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Статті в журналах з теми "Jewish-israeli art"
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Sperber, David. "Breaking the Taboo: Ritual Impurity in Israeli and American Jewish Feminist Art." Israel Studies 28, no. 2 (June 2023): 29–55. http://dx.doi.org/10.2979/is.2023.a885228.
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ABSTRACT: The article examines works by two Orthodox artists, an American, Mierle Laderman Ukeles (b. 1939) and an Israeli, Hagit Molgan (b. 1972), both concerned with the Jewish laws and rituals of niddah (menstruation) and tevilah (immersion). The analysis of the similarities and differences between works from two major Jewish centers, Israel and the United States, provides insight into how critical responses in works of art point to complex cultural divides. Scholars and curators of Jewish art tend to examine Jewish-Israeli art as distinct from Jewish art created elsewhere. Due to this disconnect, the relationship between Jewish-Israeli art and its patrons around the world has received little attention before now. Consequently, the discussion of art created in different spaces and times contributes to a richer, more contextualized understanding of diasporic art.
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Soltes, Ori Z. "Radicant Israeli Art: From Past to Future." Arts 9, no. 1 (February 6, 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, no. 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, no. 12 (December 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, no. 2 (March 26, 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, no. 1 (December 6, 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, no. 3-4 (September 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, no. 1 (December 14, 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, no. 6 (December 19, 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, no. 1 (December 30, 2020): 22–31. http://dx.doi.org/10.26443/crae.v47i1.103.
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Abstract: This paper surveys literature in art education that explores cultural inclusivity. It then surveys Jewish Canadian history in order to provide a sketch of the cultural context, providing a rationale for teaching Jewish art at Canadian universities. A brief history of the nature of Jewish art and its relationship to that of the dominant cultures in which Jews have lived will be described. It proposes a model for teaching Jewish art and art by Jewish artists in Canadian universities that can provide students with opportunities to truly understand the cultural context in which this work is created, using Israeli-Canadian Sylvia Safdie’s Dust as an example. Keywords: Diversity; Inclusivity; Jewish Art; Sylvia Safdie. Résumé : Cet article se penche sur la littérature du domaine de l’enseignement des arts qui traite d’inclusivité culturelle. On y explore ensuite l’histoire juive canadienne pour dresser un tableau du contexte culturel et fournir un motif d’enseigner l’art juif dans les universités canadiennes. Y sont décrits un bref historique de la nature de l’art juif ainsi que sa relation avec les cultures dominantes au sein desquelles évoluent les Juifs. L’article propose un modèle pour enseigner dans les universités canadiennes l’art juif et des œuvres réalisées par des artistes juifs. Ce modèle permet aux étudiants de mieux comprendre le contexte culturel dans lequel ces œuvres sont créées, notamment *Dust*, œuvre de l’israélo-canadienne Sylvia Safdie. Mots-clés : diversité, inclusivité, art juif, Sylvia Safdie.
Дисертації з теми "Jewish-israeli art"
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Seter, Ronit. "Yuvalim be-Israel : nationalism in Jewish-Israeli art music, 1940-2000 /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050015j.
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Arieli-Chai, Hagit. "La relation entre l'acquisition d'une langue et l'art visuel : amplification de la compétence communicative (linguistique, culturelle et pragmatique) et construction de l'identité de l'apprenant." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC005.
