Artykuły w czasopismach na temat „Jewish-israeli art”
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1
Sperber, David. "Breaking the Taboo: Ritual Impurity in Israeli and American Jewish Feminist Art". Israel Studies 28, nr 2 (czerwiec 2023): 29–55. http://dx.doi.org/10.2979/is.2023.a885228.
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ABSTRACT: The article examines works by two Orthodox artists, an American, Mierle Laderman Ukeles (b. 1939) and an Israeli, Hagit Molgan (b. 1972), both concerned with the Jewish laws and rituals of niddah (menstruation) and tevilah (immersion). The analysis of the similarities and differences between works from two major Jewish centers, Israel and the United States, provides insight into how critical responses in works of art point to complex cultural divides. Scholars and curators of Jewish art tend to examine Jewish-Israeli art as distinct from Jewish art created elsewhere. Due to this disconnect, the relationship between Jewish-Israeli art and its patrons around the world has received little attention before now. Consequently, the discussion of art created in different spaces and times contributes to a richer, more contextualized understanding of diasporic art.
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Soltes, Ori Z. "Radicant Israeli Art: From Past to Future". Arts 9, nr 1 (6.02.2020): 16. http://dx.doi.org/10.3390/arts9010016.
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Mieke Bal’s concept of “migratory aesthetics” and the observation by Saloni Mathur and Anne Ring Peterson that “traditional notions of location, origin and authenticity seem obsolete and in urgent need of reconsideration” perfectly encompass the phrase “Jewish art”, and within that difficult-to-define subject, Israeli art (which, among other things, is not always “Jewish”). As Hava Aldouby has noted, Israeli art presents a unique inflection of the global condition of mobility—which in fact contributes to the problem of easily defining the category of “Israeli art”. Nothing could be more appropriate to the discussion of Israeli art, or to the larger definitional problem of “Jewish art” than to explore it through Nicolas Bourriaud’s botanical metaphor of the “radicant”, and thus the notion of “radicant art”. The important distinction that Bourriaud offers between radical and radicant plants—whereby the former type depends upon a central root, deep-seated in a single nourishing soil site, whereas the latter is an “organism that grows its roots and adds new ones as it advances…” with “…a multitude of simultaneous or successive enrootings”—is a condition that may be understood for both Israeli and Jewish art, past and present: Aldouby’s notion that the image of the Wandering Jew offers the archetypal radicant, informs both the “altermodernity” concept and Israeli art.
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Sperber, David. "Israeli Art Discourse and the Jewish Voice". IMAGES 4, nr 1 (2010): 109–31. http://dx.doi.org/10.1163/187180010x547666.
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AbstractIsraeli critical art discourse reflects both opposition to Jewish tradition and its enduring influence. Even when artists employ Jewish sources, scholars and critics often detach their art from the traditionalist world. In this essay, the sociological concepts of “hybridization” and “purification” are therefore presented as fundamental processes underpinning the mainstream discourse of Israeli art.This essay demonstrates how while processes of rift and reconstitution with respect to Jewish tradition inform the Israeli art scene, Israeli art discourse, like modern art discourse in general, seeks to set itself apart from the worlds of religion and faith. This essay explains that a byproduct of this phenomenon is that those artists most squarely identifiable as “religious” are largely invisible to, and ignored by, the discourse.
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Dekel, Tal. "Black Masculinities and Jewish Identity: Ethiopian-Israeli Men in Contemporary Art". Religions 13, nr 12 (12.12.2022): 1207. http://dx.doi.org/10.3390/rel13121207.
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The identity of Jewish-Israeli men of Ethiopian descent has undergone deep-seated changes in the last decade, as evident in visual representations created by contemporary black artists living in Israel. In recent years, a new generation of Ethiopian-Israeli artists has revitalized local art and engendered deep changes in discourse and public life. Ethiopian-Israelis, who comprise less than two percent of the total Jewish population in the country, suffers multiple forms of oppression, especially due to their religious status and given that their visibility—as black Jews—stands out in a society that is predominantly white. This article draws links between events of the past decade and the images of men produced by these artists. It argues that the political awareness of Jewish-Ethiopians artists, generated by long-term social activism as well as police violence against their community, has greatly impacted their artistic production, broadened its diversity, and contributed a wealth of artworks to Israeli culture as a whole. Using intersectional analysis and drawing on theories from gender, migration and cultural studies, the article aims to produce a nuanced understanding of black Jewish masculinity in the ethno-national context of the state of Israel.
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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art". Arts 9, nr 2 (26.03.2020): 42. http://dx.doi.org/10.3390/arts9020042.
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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art. Ultimately, this friction would exclude the immigrants’ art from being inducted into the national art canon. This is misrepresentative, for, in reality, these artists greatly influenced the Zionist nation-building project. Despite participating in a number of key Zionist endeavours—whether that of establishing practical professions or cementing the young nation’s collective consciousness through graphic propaganda—they were marginalized in the artistic field. This exclusion, I claim, is rooted in the dynamics of canon formation in modern Western art, the canon of Israeli national art being one instance of these wider trends. Diasporic imagery could not be admitted into the Israeli canon because that canon was intrinsically connected with modern nationalism.
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Farkas, Mariann. "Wrestling with the Diaspora’s Angels: A Note on Fra Angelico’s Legacy in Hungarian-Israeli Art". IMAGES 16, nr 1 (6.12.2023): 158–66. http://dx.doi.org/10.1163/18718000-12340176.
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Abstract While numerous scholars have analyzed the influence of immigration on Jewish visual culture, few have focused on the Hungarian-Israeli scene. This article seeks to resolve some of the lacunae surrounding expressions of Hungarian immigrant experiences in Israeli art by analyzing the Annunciation theme in Hedi Tarjan’s series Homage to Fra Angelico, which was painted in the 1980s and the 2000s. A woman artist with a complex Christian-Jewish identity, Tarjan expressed her cross-cultural and interfaith experiences in her paintings and can be regarded as a “Jewish Diasporist” in the sense elaborated in American artist R. B. Kitaj’s manifestos. The article concludes by arguing that Tarjan, as a Jewish artist who emigrated from Hungary to Israel, faced unique professional, cultural, and religious challenges.
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Barkai, Sigal. "Neurotic Fantasy: The Third Temple As a Metaphor in the Contemporary Israeli Art of Nira Pereg and Yael Bartana". Contemporary Review of the Middle East 6, nr 3-4 (wrzesień 2019): 238–51. http://dx.doi.org/10.1177/2347798919872586.
