in association with the Roman licentiousness. The aim of this paper is to analyze the relationship of old-testamentary texts with dance and oppose them to Mark's account, highlighting the peculiar way in which the author described the dance, the setting and characters of the story. In this sense, we seek an approximation between biblical literary text and the practice of dance in a Jewish and Roman context.</div></div>

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DE SIMONE, MARIA. "Sophie Tucker, Racial Hybridity and Interracial Relations in American Vaudeville". Theatre Research International 44, n. 2 (luglio 2019): 153–70. http://dx.doi.org/10.1017/s0307883319000038.

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This article discusses Sophie Tucker's racialized performance in the context of early twentieth-century American vaudeville and black–Jewish interracial relations. Tucker's vaudeville musical acts involved mixed racial referents: ‘black-style’ music and dance, Jewish themes, Yiddish language and the collaboration of both African American and Jewish artists. I show how these racial combinations were a studied tactic to succeed in white vaudeville, a corporate entertainment industry that capitalized on racialized images and fast changes in characters. From historical records it is clear that Tucker's black signifiers also fostered connections with the African American artists who inspired her work or were employed by her. How these interracial relations contended with Tucker's brand of racialized performance is the focus of the latter part of the article. Here I analyse Tucker's autobiography as a performative act, in order to reveal a reparative effort toward some of her exploitative approaches to black labour and creativity.

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Batstone, Leah. "A Dance from Iglau: Gustav Mahler, Bohemia, and the Complexities of Austrian Identity". 19th-Century Music 44, n. 3 (2021): 169–86. http://dx.doi.org/10.1525/ncm.2021.44.3.169.

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A survey of Mahler’s correspondents, especially his classmates at the University of Vienna in the 1870s, reveals a multifaceted identity he shared with them. Most of his fellow members of the Pernerstorfer Circle, young intellectuals who met to discuss art and politics during their university years, had a similar background: German-speakers with a Jewish heritage and an upbringing in one of the Eastern minority communities of the Habsburg Empire. While some of Mahler’s music has been examined with respect to his Jewish background, little has been said about the influence of Bohemia on the composer, and even less about how this Austrian configuration of identity influenced his worldview and composition. We often repeat Mahler’s famous quote that he was thrice homeless, as a Bohemian in Austria, as an Austrian among Germans, and as a Jew throughout the world, yet the meaning of being Austrian rather than German has been underexplored in Mahler’s music. In this article, I suggest that the mixture of ethnic identities was Austrian for the composer, placing Mahler within a group of like-minded Austrians whose complex allegiances to multiple traditions influenced their contributions to the field of politics, literature, philosophy, and music. Focusing on Mahler’s early symphonies, I demonstrate the interface between Jewish, Bohemian, and Austro-German musical characteristics, and I compare this musical synergy to similar interactions in the publications of members of the Mahler’s university peers, as well as other intellectuals of his generation including Karl Emil Franzos. This article reveals multiethnic networks of influence in Mahler’s music and reconsiders Austrian identity uncoupled from the traditional Austro-German formulation.

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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance". October 149 (luglio 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.

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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.

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Rossen, Rebecca. "Uneasy Duets: Contemporary American Dances about Israel and the Mideast Crisis". TDR/The Drama Review 55, n. 3 (settembre 2011): 40–49. http://dx.doi.org/10.1162/dram_a_00093.

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Jewish choreographers have consistently created dances that embody the shifting role of Israel in American Jewish life. Countering the Zionism of mid-century dances about Israel, contemporary Jewish American choreographers such as Liz Lerman and Kristen Smiarowski actively question the ideology of unconditional support, deftly grapple with the Israeli-Palestinian conflict, and situate performance as an opportunity for activism, inquiry, and debate.

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Markenson, C. Tova. "Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance. By Rebecca Rossen. Oxford: Oxford University Press, 2014. Pp. 336 + 50 illus. $99 Hb; $29.95 Pb." Theatre Research International 41, n. 1 (11 febbraio 2016): 89–91. http://dx.doi.org/10.1017/s0307883315000681.

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Urian, Dan. "The Image of the Arab in Israeli Theatre—from Competition to Exploitation (1912–1990)". Theatre Research International 17, n. 1 (1992): 46–54. http://dx.doi.org/10.1017/s0307883300015601.