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Langue et acquisition de la langue sont considérées comme des pensées reliant la communication et les processus sociaux dans un contexte social. Vygotsky (1978) explique que les processus psycholinguistiques sont les reconstructions de l'esprit de l'individu basées sur l'interaction sociale médiée que l'apprenant a vécue. La médiation se fait à travers des signes visuels, linguistiques et acoustiques, et la langue émerge de l'activité sociale et culturelle. Les signes linguistiques sont créés, interprétés et manipulés par l'apprenant pour s'engager dans l'action. Le ‘Tournant Social’ dans l'Acquisition d'une Langue Seconde (ALS) affirme que l'acquisition d'une Langue Seconde (L2) ne peut pas être expliquée en termes purement cognitifs. Les théories poststructuralistes (par exemple, Bourdieu, 1986) et les théories sociales telles que la Théorie des Communautés de Pratique (Lave & Wenger, 1991) ont fourni les concepts et les outils pour repenser l'ALS comme un phénomène principalement social. L'émergence de la psychologie cognitive dans les années 1960 a entraîné un passage de la théorie de l'apprentissage behavioriste à la théorie de l'apprentissage cognitif. Ce passage a caractérisé l'apprentissage comme un processus actif et créatif. Mon étude de recherche qualitative utilise une méthodologie narrative pour examiner l'influence de l'art juif et israélien, en particulier des peintures, sur le développement des compétences communicatives. Cette recherche s'inscrit dans le paradigme qualitatif et s'appuie sur la méthodologie d'étude narrative en analysant quatre études de cas, chacune offrant des perspectives. La recherche explore la relation réciproque entre l'apprentissage des langues et le développement des compétences linguistiques des apprenants, en reconnaissant la nature symbiotique de l'acquisition de la langue et de la compréhension socioculturelle. La recherche évalue dans quelle mesure les peintures amplifient la capacité de communication de l'apprenant, en considérant les aspects idéaux, heuristiques, imaginatifs, linguistiques et interactionnels, ainsi que si le processus d'acquisition de la langue influence l'identité de l'apprenantLanguage and the acquisition of language are thoughts to connect communication and social processes within a social context. Vygotsky (1978) explains that psycholinguistic processes are the reconstructions of the individual’s mind based on the mediated social interaction the learner has experienced. Mediation occurs through visual, linguistic, and acoustic signs, and language emerges from social and cultural activity. Linguistic signs are created, interpreted, and manipulated by the learner to engage in action. The ‘Social Turn’ in Second Language Acquisition (SLA) claims that Second Language (L2) acquisition cannot be explained in purely cognitive terms. Poststructuralist theories (e.g., Bourdieu, 1986) and social theories such as Community of Practice Theory (Lave & Wenger, 1991) provided the constructs and tools for rethinking SLA as a primarily social phenomenon. The emergence of cognitive psychology in the 1960s caused a shift from behaviorist learning theory to cognitive learning theory. This shift characterized learning as an active and creative process. My qualitative research study employs narrative methodology to investigate the influence of Jewish and Israeli art, specifically paintings, on the development of communicative competences. This research is within the qualitative paradigm and draws on narrative study methodology by analyzing of four case studies, each offering insights. The research explores the reciprocal relationship between language learning and the development of learners' language competence, recognizing the symbiotic nature of language acquisition and sociocultural understanding. The research assesses the extent to which paintings amplify the learner’s ability to communicate, considering ideal, heuristic, imaginative, linguistic, and interactional aspects, as well as whether the process of language acquisition influences the learner's identity
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Cohen, Hella Bloom. "Private Affections: Miscegenation and the Literary Imagination in Israel-Palestine." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500171/.
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This study politicizes the mixed relationship in Israeli-Palestinian literature. I examine Arab-Jewish and interethnic Jewish intimacy in works by Palestinian national poet Mahmoud Darwish, canonical Israeli novelist A. B. Yehoshua, select anthologized Anglophone and translated Palestinian and Israeli poetry, and Israeli feminist writer Orly Castel-Bloom. I also examine the material cultural discourses issuing from Israel’s textile industry, in which Arabs and Jews interact. Drawing from the methodology of twentieth-century Brazilian miscegenation theorist Gilberto Freyre, I argue that mixed intimacies in the Israeli-Palestinian imaginary represent a desire to restructure a hegemonic public sphere in the same way Freyre’s Brazilian mestizo was meant to rhetorically undermine what he deemed a Western cult of uniformity. This project constitutes a threefold contribution. I offer one of the few postcolonial perspectives on Israeli literature, as it remains underrepresented in the field in comparison to its Palestinian counterparts. I also present the first sustained critique of the hetero relationship and the figure of the hybrid in Israeli-Palestinian literature, especially as I focus on its representation for political options rather than its aesthetic intrigue. Finally, I reexamine and apply Gilberto Freyre in a way that excavates him from critical interment and advocates for his global relevance.