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In the political reality of Israel, some symbols lie at the heart of the political, religious, national, and historical discourse that characterize the peoples and cultures living on the Israeli-Palestinian soil. Among these, the Temple Mount in Jerusalem is one of the most complex and conflictual symbols. The multiple religious claims to the Temple Mount—Jewish, Christian, and Muslim—are the subject of extensive study, but this article focuses on their reflection in contemporary Israeli art. In traditional Jewish art, the visual representations of the Temple or of Jews praying nearby expressed the longing of the Jews for generations to return to the Mount. In contrast, Yael Bartana and Nira Pereg view the multiple socio-political currents and religious rituals surrounding the Temple Mount as a reflection of the internal public debate regarding the face of the Israeli society today. This article discusses the contribution of their visual art to a conscious and aware discourse about the Israeli society and the underground currents that shape its contemporary identity. The analysis of their work tracks a “politics of aesthetics”—interpretation of the images within a socio-political context—and draws upon Israeli sociology, art history, and visual culture. In-depth personal interviews with the artists also inform the analysis.
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Rubenstein, Ruth. "A Postmodern Metamorphosis: The Process of Michael Sgan-Cohen’s Reception into the Israeli Art Field". Images 10, nr 1 (14.12.2017): 65–83. http://dx.doi.org/10.1163/18718000-12340076.
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Abstract This essay looks at Michael Sgan-Cohen’s reception in the Israeli art field over a period of 25 years. It suggests that whereas Sgan-Cohen’s signature style of referencing and reworking Jewish sources did not change much over that time, the Israeli art field did shift in its reception of his work, from an unfavorable stance in 1978, to a somewhat more accepting one in 1994, to recognition of Sgan-Cohen as an artist of merit in 2004. Critical commentaries on his exhibitions and interviews with key personalities within the field shed light on Sgan-Cohen’s reception and elucidate the changes within the field itself. Moreover, by focusing on the emergence of postmodern discourse and its influence on the Israeli art field and framing these findings within the realm of field theory, this study creates a context for understanding these structural shifts in the Israeli art field, as it came face-to-face with postmodern discourse.
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Carmon Popper, Irit. "Art-Heritage-Environment: Common Views Art Collective Engagement with Bedouin Minority in Israeli Desert Region (2019–2021)". Arts 11, nr 6 (19.12.2022): 128. http://dx.doi.org/10.3390/arts11060128.
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The Bedouin and Jewish inhabitants of the southern Israeli desert region share a common desert vista. However, they are diverse, multicultural communities who suffer inequity in access to valuable resources such as water. Between 2019 and 2021, Common Views art collective initiated a socially engaged durational art project with Bedouin and Jewish inhabitants entitled Common Views. The art collective seeks to enact sustainable practices of water preservation as a mutually fertile ground for collaboration between the conflicted communities, by reawakening and revitalizing rainwater harvesting, as part of traditional local desert life. Their interventions promote new concepts of Environmental Reconciliation, aiming to confront social-ecological issues, the commons, and resource equity, grounded in interpersonal collaborative relationships with stratified local communities. Their site-specific art actions seek to drive a public discourse on environmental and sustainable resources, while reflecting on the distribution of social and spatial imbalance. They take part in contemporary art discourse relative to socially engaged practices, yet their uniqueness lies in conflictual sites such as the discord arising from the Israeli-Palestinian conflict, and their proposed model for resolution linking politics with environment. It utilizes renegotiation with histories and heritage, as a vehicle to evoke enhanced awareness of mutual environmental concerns in an attempt at reconciliation on political grounds.
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Eiserman, Jennifer. "Understanding Jewish Art Jewishly: A Rationale and a Model for Including Jewish Art in Canadian Post-Secondary Coursework". Canadian Review of Art Education / Revue canadienne d’éducation artistique 47, nr 1 (30.12.2020): 22–31. http://dx.doi.org/10.26443/crae.v47i1.103.
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Abstract: This paper surveys literature in art education that explores cultural inclusivity. It then surveys Jewish Canadian history in order to provide a sketch of the cultural context, providing a rationale for teaching Jewish art at Canadian universities. A brief history of the nature of Jewish art and its relationship to that of the dominant cultures in which Jews have lived will be described. It proposes a model for teaching Jewish art and art by Jewish artists in Canadian universities that can provide students with opportunities to truly understand the cultural context in which this work is created, using Israeli-Canadian Sylvia Safdie’s Dust as an example. Keywords: Diversity; Inclusivity; Jewish Art; Sylvia Safdie. Résumé : Cet article se penche sur la littérature du domaine de l’enseignement des arts qui traite d’inclusivité culturelle. On y explore ensuite l’histoire juive canadienne pour dresser un tableau du contexte culturel et fournir un motif d’enseigner l’art juif dans les universités canadiennes. Y sont décrits un bref historique de la nature de l’art juif ainsi que sa relation avec les cultures dominantes au sein desquelles évoluent les Juifs. L’article propose un modèle pour enseigner dans les universités canadiennes l’art juif et des œuvres réalisées par des artistes juifs. Ce modèle permet aux étudiants de mieux comprendre le contexte culturel dans lequel ces œuvres sont créées, notamment *Dust*, œuvre de l’israélo-canadienne Sylvia Safdie. Mots-clés : diversité, inclusivité, art juif, Sylvia Safdie.
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Čičigoj, Katja. "Justine Frank: Author, object, event, ghost". Maska 35, nr 200 (1.06.2020): 122–31. http://dx.doi.org/10.1386/maska_00016_1.
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The article analyses the workings of the Justine Frank phenomenon – a forgotten Jewish surrealist whose oeuvre was discovered in the early 2000s by the contemporary Israeli artist Roee Rosen. It discusses the question of the mutual creation of author functions of the critic and the artist, the researcher and the object of research, the predecessors and successors on the field of art. A reflection of Justine Frank’s ambivalent position in the history of (Israeli and European) art is concluded with a description of a proposed pragmatical approach to such art projects. Based on Massumi, Deleuze and Guattari, this approach does not focus on the creation, influences, formal procedures and produced meanings, but on the effects of artworks and events in the framework of social, political and cultural field into which they enter.
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Simhony, Naomi. "Exceptionally Jewish: Israeli Synagogue Architecture in the 1960s and 1970s". Arts 9, nr 1 (12.02.2020): 21. http://dx.doi.org/10.3390/arts9010021.
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This article examines three exceptional synagogues designed in Israel in the 1960s and 1970s. It aims to explore the tension between these iconic structures and the artworks integrated into them. The investigation of each case study is comprised of a survey of the architecture and interior design, and of ceremonial objects and Jewish art pieces. Against the backdrop of contemporary international trends, the article distinguishes between adopted styles and genuine (i.e., originally conceived) design processes. The case studies reveal a shared tendency to abstract religious symbolism while formulating a new Jewish-national visual canon.
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Holman Weisbard, Phyllis. "Using Women's Studies/ Feminist Periodicals as a Resource for Researching Jewish Women". Judaica Librarianship 10, nr 1 (1.05.2000): 71–74. http://dx.doi.org/10.14263/2330-2976.1159.