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The Arab, as presented in plays of the early days of settlement, is linked by his manual labour to the land of his birth. He might be primitive and his encounter with the chalutzim may be necessary to improve his situation and show him how the world has progressed, but he is also an example to be copied for his sheer work capability. He is seen as a powerful competitor with the Jewish work-force, due both to his ability to be content with little and to his forced acceptance of meagre wages. Towards the end of this period and for several decades afterwards, the Arab was pushed aside into the fringes of the labour market. Work that was previously thought by the Zionist pioneering ideology to be of utmost importance, was no longer considered as such. As occasionally the Arab image served as a reminder of an ideology of manual labour that no longer existed.The Israeli playwright is a representative of the beliefs and opinions of a particular group in Israeli society; mainly that of the western intelligentsia. Almost all of the playwrights mentioned in this article are from the ranks of the Labour Movement and Zionist tradition. Their attitude regarding Jewish labour and towards the Arabs who do the ‘dirty work’, derives from a yearning for standards and values that had formerly stood at the centre of education and debate for many prominent sectors of Jewish society. From the early 1950s, and particularly after the 1967 war, the ideology of Jewish labour, especially manual labour, became one of mere slogans, symbols, songs and folk dances, or as subject for study matter, but no longer an active component in the life of the Israeli Jewish citizen.From the beginning of the 1970s, but mainly towards the end of that period and continuing into the 1980s, the Israeli playwright saw the driving of the Arab work-force into despised jobs, under degrading conditions of exploitation, as a central cause for the unrest that led to the Palestinian uprising. The image of the exploited Arab was no longer an ideological, nostalgic reminder but, rather, a social time bomb that might explode at any time and fragment the Israeli social and economic structure. It is interesting to compare the reasoning given by the Jewish Israeli playwrights for the outbreak of the Intifada with an Arab-Israeli play staged in 1990 in Nazareth. In The Ninth Wave by Riad Massaraweh, although the playwright describes the labourers that line up daily in the Haifa ‘slave market’ as exploited, degraded and slave labourers, his main emphasis is on the Palestinian longing for national identity. Research too reveals that the nationalistic element and the state of the refugee camps are the most serious causes of the Intifada. Despite this, the Jewish Israeli playwright presents the economic factor as the important one. This discrepancy between the Israeli theatre and Palestinian reality, derives from the playwright's ignorance of, and lack of attempt to study the actuality of the Palestinian population in the occupied territories, as well as their ignorance of the conditions of daily life there. The playwright meets Palestinians in the local (Israeli) cafe or restaurant, on building sites and in other places where the Arabs work and where Jews are not willing to do so. He deals with the problems that bother him and with his target audience, and not necessarily with the problems that bother the Palestinians. However, the Jewish Israeli playwright nonetheless senses the indignity of their exploitation and the dangerous dependency of the Israeli economy on a hostile population, and he tries to express his reservations about this Israeli ‘work schedule’ when he takes refuge on occasion in ideals that no longer exist.

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Schwan, Alexander H. "Queering Jewish Dance: Baruch Agadati". Dance Research Journal 54, n. 2 (agosto 2022): 54–69. http://dx.doi.org/10.1017/s0149767722000201.

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AbstractThe work of the homosexual Israeli dance pioneer and choreographer Baruch Agadati (1895–1976) queered Jewish dance. His project of Hebrew Dance was a queer take on traditional Jewish dance material mixed with a seemingly queer shift of the antisemitic distortions of this material. Throughout his approach to Jewish dance traditions from a perspective as a nonobservant, secular Jew, Agadati transcended boundaries of religion, secularity, and nation to a complex questioning of how Jewishness could be expressed through modern dance.

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Nemetz, Lillian Boraks. "An Ancestral Dance in Jewish Prague". Psychoanalytic Perspectives 5, n. 1 (novembre 2007): 45. http://dx.doi.org/10.1080/1551806x.2007.10473011.

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Desmond, Jane. "Dancing Jewish: Jewish identity in American modern and postmodern dance". Studies in Theatre and Performance 36, n. 3 (giugno 2016): 285–87. http://dx.doi.org/10.1080/14682761.2016.1192388.

