Статті в журналах з теми "Judaism and theater"

Abstract Some scholars have characterized Jewish participation in Roman theatrical institutions as a departure from normative Judaism, while others have distinguished Jews in the diaspora, who attend the theaters, from Jews in Palestine, who criticize and reject them. Both of these narratives are inadequate because scholars have failed to analyze the sources in terms of the cultural and discursive dynamics of Roman theater-going in general. Critiques and accommodations of the theater are common among Jews who lived in both the diaspora and Palestine, for the nature of theatrical culture itself provided Jews with opportunities for vigorous dialogical give-and-take under a Roman imperium in which theaters and their shows were of utmost political and social importance.

In closely connected studies Tassilo Erhardt and Michael Marissen have suggested that Handel's Messiah is fundamentally anti-Jewish. Erhardt, who based his conclusions on books thought to have been in the library of Charles Jennens, compiler of the Messiah libretto, argues that the text was intended as a defense of orthodox Christianity against Judaism as well as Deism; Marissen contends it “was designed to teach contempt for Jews and Judaism.” Closer examination of the theological literature of Jennens's day shows that the theories of both scholars are founded on selective and tendentious reading of the sources. Marissen's further claim that Handel consciously reinforced the libretto's supposed anti-Jewish connotations by means of motivic symbolism, orchestration, and chorale quotations rests on misconceptions about the composer's style. Jennens probably conceived Messiah not to counter either Deism or Judaism but to inspire his Christian audience to greater devotion. The preference he gave to Old Testament prophecy over New Testament narrative reflects a tacit contemporary prohibition against direct representation of Christ in the English theater.

As an illustration of the phenomena of “filtered absorption” or “controlled incorporation” of Greek and Roman culture into late classical Judaism, this article focuses on the depiction of Abraham’s servant, identified as Eliezer, in a passage in b. Sanh 109b, which consists largely of confrontations—several of them of a decidedly humorous or satirical nature—with the perverse laws, judges, and citizens of biblical Sodom. The manner in which Eliezer’s midrashic personality and role were fashioned by the rabbis evokes a familiar character from classical literature, namely the “clever slave” [servus callidus], a figure that was cultivated most famously by Plautus and which became a popular stock character in Roman theater. The article tries to reconstruct how the midrashic homilist adapted the Latin dramatic conventions for Jewish religious and exegetical purposes.Special attention is paid to the Talmud’s incorporation of the well-known motif of the “Procrustean bed”; noting the methodological and textual obstacles that plague our attempts to identify exactly which versions of that legend were being used by the Talmudic authors.

In the early 1880s, the book Picturesque Palestine, Sinai and Egypt brought to the American and British marketplace the most comprehensive visual survey of the Holy Land that had yet appeared. It came at a time when Protestant Christians in both countries felt the need was “urgent” for “accurate” illustrations of these regions that could serve to explain and “defend” the Scriptures against science and the new biblical criticism. To obtain such images, the publishing firms of D. Appleton in New York City and James S. Virtue in London sent the artists John Douglas Woodward and Harry Fenn on extended sketching trips in 1878 and 1879. Published serially from 1881 to 1883, Picturesque Palestine's nine hundred pages and six hundred black-and-white images would constitute the most conspicuous response to the contemporary appeals for illustrations of the Holy Land (Figure 1).At the same time, it would present these Eastern Mediterranean regions so significant to the history of Judaism, Christianity, and Islam through the lens of the picturesque — employing familiar aesthetic conventions long popular in British and American view books. In this approach, the artist or traveler searches for elements in the landscape that conform to preset ideas of what constitutes a picture — in this case, those distinguished by pleasing variety, irregularity of form, rough texture, and contrasts of light and dark. Thus, the book is a prime, and quite late, example of the “visualisation of the travel experience,” in which scenic tourism replaced the opportunity to meet and converse with others as the primary appeal of travel. Its comprehensive visual survey is also akin to the displays at the world's fairs so popular in this period that presented various regions and peoples as spectacle or theater.