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Articles on Jewish women are frequently published in women's studies/ feminist periodicals, where they may not readily come to the attention of Judaica researchers owing in large measure to the difficulties inherent in the indexing of this new interdisciplinary field. From her vantage point as publisher of Feminist Periodicals: A Current Listing of Contents and with a background in Judaica librarianship, the author has taken note of a wealth of material on Jewish women, covering both religious and secular aspects of Jewish women's identity, upbringing, and psyche; the status of Israeli women and feminism in Israel; the Holocaust, antisemitism, and women (including antisemitism within the women's movement); and creative expression by Jewish women on Jewish themes in the form of short stories, poetry, and art work. Examples from this material are provided, in order to encourage consideration of these periodicals as a resource in studying Jewish women.
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Winter, Aviva Roskin. "Identity and Place in the Art of Tuvia Katz". Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, nr 1 (1.01.2021): 109–30. http://dx.doi.org/10.3828/aj.2021.17.6.
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The art of Argentinian-born Israeli artist Tuvia Katz (b. 1936) reveals the different stages of his life, all of which are entwined in his search for Jewish identity. These stages include stylistic, iconographic, and iconological aspects. Katz is one of the most senior newly religious artists in Israel, who have established a distinctive, novel set of images that reflect the experience of becoming religious as a fundamental and profound change in their lives, lifestyles, and identities. Katz’s art sheds light on the phenomenon of ḥazarah be-teshuvah in Israel in general and among artists in particular, which has grown in the past three decades.
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Marnin-Distelfeld, Shahar. "Images of Wild Flowers in Israeli Visual Culture: Representations of a Troubled Land". IMAGES 12, nr 1 (24.10.2019): 180–202. http://dx.doi.org/10.1163/18718000-12340118.
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Abstract This article examines images of wild flowers in Israeli visual culture from the period of pre-state Israel until the present day. These images have served as “cultural objects” that have helped construct a national identity. They have appeared in Hebrew publications, stamps, banknotes, and artworks. Arguing that the choice of botanical art is a political statement, this article shows the complex attitudes embodied in contemporary wild flower images—both thematic and stylistic—in which the artists negotiate their multifaceted relationship with the Land of Israel as a troubled territory. The images created by Israeli-Jewish artists share a twofold significance: they stand as naïve memories of Israel’s early years and, at the same time, they embody the reality of conflict implied in the idea of sharing the Land with the Israeli Arabs. The methodology of this article is interdisciplinary, as it integrates an analysis of visual images with the use of interviews and the explication of texts.
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Brenner, Rachel Feldhay. "Between Identity and Anonymity: Art and History in Aharon Megged's Foiglman". AJS Review 20, nr 2 (listopad 1995): 359–77. http://dx.doi.org/10.1017/s036400940000698x.
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In a recent article, “Israeli Literature Over Time,”Aharon Megged describes his work as “unremittingly concerned with burning national issues,” mainly with the issue of Israel′s relationship to the Diaspora.1 Megged′s intense preoccupation with the Zionist ideology of the negation of the Diaspora emerged in his 1955 story “Yad va-shem” (“The Name”). The story presents a scathing criticism of Israel′s dissociation from the history of the Diaspora and especially from the catastrophe of the Holocaust. “Yad va-shem” was followed by an article entitled “Tarbutenu ha-yeshana ve-ha-hadasha” (“Our Old and New Culture”) in which Megged deplored Israel′s severance of its Diaspora roots and urged a reexamination of the negative attitude toward the destroyed European Jewish culture.In 1984, Megged published Massa ha-yeladim el ha-aretz ha-muvtachat (“The Children's Journey”), a novel based on a true story about a group of young survivors of the Holocaust on their way to Palestine.3 This work, as Dan Laor notes in his review, “offers a perspective of the Diaspora in the Holocaust which differs from [the typical Israeli attitude of] contempt infused with pity” toward the Diaspora Jew.
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Marnin-Distelfeld, Shahar, i Edna Gorney. "Why Draw Flowers?" Anthropology of the Middle East 14, nr 1 (1.06.2019): 45–69. http://dx.doi.org/10.3167/ame.2019.140104.
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Botanical art and illustration, presented alongside scientific descriptions, were at the heart of Jewish national projects during the British Mandate in Palestine-Israel and following the establishment of the state of Israel in 1948. Looking back, we recognised three prominent women artists who contributed widely to many such botanical projects: Ruth Koppel, Esther Huber and Bracha Avigad. This study aims to investigate the plant images these three artists have created. We will do so by using the approach of visual anthropology while focusing on two main aspects: the connection between botanical illustration and national identity, and the link between botanical art and gender. This study is the first to demonstrate that botanical art in Israeli culture has been gendered, with women doing most of the work, in agreement with findings from Western culture.
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Westreich, Avishalom. "Assisted Reproduction in Israel: Law, Religion and Culture". Brill Research Perspectives in Family Law in a Global Society 1, nr 2 (9.03.2016): 1–61. http://dx.doi.org/10.1163/24058386-12340002.
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AbstractThe theme of this composition is the right to procreate in the Israeli context. Our discussion of this right includes the implementation of the right to procreate, restrictions on the right (due to societal, legal, or religious concerns), and the effect of the changing conception of the right to procreate (both substantively and in practice) on core family concepts.In the current Israeli legal and cultural sphere, two issues are at the forefront of the discussion over the right to procreate: first, the regulations governing and conflicts surrounding surrogacy and egg donation, and second, the debate over posthumous fertilization. The first, surrogacy and egg donation, is the typological modern expansion of, or alternative to, traditional procreation. It opens the gates of procreation to individuals and couples for whom natural procreation was not possible in the past (due to medical reasons, sexual orientation, etc.), while, at the same time, it challenges the very understanding of fundamental family practices and concepts, especially as regards parenthood, motherhood, and fatherhood. Part 1 of this composition accordingly discusses the right to procreate, focusing on the regulation and practice of surrogacy and egg donation in Israel.The second issue, posthumous procreation, is an excellent illustration of the expansion of the right to procreate, and a typological example of how this expansion moderates, or even blurs, existential dichotomies, such as life and death. Part 2 therefore discusses posthumous fertilization, with a focus on the debate over posthumous sperm retrieval of fallen soldiers. This debate clarifies the conceptual distinction between an individual right to procreate and a communal, or familial, right to continuation, along with the fascinating tension between the legal system and the social and political atmospheres.On the basis of the first two parts, Part 3 focuses on the dramatic conceptual changes of parenthood definitions resulting from the evolution of assisted reproductive technologies (art) and from the broadening of the right to procreate (both are, of course, related, and influence each other). This part deals with the move from formal to functional parenthood, both in Israeli civil law and in Jewish law. The perspective of Jewish law is a significant player at this field, and it is discussed in various occasion throughout this composition. Part 4 accordingly completes the discussion by providing some description and analysis of the basic Jewish law approaches to art.To sum up, the main argument in this composition is that assisted reproduction in Israel gives expression to and develops the right to procreate. It is a complex right, and therefore at times no consensus has been reached on the form of its actual application (as in the case of surrogacy and egg donation, and, from a different direction, in that of posthumous sperm retrieval). This right, however, despite the debates on its boundaries, is widely accepted, practiced, and even encouraged in the Israeli context, with a constructive collaboration of three main elements: the Israeli civil legal system, religious law (which in the context of the Israeli majority is Jewish law), and Israeli society and culture.