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Ilan, Tal. "Dance and Gender in Ancient Jewish Sources". Near Eastern Archaeology 66, n. 3 (settembre 2003): 135–36. http://dx.doi.org/10.2307/3210918.

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Iwamoto, Yoshio, Haruki Murakami e Alfred Birnbaum. "Dance Dance Dance". World Literature Today 68, n. 4 (1994): 889. http://dx.doi.org/10.2307/40150822.

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Kosstrin, Hannah. "Modernist Continuities: Queer Jewish Dances, the Holocaust, and the AIDS Crisis". Dance Research Journal 54, n. 2 (agosto 2022): 70–85. http://dx.doi.org/10.1017/s0149767722000171.

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AbstractDuring the height of the 1980s AIDS epidemic in the United States, LGBTQ+ Jewish choreographers agitated for gay rights by using Holocaust allusions to address the AIDS crisis. Modernist practices in their work generate a long modernist midcentury that reframes established historical binaries between modernist and postmodernist concert dance modalities. This article argues that choreographers who drew upon Holocaust memory to address the AIDS crisis engendered a queer Jewish imaginary by engaging Jewishness from ethnic Ashkenazi (European) Jewish American lineages of modernist dance as social justice, Jewish cyclical temporal logics, and histories of being scapegoated for societal ills. It demonstrates how Meredith Monk's Book of Days (1988), David Dorfman's Sleep Story (1987), and Arnie Zane's The Gift/No God Logic (1987) fostered Jewish queerness in modernist artistic practices during a time that LGBTQ+ American Jews developed a queer Jewish consciousness. These choreographers’ works connect queer Jewish modernisms to varied temporalities of global modernity.

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Holt, Kathryn. "Book Review: Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance". Feminist Review 118, n. 1 (aprile 2018): 112–14. http://dx.doi.org/10.1057/s41305-018-0106-y.

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Goodman, Karen. "Synthesis in Motion". Experiment 20, n. 1 (27 ottobre 2014): 86–117. http://dx.doi.org/10.1163/2211730x-12341260.

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This paper discusses the importance of Russian-born choreographer, theatre director, and teacher Benjamin Zemach (1901-1997) to Los Angeles. It contextualizes the sustained influences of his Jewish heritage, his training with Stanislavsky and Vakhtangov in the Habima Theatre, Russian dance and theatre synthesis and early American modern dance. The article focuses on his work in Los Angeles during two different periods of American culture and politics preceding and following World War ii (1931-35 and 1946-71), examining closely his contributions to Los Angeles Jewish and mainstream dance and theatre through an analysis of his choreographies for the stage and film as well as his teaching methodologies.

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Simms, Norman. "Seeing Israeli and Jewish Dance (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 31, n. 2 (2013): 167–69. http://dx.doi.org/10.1353/sho.2013.0024.

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Schwadron, Hannah. "Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance by Rebecca Rossen". American Jewish History 99, n. 2 (2015): 204–6. http://dx.doi.org/10.1353/ajh.2015.0020.

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Kosstrin, Hannah. "Inevitable Designs: Embodied Ideology in Anna Sokolow's Proletarian Dances". Dance Research Journal 45, n. 2 (11 febbraio 2013): 5–23. http://dx.doi.org/10.1017/s0149767712000307.

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Anna Sokolow (1910–2000), an American Jewish choreographer known for her social statements, led the workers dance movement and performed as a soloist with Martha Graham. She imbued her dancesStrange American Funeral(1935) andCase History No.—(1937) with proletarian ideology that spoke to 1930s working- and middle-class audiences aligned with values of revolutionary and modern dance. These choreographies spoke to a political atmosphere focused on social justice while they appealed to a broad dance-going public. Sokolow's Graham training engendered a modernist aesthetic in her choreography that led critics to consider her work universal instead of marked as coming from a working-class left-wing Jewish dancer. This article argues that while narratives about Sokolow's work downplay her Communist affiliations, these ideals played a critical role in her choreography and in her navigation of international Communist circles. As Sokolow's choreography reinforced her politics, so too did her affiliations support her dance work.

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Jonathan Freedman. "On Jewish Literature:". Studies in American Jewish Literature (1981-) 31, n. 1 (2012): 19. http://dx.doi.org/10.5325/studamerjewilite.31.1.0019.