Full Professor in Architectural Design at the Instituto Universitario di Architettura (IUAV) in Venice, he carries out an intense intellectual activity by connecting teaching, theory, research, and practice. Prize of the Italian Presidency of the Republic for architecture 2017, he has delivered seminars and lectures in some of the main universities including Harvard, UIC Chicago, ETH, etc. From 1984 to 1992 he collaborated with Peter Eisenman, New York, on the projects Romeo and Juliet, Verona (1986, Stone Lion, III Architecture Biennale of Venice), La Villette Park, Paris (1986), Monte Paschi, Siena (1988), etc. Among the main international projects: Great Egyptian Museum, Cairo (2002, third prize); MOMA Warsaw (2007, Honorable Mention); John Paul II Center, Krakow (2007, special mention); Torre della Ricerca, Padua (2008, fourth prize, in collaboration with Peter Eisenman); Museum of Judaism, Ferrara (2010, Special Mention). Main projects completed: Ghiaie Sports Area, Trento (1984-1998); Fortunato Depero Museum of Futurism, Rovereto (1992-2008); Gdańsk Shakespearean Theater (2004-2013). His projects are published in the main international magazines such as Casabella, Domus, Architectural Review, Detail, and have been exhibited at the Venice Biennale (1984, 1985, 1996, 2002, 2010 and 2016), Triennale di Milano, Accademia di San Luca, etc. Awards: Fritz Höger, Berlin, 2017; Architizer A, Belgium, 2016; Iconic Award, Monaco DB, 2015; Gold Medal, Milan, 2015, 2009; Golden Compass, Milan, 2015, 2011; Council of Europe, Landscape Award, 2009. Some significant publications: Il Cosmo della Bildung, Mimesis 2016; Unexpected Parma, MUP 2013; The Daìmon of Architecture, Mimesis 2014; John Hejduk, Incarnatio, Marsilio 2010; The Divine of the Landscape, Marsilio 2008; John Hejduk BRONX, Manual in verse, Mimesis 2020. He recently founded in Venice the Nuova Scuola Architettura, a free school that focuses on the urgency of a new (heretical) gaze at Architecture, a necessity which derives from the cultural abyss of our time. The Accademia Nazionale di San Luca in Rome is currently paying a tribute to his oeuvre in a grand exhibition of gypsum models and maquettes titled “eden-eden. Renato Rizzi”, which can be visited until March third, 2023.

Full Professor in Architectural Design at the Instituto Universitario di Architettura (IUAV) in Venice, he carries out an intense intellectual activity by connecting teaching, theory, research, and practice. Prize of the Italian Presidency of the Republic for architecture 2017, he has delivered seminars and lectures in some of the main universities including Harvard, UIC Chicago, ETH, etc. From 1984 to 1992 he collaborated with Peter Eisenman, New York, on the projects Romeo and Juliet, Verona (1986, Stone Lion, III Architecture Biennale of Venice), La Villette Park, Paris (1986), Monte Paschi, Siena (1988), etc. Among the main international projects: Great Egyptian Museum, Cairo (2002, third prize); MOMA Warsaw (2007, Honorable Mention); John Paul II Center, Krakow (2007, special mention); Torre della Ricerca, Padua (2008, fourth prize, in collaboration with Peter Eisenman); Museum of Judaism, Ferrara (2010, Special Mention). Main projects completed: Ghiaie Sports Area, Trento (1984-1998); Fortunato Depero Museum of Futurism, Rovereto (1992-2008); Gdańsk Shakespearean Theater (2004-2013). His projects are published in the main international magazines such as Casabella, Domus, Architectural Review, Detail, and have been exhibited at the Venice Biennale (1984, 1985, 1996, 2002, 2010 and 2016), Triennale di Milano, Accademia di San Luca, etc. Awards: Fritz Höger, Berlin, 2017; Architizer A, Belgium, 2016; Iconic Award, Monaco DB, 2015; Gold Medal, Milan, 2015, 2009; Golden Compass, Milan, 2015, 2011; Council of Europe, Landscape Award, 2009. Some significant publications: Il Cosmo della Bildung, Mimesis 2016; Unexpected Parma, MUP 2013; The Daìmon of Architecture, Mimesis 2014; John Hejduk, Incarnatio, Marsilio 2010; The Divine of the Landscape, Marsilio 2008; John Hejduk BRONX, Manual in verse, Mimesis 2020. He recently founded in Venice the Nuova Scuola Architettura, a free school that focuses on the urgency of a new (heretical) gaze at Architecture, a necessity which derives from the cultural abyss of our time. The Accademia Nazionale di San Luca in Rome is currently paying a tribute to his oeuvre in a grand exhibition of gypsum models and maquettes titled “eden-eden. Renato Rizzi”, which can be visited until March third, 2023.