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Foresti, Margherita. "All Is Not Well: Contemporary Israeli Artistic Practices de-Assembling Dominant Narratives of Warfare and Water". Arts 12, nr 4 (11.07.2023): 150. http://dx.doi.org/10.3390/arts12040150.
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Well (2020) is an installation by Israeli artists Noga Or Yam and Faina Feigin. It investigates the story of an underground passage in Tel Aviv designed by a British Mandate-era Jewish architect. Starting from this building, the artists’ archival research leads them to the story of a water source which does not figure in the architect’s plan. While the story of the well is unearthed, so is one about the tense relations between the Jewish architect and the Palestinian orange merchant who inhabited the site before 1948. By restaging a hypothetical archive, Well reminds us of the problems inherent in narrative formation and erasure in the context of the Palestinian–Israeli conflict. Noga Or Yam also examined space and water in an earlier work, Black Soldier, White Soldier (2018): with the background sound of water drilling in southern Israel, urban photographic landscapes of Palestinian rooftops covered with water tanks are projected onto the walls. Water, either concealed or lacking, emerges in both works as a vehicle for unearthing a historical narrative that counters the official one. This research article reflects on contemporary art’s engagement with the formation of history, and how such engagement shapes the identity of present-day art in postcolonial realities.
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Nissim Gal. "Place and Time in Digital Landscapes: Critical Jewish Resonance in Contemporary Israeli New-Media Art". Journal of Jewish Identities 2, nr 2 (2009): 21–49. http://dx.doi.org/10.1353/jji.0.0059.
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Harari, Dror, i Gillit Kroul. "Debating Natalism: Israeli One-Woman Shows on Experiencing Childlessness". New Theatre Quarterly 35, nr 02 (15.04.2019): 121–34. http://dx.doi.org/10.1017/s0266464x19000046.
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Natalism constitutes one of the main values of Israeli society, to the extent that the state’s explicit policy is to encourage and heavily finance childbearing. Whatever the reasons for this pronatalist ideology may be – religious, cultural, or politico-demographic – the fact is that, in twenty-first century Israel, motherhood is still considered a biological imperative; and a Jewish-Israeli woman’s reproductive body is implicitly mobilized for national needs. Against the backdrop of this persistent pro-birth agenda, in this study Dror Harari and Gillit Kroul discuss a noteworthy number of recently staged one-woman shows that critically debate the Israeli ‘fertility religion’ and the physical and emotional distress that it causes for the infertile and childfree woman. These autobiographical performances of infertility are seen as a sub-genre of Israeli critical disability performance, in that they manifest the idea that what defines the infertile as disabled is not (only) the woman’s biological deficiency but, rather, her inability to fulfil her national gendered role. Dror Harari is a Senior Lecturer at the Department of Theatre Arts, Tel Aviv University. His Self-Performance: Performance Art and the Representation of Self was published in Hebrew by Resling Publications (2014), and his current research, funded by the Israel Science Foundation, focuses on the historiography of performance art in Israel from its origins in the 1960s and through the 1970s. Gillit Kroul has an MA in Theatre Studies from Tel Aviv University. Her book of poetry When the Sea Seeds its Hopes is published by Sa’ar Publications, and her short semi-autobiographical play in Hebrew Shnayim (Two), based on her experience of fertility treatment, is available at <http://pregbirthanthology.wixsite.com/anthology>.
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Presiado, Mor. "The Body as Memory: Breast Cancer and the Holocaust in Women’s Art". Arts 12, nr 2 (27.03.2023): 65. http://dx.doi.org/10.3390/arts12020065.
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The Holocaust is a living trauma in the individual and collective body. Studies show that this trauma threatens to be reawakened when a new and traumatic experience, such as illness, emerges. The two traumas bring to the fore the experiences of death, pain, bodily injury, fear of losing control, and social rejection. This article examines the manifestation of this phenomenon in art through the works of three Jewish artists with autobiographical connections to the Holocaust who experienced breast cancer: the late Holocaust survivor Alina Szapocznikow, Israeli artist Anat Massad and English artist Lorna Brunstein, daughters of survivors. All three matured alongside the rise and development of feminist art, and their works address subjects such as femininity and race and tell their stories through their bodies and the traumas of breast cancer and the Holocaust, transmitting memory, working through trauma, and making their voices heard.
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Scheflan-Katzav, Hadara. "Thou Shalt Tell Thy Daughter: Mothers Tell Daughters Their Holocaust Story—Three Case Studies of Contemporary Israeli Women Artists". Arts 11, nr 5 (22.09.2022): 94. http://dx.doi.org/10.3390/arts11050094.
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The story of Israel and its raison d’être are suffused by memories of the Holocaust, which construct the self-definition and identity of the state. This article examines works by three contemporary Israeli women artists—Dvora Morag, Miri Nishri, and Bracha Ettinger—who subvert the traditional telling of history and enable rethinking of the past as the basis for the individual’s existence in the nation state. Through the works of these artists, official memory disintegrates into fragments of personal memories of the artists’ mothers, enabling a new moral, historical perspective. The reconstruction of history through stories that pass from mother to daughter contrasts sharply with Jewish tradition in which the historical story passes from father to son. The yearly Passover retelling of the Exodus admonishes “Thou shalt tell thy son on that day to say, ‘It is because of what the Lord did for me when I came out of Egypt’”. The two narratives, the Exodus from Egypt and the Holocaust, are told as stories of redemption of the Jewish people—from ruin to resurrection. The art examined here reassesses the past, while unraveling parallels between the stories from a female perspective that reflects a personal moral stance.
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Havel, Boris. "Jeruzalem u ranoislamskoj tradiciji". Miscellanea Hadriatica et Mediterranea 5, nr 1 (7.01.2019): 113–79. http://dx.doi.org/10.15291/misc.2748.