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Saposnik, Irving, e Sam B. Girgus. "Jewish American Literature". Contemporary Literature 26, n. 4 (1985): 492. http://dx.doi.org/10.2307/1208120.

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Spiegel, Nina S. "Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance, written by Rebecca Rossen". Images 10, n. 1 (14 dicembre 2017): 149–50. http://dx.doi.org/10.1163/18718000-12340079.

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Rosenblit. "Judith Brin Ingber (ed.), Seeing Israeli and Jewish Dance". Nashim: A Journal of Jewish Women's Studies & Gender Issues, n. 24 (2013): 163. http://dx.doi.org/10.2979/nashim.24.163.

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Brownmiller, Sara N., e Donald C. Dickinson. "The Literature of Dance". Reference Services Review 16, n. 1/2 (gennaio 1988): 115–20. http://dx.doi.org/10.1108/eb049019.

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Felman, Jyl. "Transgression in Jewish Literature". Judaica Librarianship 8, n. 1 (1 settembre 1994): 119–20. http://dx.doi.org/10.14263/2330-2976.1250.

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Jewish library collection policies as they relate to Jewish gay and lesbian issues are discussed. Questions considered are whether a book about gay Jews or a book written by a Jewish gay author should be included in Judaica collections. The issue is placed within a historical Jewish literary tradition which includes authors such as Grade, Ozick, Miller, Roth and Rukeyser-who write about such transgressive themes as sexuality, assimilation, self-loathing, agnostic rabbis, etc. Through personal examples drawn from her collection of Jewish short stories, Hot Chicken Wings, the author makes a case for including books with Jewish lesbian content. Also considered are the consequences of excluding such works and the ultimate arbitrariness of banning works with gay content from the Jewish library shelf. The author also comments on the Pulitzer Prize-winning play Angels in America, written by a gay Jewish man, Tony Kushner. Even though Angels is being touted as an AIDS play, it is replete with Jewish characters, questions about assimilation, and Jewish self-loathing as exhibited by the lead character Roy Cohn. The play derives from a long tradition of Jewish avant-garde writing dealing with the nature of Jewish identity. For this reason, the author uses Angels to make a case against censoring gay themes in Judaica collections. Jewish literature throughout the ages has had a transgressive bent, and gay themes must be read in this context and viewed by Jews as legitimate literary material worthy of reading by Jewish communities.

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Eshel, Ruth. "Concert Dance in Israel". Dance Research Journal 35, n. 1 (2003): 61–80. http://dx.doi.org/10.1017/s0149767700008779.

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Israel is a society of Jewish immigrants who have returned to their ancient biblical homeland. It is also a complex society made up of people of varied cultures and ideologies, enduring changing economic and political situations. For the past eighty years, Israeli dancers have reflected and helped to shape the internal dialogues of Israeli life and contributed to a global exchange of dance ideas, especially with modern dancers from Europe and America.The independence of ancient Israel came to an end in C.E. 73, when Romans destroyed the Temple in Jerusalem after fierce battles with the Jews. The great revolt against Roman rule (132–135) failed, and in its wake the Romans banished the Jews from their country. Thus began a two-thousand-year exile, during which the Jews in the diaspora preserved their religion, suffered anti-Semitic persecutions, and dreamed of returning to their land, to Eretz Israel—Zion.

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Dalia Kandiyoti. "What Is the “Jewish” in “Jewish American Literature”?" Studies in American Jewish Literature (1981-) 31, n. 1 (2012): 48. http://dx.doi.org/10.5325/studamerjewilite.31.1.0048.

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Kandiyoti, Dalia. "What Is the "Jewish" in "Jewish American Literature"?" Studies in American Jewish Literature 31, n. 1 (2012): 48–60. http://dx.doi.org/10.1353/ajl.2012.0009.

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Gomel, Elana, e Hana Wirth-Nesher. "What Is Jewish Literature?" Poetics Today 18, n. 1 (1997): 141. http://dx.doi.org/10.2307/1773245.

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Abramson, Edward A., Hana Wirth-Nesher e Nancy A. Harrowitz. "What Is Jewish Literature?" Modern Language Review 92, n. 1 (gennaio 1997): 143. http://dx.doi.org/10.2307/3734693.