Книги з теми "Jewish-israeli art"
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Yochelson, Kathryn M. Israeli art, golden threads. [United States: s.n.], 1998.
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m, Navon arṭ be-ʻa. Navon arṭ ḳaṭalog yetsirot omanut: Ḳaṭalog mekhirah : yetsirot shel omanim Yiśreʾelim. Mevaśeret Tsiyon: Navon Arṭ, 1992.
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Group, Bruno Art. Asta in session unica: Terza edizione Asta di arte Israeliana moderna e contemporanea. Milan: Bruno Art Group, 2010.
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Naftaly, Glicksberg, Mekhon Shekhṭer le-limude ha-Yahadut та Mishkenot shaʼananim, ред. Kisui ṿe-gilui. [Jerusalem]: Mekhon Shekhṭer le-limude ha-Yahadut, 2002.
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iskusstva, Moskovskiĭ muzeĭ sovremennogo, ed. Grobman: Grobman. Moskva: Novoe literaturnoe obozrenie, 2014.
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Bolas, Gerald D. Ketav: Flesh and word in Israeli art. Chapel Hill, NC: Ackland Art Museum, 1996.
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Rabinzon-Bakhrakh, Ḥedṿah. Israeli Creative Women at Ottawa: The 27th Confernce of the Internatinal Federation of University Women, 2001. Edited by Conference of the International Federation of University Women (27th : 2001 : Ottawa). Herzelia: The Library, 2001.
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Manhattan, JCC in. Israel non stop: A non stop marathon celebrating today's Israeli arts scene. New York: Jewish Community Center in Manhattan, 2003.
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N. Y.) Salena Gallery (New York. Forces of nature: Zigi Ben-Haim ; Creighton Michael ; Anita Curtis Glesta ; Lucia Minervini ; Mary Ann Unger. New York: Salena Gallery, 1990.
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Shva, Shlomo. Le-tsayer erets ke-moledet: Sipuro shel dor ha-omanim ha-rishon. [Tel Aviv]: Miśrad ha-biṭaḥon, 1992.
Знайти повний текст джерелаЧастини книг з теми "Jewish-israeli art"
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Jayusi, Wurud, and Zvi Bekerman. "“Welcome to the Club”: Palestinian-Israeli Teachers in Bilingual Integrated and in Hebrew Speaking Schools." In To Be a Minority Teacher in a Foreign Culture, 159–82. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-25584-7_11.
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AbstractThis chapter contributes to a better understanding of how minority teachers in majority schools experience their work and how their participation in such educational contexts helps shape their sense of ethno-cultural belonging and their sense of self-efficacy. Through comparative work, we gain insights into the context-specific conditions which might help support or undermine minority teachers’ inclusion. To do this we compared the reported experiences of Palestinian Israeli teachers working in two somewhat different educational contexts; the Hebrew speaking schools which serve the regular Israeli Jewish population and the bilingual integrated schools which offer the opportunity for the two populations to study under one roof in a society in which schools are mostly segregated. Both these educational contexts include Palestinian Israeli teachers in their faculty. Our findings point mostly at similarities in the way these teachers experience their work at the schools but also some notable differences have been exposed. Both groups of teachers’ express satisfaction regarding their work at the Hebrew speaking and the bilingual integrated schools. They are satisfied with their work and feel they belong to a very special ‘club’ a metaphor that affords them a strong and positive positioning within the school context.
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Bolton, Matthew. "4. “More Like Genocide”." In Antisemitism in Online Communication, 107–36. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0406.04.