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The article describes major early Islamic traditions in which Jerusalem has been designated as the third holiest city in Islam. Their content has been analyzed based on the historical context and religious, inter-religious and political circumstances in which they were forged. Particular attention has been paid to textual and material sources, their authenticity, dating and their interpretation by prominent orientalists and art historians. The article addresses specific themes, such as Jerusalem in Islamic canonical texts, Muhammad’s Night Journey to al-Aqṣā, the legends of Caliph ‘Umar’s conquest of Jerusalem, names for Jerusalem in Early Islamic chronicles, the influence of Jews and Jewish converts on early Islamic traditions, and the construction, symbolism, ornaments, and inscriptions of the Dome of the Rock. In the concluding remarks the author considers the question of to what degree attributing holiness to Jerusalem in Islam has been based on autochthonous early Islamic religious traditions, and to what degree on Muslim-Jewish interaction in Palestine, political processes, such as fitnah during early Umayyad rule, ‘Abd al-Malik’s struggle with Caliph Ibn al-Zubayr in the Hejaz, the Crusades, and the present-day Arab-Israeli conflict.
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Lee Weinberg. "DIY: How to (Not So) Safely Dismantle the Bomb of On-Screen Jewish-Israeli Identity: The Synergies with Art and Television in the Representation of Jewish-Israeli Identity and What Can Be Learned from Them". Jewish Film & New Media 4, nr 1 (2016): 109. http://dx.doi.org/10.13110/jewifilmnewmedi.4.1.0109.
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Atshan, Sa’ed, i Katharina Galor. "Curating Conflict". Conflict and Society 6, nr 1 (1.06.2020): 1–17. http://dx.doi.org/10.3167/arcs.2020.060101.
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This article compares four Jerusalem exhibits in different geographical and political contexts: at the Tower of David Museum in Jerusalem, the Palestinian Museum in Birzeit, the Metropolitan Museum of Art in New York, and the Jewish Museum Berlin. It examines the role of heritage narrative, focusing specifically on the question of the Israeli-Palestinian conflict, which is either openly engaged or alternatively avoided. In this regard, we specifically highlight the asymmetric power dynamics as a result of Israel’s occupation of East Jerusalem, and how this political reality is addressed or avoided in the respective exhibits. Finally, we explore the agency of curators in shaping knowledge and perspective and study the role of the visitors community. We argue that the differences in approaches to exhibiting the city’s cultural heritage reveals how museums are central sites for the politics of the human gaze, where significant decisions are made regarding inclusion and exclusion of conflict.
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Fadhil HAMMOODY, shaimaa. "NAZISM AND ITS REFLECTION IN THE NOVEL BY DAVID GROSSMAN". International Journal Of Education And Language Studies 04, nr 02 (1.06.2023): 179–95. http://dx.doi.org/10.47832/2791-9323.2-4.13.
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The journey of modern Hebrew literature began in the last third of the eighteenth century, and Jewish critics record the virtue of introducing this new art to the Jews and alerting the public to it, Abraham Mabo. They reflect the realism of life through their writings, which expressed the writer's awareness and intellectual aspiration, which provided him with an increase of his references that he influenced and was influenced by to reflect them through the transformations that accompanied his career in the field of literary authorship. Intellectualism in the novel text of the wellknown Israeli writer David Grossman. Where it contained two topics, the first topic dealt with: an introduction in which we touched on the problem of displacement and diaspora that occurred to the Jews. The topic also included the importance of research and the need for it, since the research is a knowledge outcome that benefits readers and scholars, as well as the biography of the writer David Grossman and his most important literary productions, with the most important ideas dealt with in the novel " See Under: LOVE," the subject of the research. The second topic contained: the most important ideas highlighted by the novel, and presented the most important methods practiced by Nazism on the Jews of killing and torturing. The research concluded a set of conclusions, the most important of which are: 1. Since the beginning of the fifties, literary texts have been able to approach the political scene by addressing realistic topics that were able to embody and express the issues of the emerging Israeli society. 2. The subject of the Nazis distorted a large part of the Israeli literature, as it tended towards giving symbolic connotations through displaying events and analyzing them objectively
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MUSSA, AMANI. "“Between a child who wants to tell and an adult who does not want to hear”. Arts Therapists’ Dilemmas in the Application of Arts Therapy with Children from Arab Society Who Suffered Abuse". Interdyscyplinarne Konteksty Pedagogiki Specjalnej, nr 25 (15.06.2019): 374–401. http://dx.doi.org/10.14746/ikps.2019.25.16.
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Amani Mussa, “Between a child who wants to tell and an adult who does not want to hear”. Arts Therapists’ Dilemmas in the Application of Arts Therapy with Children from Arab Society Who Suffered Abuse. Interdisciplinary Contexts of Special Pedagogy, no. 25, Poznań 2019. Pp. 373-401. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2019.25.16.
The Arab education system in Israel together with the ethics and legal regulations are found to indicate reports of maltreated and sexually abused children. The problem of viewed in this paper is connected with the reporting of children who had experienced maltreatment and sexual abuse. The article aspires to present the work and dilemmas of art therapists using arts therapy when working within educational and therapeutic frameworks in Israeli Arab society. Today, the field of arts therapy in the Arab society is in its initial stages in contrast to the seniority this field has gained in the Jewish society and more traditional therapies such as psychology and psychotherapy. In the Arab society, mental therapy is uncommon. The field of therapy as a whole is undeveloped and conducted secretly largely due to shame, stigma and prejudices associating mental therapy with mental illnesses or disorders (Masarwa & Bruno, 2018). Until recently, arts therapy has not been practiced at all in Israeli in the Arab society. In comparison to psychological treatment, arts therapy carries an extra value because of its non-verbal work methodology, and enables can the client to make projection and reduction of social and personal objections in face of the therapeutic process. In recent years, implementation of this field of knowledge has gained momentum in therapeutic frameworks in general and at schools in particular, slowly becoming an integral part of the education system. However, this field is still in its early stages and it is oriented towards special education students and those with special needs (Nachum, 2007; Moriah, 2000).
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Krom, Anna E. "Between Two Worlds: the Image of a Dybbuk on the Modern Opera Stage". Observatory of Culture 21, nr 1 (6.03.2024): 86–94. http://dx.doi.org/10.25281/2072-3156-2024-21-1-86-94.