This article traces the reception of Oscar Wilde's playSaloméin Israeli theatre by focusing on the engagement of two artists – writer and translator Pinchas Sadeh and theatre director Ofira Henig – with the play at two different periods. InSalomé, Wilde utilizes his perception of Judaism, as well as the Song of Songs, for the creation of a theatrical space in which spectatorship and ownership are subverted and displaced. At the same time, ironically, the biblical and ‘Jewish’ presence in the play was fundamental for claims of ownership made by some in Hebrew and Israeli culture, asserting that the play somehow belonged to Hebrew culture and the Land of Israel. Despite these claims, the actual reception ofSaloméin Israeli theatre proved that the play's ‘belonging’ was far more tenuous. The article examines how the tensions between the seen and the unseen, between owning and disowning and between placement and displacement play out – in almost opposite directions – in Sadeh's ideological reasoning for translatingSaloméand in Henig's production of it.

‘Kaddish for Steve’ explores Steven Sondheim’s legacy as a Jewish artist after his death, seeking traces of his Judaism in stories of his Jewish collaborators, exploration of his Jewish (and Jew-ish) characters and analysis of his Jewish themes. Using theories of Jewish narrative and Jewishness as articulated by (among others) Dara Horn and Daniel Boyarin, and musical theatre theory as conceived by David Savran, the article closely reads musicals including Merrily We Roll Along, Company, Sunday in the Park with George and Gypsy alongside Sondheim’s own memoir, Finishing the Hat. In examining Sondheim’s understanding of his own work, ‘Kaddish for Steve’ discovers a Jewish way of reading and writing within both the musicals and the memoir that closely aligns with Boyarin’s concept of ‘Jewissance’. The article concludes with a remembrance of Sondheim as spiritual and artistic teacher, honouring his continued influence on contemporary musical theatre and comparing his role in the lives of his many students to that of a rabbi.

Abstract This essay examines the notion of Narrentum (foolishness) in Franz Kafka’s writings, reflecting Walter Benjamin’s engagement with the legacy of Kafka’s fools. The Narr, associated with playfulness, irony, and resistance, provides a comic perspective on the question of being-Jewish. Alongside its Germanic, mostly Baroque, heritage, the Narr incorporates traditional Jewish tropes, primarily rooted in Aggadic traditions. However, in Kafka’s world, the Narr embodies performative skills also linked to Yiddish theatre. In Benjamin’s readings, Kafka’s Narr is associated with the crisis of modern Judaism and with different modes of wisdom. The Narr signifies particular sorts of nihilistic freedom, which Benjamin refers to as redemptive.

Once upon a time, probably in the first half of the seventeenth century, David Curiel, a prominent member of the Amsterdam Sephardi community, was attacked by a German robber. Although seriously wounded, Curiel managed to overcome his attacker with the help of his Christian neighbours. The robber was tried and sentenced. After his execution, the States of Holland sent Curiel a letter expressing their regret at the incident and inviting him to witness the medical lesson on the corpse of the robber in the anatomical theatre of Leiden University. This legend has been handed down in at least five different manuscripts, preserved in Jewish libraries. It was probably read at the feast of Purim, which, of course, commemorates an earlier attack on the Jews and the spectacular destruction of their enemy.

The paper approaches the problem of a research of a Christian dimension of literature and theatre in the period of the crisis of Christian anthropology, which has been deeply felt at the end of the 20th century. Destructive elements have appeared in the understanding of the history and the role which Christianity has played in the construction of the world. The fruits of the contemporary culture have become sour; they contradict achievements of humanism and create an entity which has been named by Pope John Paul II as the “culture of death”. A researcher of the 20th century literature and theatre in his/her attempt to reach to the source of these processes and reveal real roots of the European culture must make an “incision” with Logos or with “the Light of the Gospel” on the body of the work created by this culture. So, that, as a result of this “incision” the elements which poison it might be eliminated. In this way a transcendental dimension of the European culture could be revealed and a proper description could start; proper because it could undertake the type of anthropology which had been revealed in the Bible and later developed by Judaism and Christianity.

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

I cannot identify any one particular influence as being solely responsible for my embarking on a new operatic treatment of Faust. It seems rather to have been the result of a convergence of ideas and directions from all parts of my life and career as a composer. As a P.K. (Priest’s kid) in Vancouver I spent many a rainy Sunday morning pondering over whether God really wanted me to go to church or not. Ever since I can remember, I’ve wanted to know the truth, even as I harboured a growing suspicion that there may not be such a thing. My heros became those figures in whose torment I saw a confusion similar to my own: Cain, Judas, Pontius Pilate, Noah’s drowned friends, etc. I remember driving my father crazy with questions about them. I still do. Only now he shrugs in the places where he used to have answers. I would ask him “Why doesn’t God just appear in the sky waving a big sign – ’This way to heaven’?” It all seemed like such a riddle to me. It seemed only natural to challenge God for the definitive answer, but as I grew older I became paralysed by what seemed to me an endless array of ’human’ answers to these questions: “Sit on a rock and stare at the sun all day”; “say thirty-five Hail Marys and count your beads”; “be a vegetarian and recycle”. Who is right? And assuming that there is one right, is everyone else wrong?