Повний текст джерелаАнотація:
Accusations that Israel has committed, or is in the process of committing, genocide against the Palestinian population of the Middle East are a familiar presence within anti- Israel and anti Zionist discourse. In the wake of the Hamas attacks of 7 October 2023 and the subsequent Israeli military invasion of Gaza, claims of an Israeli genocide reached new heights, culminating in Israel being accused of genocide by South Africa at the International Court of Justice. Such claims can be made directly or indirectly, via attempts to draw an equivalence between Auschwitz or the Warsaw Ghetto and the current situation in the Palestinian territories. This chapter examines the use of the concept of genocide in social media discussions responding to UK news reports about Israel in the years prior to the 2023 Israel- Hamas war, thereby setting out the pre-existing conditions for its rise to prominence in the response to that war. It provides a historical account of the development of the concept of genocide, showing its interrelation with antisemitism, the Holocaust and the State of Israel. It then shows how accusations of genocide started being made against Israel in the decades following the Holocaust, and argues that such use is often accompanied by analogies between Israel and Nazi Germany and forms of Holocaust distortion. The chapter then qualitatively analyses comments referencing a supposed Israeli genocide posted on the Facebook pages of major British newspapers regarding three Israel-related stories: the May 2021 escalation phase of the Arab- Israeli conflict; the July 2021 announcement that the US ice cream company Ben & Jerry’s would be boycotting Jewish settlements in the West Bank; and the rapid roll-out of the Covid-19 vaccine in Israel from December 2020 to January 2021.
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Weizman, Eyal. "8. Archaeology, Architecture and the Politics of Verticality." In For Palestine, 123–42. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0345.09.
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The Israeli-Palestinian is defined by where and how one builds. This chapter explores the politics of verticality. The terrain dictates the nature, intensity and focal points of confrontation. On the other hand, the conflict manifests itself most clearly in the adaptation, construction and obliteration of landscape and built environment. Planning decisions are often made not according to criteria of economical sustainability, ecology or efficiency of services, but to serve strategic and national agendas. The West Bank is a landscape of extreme topographical variation, ranging from four hundred and forty metres below sea level at the shores of the Dead Sea, to about one thousand metres in the high summits of Samaria. Settlements occupy the high ground, while Palestinian villages occupy the fertile valley in between. This topographical difference defines the relationship between Jewish and Palestinian settlements in terms of strategy, economy and ecology. The politics of verticality is exemplified across the folded surface of the terrain–in which the mountainous region has influenced the forms the territorial conflict has produced.
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Kantor-Kazovsky, Lola, and Isaiah (Yeshayahu) Gruber. "Postmodern Variations: Too Jewish, Too Russian, Too Israeli." In Reinventing Jewish Art in the Age of Multiple Modernities, 149–77. BRILL, 2022. http://dx.doi.org/10.1163/9789004498150_006.
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Kazdaghli, Habib. "Is Tunisia Ready for a Jewish Museum? Perspectives on the Current Debates Surrounding the Status of Jewish History in My Country." In The Art of Minorities, 227–40. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0011.
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This chapter charts the genesis of the Museum of Jewish-Tunisian Heritage in Tunis. Jewish culture has been exhibited in Tunisian museums since the beginning of the French Protectorate in 1881. Until recently, however, the idea of a museum entirely dedicated to Jewish-Tunisian history and culture was simply unconceivable in Tunisia, as Judaism was solidly understood as being tied to Israeli politics. Kazdaghli explains how the Jewish-Tunisian community, domestically and overseas, have seized the so-called ‘Jasmine Revolution’ and the democratic ideals it purports to push for the establishment of a joint-venture Museum of Jewish-Tunisian Heritage in Tunis. In a context of new democratic achievements, the museum project is publicised as an instrument of social change, a partner to the democratic transition. However, the chapter shows that such a project proves a difficult exercise as the organising committee navigates cultural taboos surrounding Judaism in Tunisian society, as well as conflicting patrimonial opinions within the community itself, in Tunisia and within the diaspora.
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"Hyphenated. Transnational Feminism in Contemporary Israeli Art." In Under the Skin, edited by Tal Dekel, 41–54. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266748.003.0004.