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The article is devoted to the theme of the artistic embodiment of the Hebrew legend of the dybbuk on the modern opera stage. The legends about the restless soul of a sinner, “stuck” between two worlds — the world of the living and the world of the dead — are reflected in the works of famous Jewish writers of the turn of the 19th—20th centuries. They received their first vivid refraction in drama in the play “Between Two Worlds (Dybbuk)” (1915) by the outstanding folklorist and ethnographer Semyon Akimovich Ansky. The story of the dybbuk, heard by Anton during folklore expeditions in Volhynia and Podolia, is reinterpreted by the playwright, “overgrown” with complex literary and philosophical connotations. The dramatic play is literally saturated with music: songs, dances, prayers and Hasidic melodies, one of which — “Mipney ma” in the genre of nigun — becomes the leitmotif of the work. The masterpiece of Ansky, reflecting the specifics of the everyday, cultural and religious life of the Hasidic community of the early twentieth century, gave rise to an extensive body of musical and theatrical works — more than ten over the last century (operas by L. Rocca, D. Tamkin, ballet by L. Bernstein, etc.). The article discusses the multimedia chamber opera “Dybbuk. Between Two Worlds” (2007) by the Israeli-American composer Ofer Ben-Amots through the prism of a dialogue with the original source. Previously, Ben-Amots’s musical work had not been studied in Russian art criticism, which predetermined the novelty of the chosen topic. The musician interprets the main ideas of Ansky’s dramatic play in his own way, presenting the image of the dybbuk as an allegory of the “borderline” existence between two worlds, turns to the traditional musical culture of Judaism (conducts the nigun “Mipney Ma” as the leitmotif of the opera, brings to the fore the timbres of the violin and clarinet, uses special techniques of sound production on these instruments associated with music playing in Klezmer chapels, stylizes the folklore of Jewish towns).
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Bendikova, S. "PECULIARITIES OF MUSIC EDUCATION IN ISRAEL: TRADITIONS AND NATIONAL PRIORITIES". Aesthetics and Ethics of Pedagogical Action, nr 29 (14.06.2024): 153–66. http://dx.doi.org/10.33989/2226-4051.2024.29.306162.
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The review article presents the peculiarities of musical education in Israel, taking into account the multicultural diversity of Israeli society, and vectoriality for the preservation of cultural and educational traditions; similarities and differences in musical education in Israel and Ukraine were revealed. It is proved that the teaching of music and singing in Israel has features, among which the multicultural content, which combines elements of European classical music, Jewish musical tradition, and music of various ethnic groups living in the country; the organization of musical education in kindergartens and schools is influenced by religious canons. It has been found that musical education in Israel is considered an essential factor in the development of the individual and society as a whole, which contributes to the development of creative thinking, emotional intelligence, communication skills, and a sense of unity with different cultures of pupils and students; the system of teaching music and singing in Israel is characterized by inclusiveness - it takes into account the needs and abilities of students, including children with special needs. It was found that the content of music education in educational institutions of various levels in Israel is regulated by programs concluded by the Ministry of Education of the country, as well as resources for studying musical disciplines and musical education are offered at the state level. A comparative analysis of the peculiarities of musical education in Ukraine and Israel made it possible to conclude specific differences: Ukrainian musical education is based on the achievements of national, European, and world musical culture and educational traditions; Israel is an eastern country with its national ethnic music, and it is also a modern country with a high level of classical music and musical culture, which is a component of world culture. In Israel, social and educational processes take place taking into account religious affiliation and a corresponding attitude to art, in particular to music. Among the related features, there is a reliance on the traditions of musical culture and values, a focus on fostering tolerance, respect, and understanding of racial, ethnic, and national differences, and the ability to live with people of other cultures, languages, religions and the desire to preserve national traditionalism using musical art.
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Koutsourakis, Angelos. "Militant Ethics". Cultural Politics 16, nr 3 (1.11.2020): 281–302. http://dx.doi.org/10.1215/17432197-8593494.
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The publication of Rainer Werner Fassbinder’s play Der Müll, die Stadt und der Tod (Garbage, the City, and Death; 1976) constitutes one of the major scandals in German cultural history. The play was accused of being anti-Semitic, because one of its key characters, a real estate speculator, was merely called the Rich Jew. Furthermore, some (negative) dramatis personae in the play openly express anti-Semitic views. When asked to respond, Fassbinder retorted that philo-Semites (in the West Germany of the time) are in fact anti-Semites, because they refuse to see how the victims of oppression can at times assume the roles and positions assigned to them by pernicious social structures. Fassbinder’s vilification on the part of the right-wing press prevented the play’s staging; subsequently, in 1984 and 1985–86 two Frankfurt productions were banned due to the reaction on the part of the local Jewish community. A similar controversy sparked off by the film adaptation of the play Shadow of Angels by Daniel Schmid. During the film’s screening at the Cannes Film Festival the Israeli delegation walked out, while there was also rumor of censorship in France. Gilles Deleuze wrote an article for Le Monde titled “The Rich Jew” defending the film and the director. Deleuze’s article triggered a furious reaction from Shoah (1985) director, Claude Lanzmann, who responded in Le Monde and attacked the cultural snobbery and “endemic terrorism” of the left-wing cinephile community. Lanzmann saw the film as wholly anti-Semitic and suggested that it identifies the Jew—all Jews—with money. While the author acknowledges the complexity of the subject, he revisits the debate and the film to unpack its ethical/aesthetic intricacy and propose a pathway that can potentially enable us to think of ways that political incorrectness can function as a means of exposing the persistence of historical and ethical questions that are ostentatiously resolved. He does this by drawing on Alain Badiou’s idea of militant ethics and Jacques Rancière’s redefinition of critical art as one that produces dissensus.
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Mendel, Yonatan, i Nadeem Karkabi. "The Re-Enchantment of the Orient: Mista‘arvim and Their Special Status in Jewish-Israeli Society". Middle East Journal 77, nr 2 (1.10.2023): 161–80. http://dx.doi.org/10.3751/77.2.12.
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Mista‘arvim – Jewish-Israeli soldiers who masquerade as Arabs – and Hista‘arvut (the act thereof) hold a special place in Jewish-Israeli culture. By analyzing popular television programs – a thriller titled Fauda (Arabic for “chaos”) and documentaries by journalist Zvi Yehezkeli – we argue that “cultural Hista‘arvut” is a powerful reflection of Zionist perceptions of Palestinian and Arab Others. Cultural Hista‘arvut helps frame the paradox of a Jewish-Israeli society that is located inside the Middle East but maintains distance as a superior outsider that is not of the region. In this sense, the act of impersonation emphasizes the hierarchy of Jews over Arabs and cements the alleged dichotomies between them. “We started to understand that only by going inside [Arab communities] in disguise, can we uncover the Arab world.” - Zvi Yehezkeli
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Popescu, Diana. "The Promise, The Land: Jewish-Israeli Artists in Relation to Politics and Society. Linz: O.K. Center for Contemporary Art Upper Austria, March 7–April 27, 2003 Catalog edited by Thomas Edlinger. Vienna: Folio, 2003." Images 5, nr 1 (2011): 126–27. http://dx.doi.org/10.1163/187180011x604517.
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Rouhana, Nadim N. "““Jewish and Democratic””? The Price of a National Self-Deception". Journal of Palestine Studies 35, nr 2 (1.01.2006): 64–74. http://dx.doi.org/10.1525/jps.2006.35.2.64.