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Jelen. "Women and Jewish Literature". Nashim: A Journal of Jewish Women's Studies & Gender Issues, n. 16 (2008): 153. http://dx.doi.org/10.2979/nas.2008.-.16.153.

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Nolden, Thomas. "CONTEMPORARY GERMAN JEWISH LITERATURE*". German Life and Letters 47, n. 1 (gennaio 1994): 77–93. http://dx.doi.org/10.1111/j.1468-0483.1994.tb01523.x.

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Schachter, Allison. "Deprovincializing European Jewish Literature". Hebrew Studies 63, n. 1 (2022): 283–90. http://dx.doi.org/10.1353/hbr.2022.0015.

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37

Jacoby, Jay. "Lilith in Jewish Literature". Judaica Librarianship 3, n. 1-2 (1 gennaio 1987): 79–82. http://dx.doi.org/10.14263/3/1987/969.

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Katz-Zichrony, Sari. "Cultural policy in dance: the embodiment of Jewish tradition in early childhood dance education in Israel". Israel Affairs 23, n. 6 (14 agosto 2017): 1086–105. http://dx.doi.org/10.1080/13537121.2017.1360047.

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Frankel, Ellen. "Legend in Jewish Children's Literature". Judaica Librarianship 8, n. 1 (1 settembre 1994): 97–99. http://dx.doi.org/10.14263/2330-2976.1239.

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Abstract (sommario):

Until recent times, Jewish children's legends did not exist as a separate literature. Children learned stories either from classical Jewish sources, family members, or traveling story tellers. Recent interest in and publication of Jewish children's stories represent both a boon and a danger. Contemporary versions of traditional tales blur the distinctions between fiction and folklore, challenging the inherent conservatism of the folk process. What makes a particular story Jewish? Jewish tales attempt to find meaning and divine purpose in national and personal events. They also resonate with old voices—"proof-texts" from the Bible and rabbinic writings—as well as new voices continuing ancient conversations and debates. The tales are often driven by the process of midrash, amplifying and interpreting older narratives. The subject matter of Jewish legends has changed in the wake of national exile and persecution. Post-exilic tales reflect the "double-edged" experience of Jewish life the triumph of Jewish wit and the shame of Jewish powerlessness. Today's tales continue this tradition but add to the folkloric process the new element of individual authorship.

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Bucur, Dragoș. "Jewish Literature & World Literature. Unlearning (Trans)Nationalism". Metacritic Journal for Comparative Studies and Theory 9, n. 1 (20 luglio 2023): 198–213. http://dx.doi.org/10.24193/mjcst.2023.15.11.

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The present paper proposes an investigation of the concept of Jewish literature in its relation to world literature studies within an analysis of the first generation of Jewish writers who became part of the Romanian literary life following the 1923 emanc

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Goellner, Ellen W., e Jacqueline Shea Murphy. "Bodies of the Text: Dance as Theory, Literature as Dance". Journal of Aesthetics and Art Criticism 57, n. 1 (1999): 96. http://dx.doi.org/10.2307/432078.

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Woods, Karen, Ellen W. Goellner e Jacqueline Shea Murphy. "Bodies of the Text: Dance as Theory, Literature as Dance". Dance Research Journal 28, n. 2 (1996): 83. http://dx.doi.org/10.2307/1478593.

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Kozel, Susan, Ellen W. Goellner e Jacqueline Shea Murphy. "Bodies of the Text: Dance as Theory, Literature as Dance". Dance Research: The Journal of the Society for Dance Research 15, n. 1 (1997): 94. http://dx.doi.org/10.2307/1290958.

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Koritz, Amy, Ellen W. Goellner e Jacquelina Shea Murphy. "Bodies of the Text: Dance as Theory, Literature as Dance". TDR (1988-) 40, n. 4 (1996): 158. http://dx.doi.org/10.2307/1146597.

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45

deLahunta, Scott. "Knowing: Dance’s trade literature". International Journal of Cultural Property 29, n. 2 (maggio 2022): 157–69. http://dx.doi.org/10.1017/s0940739122000157.