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The chapter discusses Jewish Israeli women immigrant artists through the case study of artist Jennifer Abesirra (b. 1984), an immigrant from France of Algerian origin. Abesirra's artworks stand as examples of the complex, multilayered, and dynamic identity of immigrant women in Israel. The discussion in the chapter integrates global and transnational aspects of women's migration with local perspectives, which are unique to the ethnic, religious, social and civic circumstances in the state of Israel. It tackles feminist issues, arguing for a new understanding of the role played by immigrant women within the nation–state. While striving to problematize essentialist theorisation, it examines heterogeneous constructions of gendered selves by women who live in transnational contexts: out of the mosaic of artistic artefacts analysed arises an argument that challenges the binary thinking that distinguishes the ‘Israeli society’ from ‘women migrants, and ‘the State of Israel’ from the ‘Middle Eastern space’.
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"In Conclusion: Secularizing the Sacred, Israeli Art, and Jewish Orthodox Laws." In Secularizing the Sacred, 373–99. BRILL, 2019. http://dx.doi.org/10.1163/9789004405271_018.
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Kantor-Kazovsky, Lola, and Isaiah (Yeshayahu) Gruber. "Jewish vs. Israeli: Cultural Politics and Identity Controversy in the Work of the Leviathan Group." In Reinventing Jewish Art in the Age of Multiple Modernities, 104–48. BRILL, 2022. http://dx.doi.org/10.1163/9789004498150_005.
Повний текст джерела
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Shelleg, Assaf. "Introduction." In Theological Stains, 1–14. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197504642.003.0001.
Повний текст джерелаАнотація:
The introduction lays out both the key variables of the entire book and the overlapping themes that stem from them—the nationalization of the theological in Hebrew culture, secularism, Zionist biblocentrism, the Zionist commitment to Westernness, Arab Jews and the socioethnic hierarchy of Zionism, Zionist historiography, and the gradual resurfacing of Jewish diasporic cultures. In lieu of the constructs that have conditioned the study of Israeli art and culture, the book opts for synchronous narratives that unfold in ways that are constantly unsystematic, nondifferential, and afflicted with various degrees of governmentality. This assemblage moves beyond musical exoticism or identitarian paradigms that often promote territorial nationalism uncritically.
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Ansell, Joseph P. "Valediction." In Arthur Szyk, 233–40. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.003.0016.
Повний текст джерелаАнотація:
This chapter discusses Arthur Szyk's death as well as revivals and retrospectives regarding his work. He died at his home in New Canaan, Connecticut, in 1951. The death certificate listed the cause as acute myocardial failure. True to his lifelong habits, he had worked almost until the end of his life. At the time of his death he was planning new works of specifically Jewish and Israeli, as well as general humanistic, content. The continuing troubled state of the world elicited a constant dedication and service to social and political causes through his art. The chapter discusses the various obituary notices and appreciations, and several memorial exhibitions held in the early years following Szyk's death. In the wider world beyond these the exhibitions and sales, interest in Szyk's work was consigned to the margins for almost forty years after his death. In the early 1990s, however, a resurgence of interest in Szyk's work was fuelled by several exhibitions and by the founding of a group known as the Arthur Szyk Society.
Тези доповідей конференцій з теми "Jewish-israeli art"
1
Petkova, Tatyana V., and Daniel Galily. "When you are named Ruth." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.06085p.
Повний текст джерелаАнотація:
This study aims to recall the ideas and activities in the field of law, politics, philosophy, the struggle for democracy and respect for human rights of two bright and exceptional personalities who left this world last year: Ruth Gavison (her areas of study include ethnic conflicts, protection of minorities, human rights, political theory, the judiciary, religion and politics, and Israel as a Jewish and democratic state. She was a member of the Israeli Academy of Sciences and Humanities. Nominated as a Judge at the Supreme Court of Israel in 2005.) and Ruth Bader Ginsburg (Judge at the Supreme Court of the United States. She upholds and defends the rights of women and people of color, gender equality.).