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The current academic and legal campaign to constitutionalize Israel as a state that is both ““Jewish and democratic”” amounts to an act of national self-deception, rooted in the collective inability or unwillingness to accept that discriminatory policies toward the non-Jewish minority contradict democratic processes, on the part of that country's Jewish majority. The author addresses the recent efforts to create an Israeli constitution by the consent of the Jewish majority that would legitimatize the denial of equal citizenship rights for non-Jewish citizens. Because Israeli Jews have constructed opposition to the ““Jewish and democratic”” model as ““extremism,”” Palestinian citizens of Israel are forced to limit their resistance to passive rejection of the concept, refusing to acquiesce in their own subordination and denying moral legitimacy to the system that discriminates against them.
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Kalir, Barak. "To deport or to ‘adopt’? The Israeli dilemma in dealing with children of non-Jewish undocumented migrants". Ethnography 21, nr 3 (19.07.2020): 373–93. http://dx.doi.org/10.1177/1466138120939593.
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This article analyses the unprecedented decision taken by the Israeli state in 2005 to legalize the status of non-Jewish undocumented migrants’ children. In explaining how the plight of culturally assimilated non-Jewish children succeeded in penetrating the hermetic ethno-religious definition of citizenship in Israel, the article focuses on the subtle yet critical influence of kinship on modern state-making and the affective fashioning of national belonging. By insisting on treating culturally assimilated non-Jewish children as Others, Israel increasingly ran the risk of unveiling the feeble construction of the Jewish nation in terms of kinship as ‘one big family’. The Israeli media increasingly began to question the refusal of the state to recognize children who were evidently ‘Israelis in every way’. Such a development, as some Israeli politicians undoubtedly realized, could have potentially been more detrimental to the mythological foundations of the Jewish state than the ‘adoption’ of a few hundred non-Jewish children.
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d'Evereux, Veronika. "K postavení menšin na území státu izrael v kontextu mezinárodního práva a zákona o národním státě". AUC IURIDICA 67, nr 3 (13.09.2021): 129–52. http://dx.doi.org/10.14712/23366478.2021.29.
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The New Israeli Basic Law that was adopted in 2018 called “Israel – the Nation State of the Jewish People” divided the Israeli society. Part of the inhabitants accepted this law with enthusiasm because of its emphasis on the reasons why the State of Israel was established. On the contrary, the more secular part of Israeli society, as well as the minority citizens, strongly objected to this law and described it as an unjust disregard of the non-Jewish citizens, an act of racial discrimination or even an apartheid. The aim of this paper is mainly to examine selected provisions of this law, i.e., the provisions related to the Israeli citizens, under public international law and find out to what extent these legal provisions are in accordance with or in contrary to international law.
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Urian, Dan. "The Image of the Arab in Israeli Theatre—from Competition to Exploitation (1912–1990)". Theatre Research International 17, nr 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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Ben-Lulu, Elazar, i Jackie Feldman. "Reforming the Israeli–Arab conflict? Interreligious hospitality in Jaffa and its discontents". Social Compass 69, nr 1 (11.10.2021): 3–21. http://dx.doi.org/10.1177/00377686211046640.
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This ethnography analyzes three Israeli Reform Jewish rituals as manifestations of interreligious hospitality. The Daniel Reform congregation invites Muslim residents of Jaffa to participate in rituals incorporating Arabic and Muslim clergy and prayers. The egalitarian and pluralistic Jewish symbols and narratives promote neighborly relationships. Nevertheless, some participants’ responses reaffirm popular suspicions and prejudices, which the ceremony seeks to overcome. Interreligious hospitality here is not so much an act of theological reconciliation, but a political act also directed toward other actors – like the Israeli right-wing and Israeli society, which grant the Orthodox a monopoly on Judaism. While the shared ritual practice offers a dialogical model that engages broader publics through doing, the analytic frame of hospitality sensitizes us to the importance of space and language in the power relationships of hosts and guests. It helps explain the challenges to the messages of coexistence, which the rituals are designed to confirm.
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Rossen, Rebecca. "Uneasy Duets: Contemporary American Dances about Israel and the Mideast Crisis". TDR/The Drama Review 55, nr 3 (wrzesień 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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Amit, M., D. Guedj i A. J. Wysenbeek. "Expression of rheumatoid arthritis in two ethnic Jewish Israeli groups." Annals of the Rheumatic Diseases 55, nr 1 (1.01.1996): 69–72. http://dx.doi.org/10.1136/ard.55.1.69.
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Schwan, Alexander H. "Queering Jewish Dance: Baruch Agadati". Dance Research Journal 54, nr 2 (sierpień 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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Libel-Hass, Einat, i Elazar Ben-Lulu. "Are You Our Sisters? Resistance, Belonging, and Recognition in Israeli Reform Jewish Female Converts". Politics and Religion Journal 18, nr 1 (7.03.2024): 131–57. http://dx.doi.org/10.54561/prj1801131l.
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The religious conversion process is a significant expression of an individual’s intention to gain a new religious identity and be included in a particular religious community. Those who wish to join the Jewish people undergo giyur (conversion), which includes observing rituals and religious practices. While previous research on Jewish conversions in Israel focused on the experiences of persons who converted under Orthodox auspices, this study analyzes the experiences of female immigrants from the former Soviet Union (FSU) and the Philippines who chose to convert through the Reform Movement in Israel. Based on qualitative research, we discovered that the non-Orthodox process, which is based on liberal values, not only grants converts under the aegis of Reform entry to the Jewish people, but promotes their affiliation with the Reform Movement and advances their acculturation into Jewish Israeli society. Their choice is a political decision, an act of resistance against an Orthodox Israeli religious monopoly, and an expression of spiritual motivations. The converts become social agents who strengthen the Reform Movement’s socio-political position in Israel, where it struggles against discrimination. Furthermore, since most converts are women, new intersections between religion, gender, and nationality are exposed.
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Wysenbeek, A. J., L. Leibovici, A. Weinberger i D. Guedj. "Expression of systemic lupus erythematosus in various ethnic Jewish Israeli groups." Annals of the Rheumatic Diseases 52, nr 4 (1.04.1993): 268–71. http://dx.doi.org/10.1136/ard.52.4.268.
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Marienberg-Milikowsky, Itay. "Upon a Certain Place: On the Dialectics of Transmitting Tradition in the Work of Haim Be’er". Zutot 13, nr 1 (11.03.2016): 94–106. http://dx.doi.org/10.1163/18750214-12341276.