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Abstract (sommario):

AbstractThis article explores the possibility that dance is a field of expert knowledge that can be studied from the perspective of documents created by dancers and choreographers whose anticipated viewers/readers are mainly other practitioners. These documents include written texts and annotated video recordings created with the aim of sharing processes, techniques and ideas. These documents seek, in a variety of ways, to partially transform experiential knowledge from the tacit/ implicit to the explicit. As such, they suggest a form of trade literature that circulates dance knowledge within its professional network, but with the potential to generate productive exchanges with others outside of this network. By drawing on a number of examples of this trade literature and discussing their methods of circulating dance knowledge, this article makes a link to the theme of this special issue which is dance as a vehicle to discuss and debate ownership and cultural property.

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Levy, Lital, e Allison Schachter. "Jewish Literature / World Literature: Between the Local and the Transnational". PMLA/Publications of the Modern Language Association of America 130, n. 1 (gennaio 2015): 92–109. http://dx.doi.org/10.1632/pmla.2015.130.1.92.

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Abstract (sommario):

In the past two decades, scholars of world literature and transnational literary studies have called for an overhaul of the national literature model, in favor of a model based on literature's movement beyond national boundaries. Yet across the spectrum of approaches, scholarship on world literature has focused on the languages of the metropolitan center while largely overlooking the literary cultures of the so-called peripheries. We examine Jewish literature as a transnational and multilingual body of writing whose networks of linguistic and cultural exchange provide a clear counterpoint to the center-periphery model of global literary circulation. Moreover, the essay offers one of the first comparative studies of Eastern European Jewish literature and Middle Eastern Jewish literature, furnishing new methodological tools for a comparative approach to Jewish literary culture.

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Wibowo, Denny Eko, e Muhammad Fazli Taib Saearani. "Study of Literature Transformation in Bedhaya Hagoromo Dance". Jurai Sembah 1, n. 1 (29 giugno 2020): 25–34. http://dx.doi.org/10.37134/juraisembah.vol1.1.3.2020.

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Abstract (sommario):

Bedhaya Hagoromo dance was arranged by Didik Nini Thowok in 2001, and last performed in 2014. The dance was adapted from Jaka Tarub Nawang Wulan folklore and Hagoromo stage play which was manifested into its dancing composition. This literature transformation contained the plot adapted from folklore literature into the bedhaya dance literature, creating a unique assemblage. The purpose of this study is to identify the form of literature transformation and to study the elements performed in the dance. The qualitative research method in this study is literature transformation approach, namely by observing the parts of this dance that are in accordance with the default framework of bedhaya dance. From the observation, the literature transformation has shown a collaboration of Javanese and Japanese folklores through the language that can be understood well by Javanese. Therefore, this indirectly helps in reviving the bedhaya kakung dance to this day.

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Konner, Sarah. "Shared space and between space: Considering Jewishness and race through interspecies dancing¹". Choreographic Practices 13, n. 1 (1 luglio 2022): 53–74. http://dx.doi.org/10.1386/chor_00041_1.

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This autoethnographic text describes a dance and personal historical research process during COVID-19 quarantine and Black Lives Matter protests in 2020. As implications of a changing planet and unequal cross-cultural impacts and responsibilities become ever more clear, this research explores assimilation into Whiteness in Ashkenazi Jewish American lineage and how that relates to interspecies dancing. What is lost in this story of assimilation? What might interspecies collaborations teach us about relating cross-culturally? Whiteness and Jewishness are considered through histories of speaking and losing Yiddish and the role of Jewish dancers in early modern dance in New York. Interviews about Yiddish and assimilation are in dialogue with an improvisational dance practice with a border collie dog (whose ancestors helped colonize the United States). This interspecies movement practice and others (including complex evolutionary histories) connect to biologist Donna Haraway and anthropologist Anna Tsing for insights about collaboration across differences. In thematically bringing Jewishness into performance practice, this research unravels layers of resistance, privilege and present racial inequities. The text looks to Audre Lorde and civil rights activist Eric K. Ward for coalition building practices: finding connection and finding ourselves are to be changed by our encounters without losing ourselves in the process.

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Grözinger, Karl Erich. "Jewish Literature in German Clothing…?" Slovo a smysl 19, n. 39 (30 giugno 2022): 13–25. http://dx.doi.org/10.14712/23366680.2022.1.1.

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50

Kessner, Carole S. "Encyclopedia of Jewish-American Literature". Studies in American Jewish Literature (1981-) 30 (1 gennaio 2011): 111–14. http://dx.doi.org/10.2307/41228668.

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