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Abbas ALI, Baydaa. "Jewish self-hatred in the play "A Jewish Soul" by the Israeli writer Yehoshua Sobol." In VI. International Congress of Humanities and Educational Research. Rimar Academy, 2023. http://dx.doi.org/10.47832/ijhercongress6-9.
Повний текст джерелаАнотація:
This study deals with the topic of Jewish self-hatred in the play "Jewish Soul: Otto Wenninger's Last Night" by Joshua Sobol. The play belongs to the type of autobiographical plays, by presenting the ideas of the Austrian-Jewish philosopher Otto Wenninger during the last night of his life before his suicide, which are ideas related to the relationship between feminism and Judaism on the one hand and masculinity and the Aryan race on the other hand, as well as his ideas about the negative impact of Judaism on the Zionist movement that He feared that Judaism would eliminate it and drown it like a stone in a quagmire, and he is the one who views it - that is, Zionism - as the last remnants of the nobility in Judaism
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Shapir, Barbara, Teresa Lewin, and Samar Aldinah. "LET’S TALK! PROMOTING MEANINGFUL COMMUNICATION THROUGH AUTHENTIC TEACHER CHILD DIALOGUE." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end031.
Повний текст джерелаАнотація:
The heart of this study is an analysis of teacher–child dialogue in a classroom environment. An authentic dialogue enables children to express their real thoughts and ideas, to present insights, to ask questions, to make comments and to argue about different interpretations. In an effort to help our future teachers improve the quality of their verbal and nonverbal interactions with children as well as emotional and social support, we created a “community of learners”. Mentors and eight students - teachers (Israeli Jews and Arabs) participated in a reciprocal process of learning through experimentation while building new knowledge. Their interactions were examined how the teachers’ verbal and nonverbal responsiveness helped them to open or close conversational spaces for children while enabling them to listen to their voices. The research methodology was a discourse analysis i.e. analyzing the use of language while carrying out an act of communication in a given context. It presents a qualitative analysis of 20 transcripts of students - teacher's conversations with Israeli Jewish and Arab children from ages 4 – 6 years old. The analysis revealed that as teachers provided open conversational spaces with children, authentic dialogue emerged. Both voices were expressed and the child’s world was heard. The significance of thisstudy isto demonstrate the importance that authentic dialogue between teachers and young children has on the learning process as well as teacher’s acknowledgment on how children think and feel. This offers an opportunity for them to learn with and from the children.
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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.
Повний текст джерелаАнотація:
The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.
Звіти організацій з теми "Jewish-israeli art"
1
Yilmaz, Ihsan, and Nicholas Morieson. Religious populism in Israel: The case of Shas. European Center for Populism Studies (ECPS), March 2022. http://dx.doi.org/10.55271/pp0011.
Повний текст джерелаАнотація:
Since the 1990s, populism has become increasingly prevalent in Israeli politics. While scholars and commentators have often focused on the populist rhetoric used by Benjamin Netanyahu, his is hardly the only manifestation of populism within Israel. For example, Shas, a right-wing populist party which seeks to represent Sephardic and Haredi interests within Israel, emerged in the 1980s and swiftly became the third largest party in the country, a position it has maintained since the mid 1990s. Shas is unique insofar as it merges religion, populism, and Sephardic and Haredi Jewish identity and culture. Indeed, Shas is not merely a political party, but a religious movement with its own schools and religious network, and it possesses both secular and religious leaders. In this article, we examine the religious populism of Shas and investigate both the manner in which the party constructs Israeli national identity and the rhetoric used by its secular and religious leadership to generate demand for the party’s religious and populist solutions to Israel’s social and economic problems. We show how the party instrumentalizes Sephardic ethnicity and culture and Haredi religious identity, belief, and practice, by first highlighting the relative disadvantages experienced by these communities and positing that Israeli “elites” are the cause of this disadvantaged position. We also show how Shas elevates Sephardic and Haredi identity above all others and claims that the party will restore Sephardic culture to its rightful and privileged place in Israel.