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Haim Beʾer is recognized by Hebrew literary criticism as a writer who conducts a profound dialogue between ancient Jewish texts and modern Jewish-Israeli culture. This article offers a critical appraisal of this view. Through a reading of Beʾer’s novel Lifnei ha-makom (Upon a Certain Place, 2007), the article offers a new way of looking at how Beʾer sees the relation between old and new. Instead of mediating between tradition and modernity and translating the old for a generation that has partly severed ties with it, Lifnei ha-makom undermines the very mediation that is so much identified with Beʾer’s work. Beʾer’s novel boldly examines what it means to live a Jewish life almost devoid of books. The role of tradition, in this scheme, is to be present in the world of the new generation without undergoing interpretation. The article links between this attitude and deep processes in contemporary Israeli culture.
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Scharf, Orr. "Thinking Proleptically: Paul Mendes-Flohr on Intellectual History as Second-Person Dialogue". Religions 13, nr 5 (26.04.2022): 397. http://dx.doi.org/10.3390/rel13050397.
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The current article argues that Paul Mendes-Flohr’s turn to address contemporary challenges faced by Jews at large, and Israeli Jews in particular, is proleptic in the sense that it excavates the anticipation of the current intellectual, spiritual and moral reality from the intellectual history of modern German−Jewish thought. Based on a reading of his recent book, Cultural Disjunctions: Post-Traditional Jewish Identities, the discussion shows how Mendes-Flohr’s adaptation of Martin Buber’s call to aspire to I−Thou relations supports proleptic historiography both as a historiographical methodology and as a moral act.
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Izraeli, Dafna N. "“They Have Eyes and See Not”". Psychology of Women Quarterly 17, nr 4 (grudzień 1993): 515–23. http://dx.doi.org/10.1111/j.1471-6402.1993.tb00659.x.
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An analysis of the display of gender in an Israeli museum of social history decodes the practices by which the museum constructs gender and uses gender difference in the display of Jewish life to construct male dominance and to marginalize women. It reinforces a stereotypical world in which women remain nameless and voiceless and have no contribution to show for themselves. Far from being a reflection of historical reality, women's marginalization is the erasure of women's contribution to Jewish survival. This trivialization of women goes unnoticed by the visitor, to whom the display seems perfectly natural and factually acceptable, and contributes to the preservation of gender difference and inequality in Israeli society. Thus, Beit Hatefusot can be seen as a metaphor for the nonconscious ideology that marginalizes women in Israeli culture and results in their exclusion from such activities that are honored or glorified or bring money or power.
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Michaeli, Inna. "Immigrating into the Occupation: Russian-Speaking Women in Palestinian Societies". Feminist Review 120, nr 1 (listopad 2018): 20–36. http://dx.doi.org/10.1057/s41305-018-0136-5.
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Social researchers have extensively addressed the immigration of one million Russian speakers to Israel/Palestine over the past twenty-five years. However, the immigrants’ incorporation into the Israeli occupation regime and the ongoing colonisation of Palestine have rarely been questioned as such. In the interviews informing this article, Russian-speaking immigrant women living in Arab-Palestinian communities discuss their complex relations with Palestinian, Jewish-Israeli and Russian-Israeli communities. Sharing a background with Russian-speaking Jewish Israelis on the one hand, and marital kinship ties to Palestinians on the other, these women encounter multiple boundaries of territory and identity in their everyday lives. Drawing on feminist border thinking, I explore these encounters as a navigation through geopolitical and epistemic borderlands in a dense colonial reality. I am particularly interested in the potential of such an exploration to question essentialism and destabilise binary ethno-national categories of identity, such as Arab/Jew and Israeli/Palestinian, that dominate not only hegemonic but also emancipatory discourses. These binary divisions are not a straightforward outcome of political regimes but rather the result of ongoing border-making processes, which are vulnerable to disorder and disruption. This perspective aims to enrich understandings of the roles that gendered ethno-national identities play in sustaining the colonial relations of power in Israel/Palestine.
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Lavee, Yoav, i Ludmila Krivosh. "Marital Stability Among Jewish and Mixed Couples Following Immigration to Israel From the Former Soviet Union". European Psychologist 17, nr 2 (styczeń 2012): 158–67. http://dx.doi.org/10.1027/1016-9040/a000112.
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This research aims to identify factors associated with marital instability among Jewish and mixed (Jewish and non-Jewish) couples following immigration from the former Soviet Union. Based on the Strangeness Theory and the Model of Acculturation, we predicted that non-Jewish immigrants would be less well adjusted personally and socially to Israeli society than Jewish immigrants and that endogamous Jewish couples would have better interpersonal congruence than mixed couples in terms of personal and social adjustment. The sample included 92 Jewish couples and 92 ethnically-mixed couples, of which 82 couples (40 Jewish, 42 mixed) divorced or separated after immigration and 102 couples (52 Jewish, 50 ethnically mixed) remained married. Significant differences were found between Jewish and non-Jewish immigrants in personal adjustment, and between endogamous and ethnically-mixed couples in the congruence between spouses in their personal and social adjustment. Marital instability was best explained by interpersonal disparity in cultural identity and in adjustment to life in Israel. The findings expand the knowledge on marital outcomes of immigration, in general, and immigration of mixed marriages, in particular.
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Shem-Tov, Naphtaly. "Shimella Community Theatre of Israeli-Ethiopian Jews". New Theatre Quarterly 39, nr 3 (28.07.2023): 223–42. http://dx.doi.org/10.1017/s0266464x23000131.
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Shimella (‘stork’ in Amharic) is an Israeli community theatre of Ethiopian Jews residing in Netanya and directed by Chen Elia. Shimella was founded in 2010, and has produced four different performances focusing on the Ethiopian Jewish community in Israel. Ethiopian Jews suffer from racism and discrimination in all areas of life, including housing, employment, education, and healthcare. These issues surfaced in Shimella’s performances, and the political aspect of Shimella’s performances therefore ranges from performing critical protest against the attitudes of the Israeli state and society toward Ethiopians, to a utopian performative moment, which emotionally and physically dramatizes the community’s desired future.
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SHEM-TOV, NAPHTALY. "Performing Iraqi-Jewish History on the Israeli Stage". Theatre Research International 44, nr 3 (październik 2019): 248–61. http://dx.doi.org/10.1017/s0307883319000294.
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The analysis of the following two Israeli plays is the focus of this article: Ghosts in the Cellar (Haifa Theatre, 1983) by Sami Michael, and The Father's Daughters (Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which two hundred Iraqi Jews were massacred by an Iraqi nationalist mob. The Farhud has become a traumatic event in the memory of this Jewish community. Using the concept of ‘performing history’ as advanced by Freddie Rokem, I observe how these plays, as theatre of a marginalized group, engage in the production of memory and history as well as in the processing of grief. These plays present the Farhud and correspond with the Zionist narrative in two respects: (1) they present the traumatic historical event of these Middle Eastern Jews in the light of its disappearance in Zionist history, and (2) their performance includes Arab cultural and language elements of Iraqi-Jewish identity, and thus implicitly points out the complex situation of the Arab–Israeli conflict.