The article attempts to outline the activity of Kharkiv art history school from the time of its formation in the 1900s to the present day. The author reveals the main directions of research of university art history in Kharkiv, as well as figures of museum institutions who were engaged in the study of topical problems of art before the outbreak of Stalinist terror, when Kharkiv art history school was completely destroyed, and its representatives were either shot (F. Shmit, P. Fomin, K. Slipko-Moskaltsiv) or sent into exile (S. Taranushenko, P. Zholtovsky, D. Gordeiev, O. Berladina). It is emphasized that none of them ever returned to Kharkiv. This became a serious obstacle in the restoration of the scientific art history school in the city. This process lasted for a very long time in comparison with other artistic centers, Kyiv and Lviv in particular. The article reveals the traditions of art history science in Kharkiv, laid down in the first third of the 20th century before its destruction in the Stalinist period. The author also shows the changes in the organization of research activities in modern conditions, when university art history has become a thing of the past, and the scientific center has moved to the higher art institution of the city, which became the Kharkiv Institute of Art and Industry (the Kharkiv State Academy of Design and Arts from 2001).The main directions of the development of art history in this higher educational institution of art in Kharkiv are revealed. It is shown that, first of all, Ukrainian studios were resumed as a separate direction and such an outstanding phenomenon of Ukrainian national art as M. Boichuk’s school, destroyed during the Stalinist repressions, was reconstructed. Separate pages about some figures of the glorious cohort of Ukrainian masters who, with their work, personified the bright and tragic era for the Ukrainian creative intelligentsia of the 1920s, namely artist-writer M. Zhuk as well as representatives of the avant-garde phenomenon in the artistic culture of the 20th century in Kharkiv (V. Yermilov, B. Kosarev, A. Petrytsky), were also revealed. Not only was the range of Oriental studies restored, but to some extent expanded, the study of Far and Middle Eastern art was introduced, and the study of Ukrainian art Judaica and Jewish art was brought to the wider modern world. In the Soviet period this was impossible due to the policy of the Soviet power. Ukrainian theater decoration art, Ukrainian school of art photography, contemporary art became new directions. The development of established traditions and deepening of the study of the sacred art and modern art forms are among the prospects for further directions.

Ключові слова: релігійні свята, Уманська округа, місцева преса, радянська влада, 1923–1925 роки, антирелігійна політика. Анотація У статті розглядається офіційне ставлення партійних, державних, громадських структур в Уманській окрузі до релігійних свят у 1923–1925 рр. Проаналізовані відповідні матеріали вміщені на сторінках газети «Робітниче-селянська правда» – органу Уманського окружного комітету КП(б)У і окрвиконкому Уманщини. Зроблено висновок, що в Уманській окрузі, як і загалом в радянській Україні у той період, відносно більш толерантне офіційне ставлення до релігії поєднувалося із подальшим насадженням нетерпимості до неї. Це досить виразно виявлялося в неприйнятті релігійних свят та всього пов’язаного з ними і вело до руйнації традиційних духовно-культурних цінностей тих релігійних конфесій, які були представлені у цьому регіоні. Посилання «Seider», 1923 – «Seider» y «Tainaia vecheria» ["Seider" and "The Last Supper"] // Robitnyche-selianska pravda. 1923. 22 bereznia. № 63. S. 2. Pidpys: F. N. [in Ukrainian]. Antyrelihiina propahanda, 1923 – Antyrelihiina propahanda v s. Tanskomu [Anti-religious propaganda in the village of Tanske] // Robitnyche-selianska pravda. 1923. 11 kvitnia. № 78. S. 3 Pidpys: V. B. [in Ukrainian]. Antyrelihiina propahanda, 1924 – Antyrelihiina propahanda v s. Taliankakh [Anti-religious propaganda in the village of Talianki] // Robitnyche-selianska pravda. 1924. 16 sichnia. № 9. S. 2. Pidpys: M. [in Ukrainian]. Babenko, 2010 – Babenko L. Osoblyvosti antyrelihiinoi propahandy 1920-kh rokiv ta yii alternatyvy [Features of anti-religious propaganda of the 1920s and its alternatives] // Filosofski obrii. 2010. № 24. S. 222–235. URL: http://dspace.nbuv.gov.ua/bitstream/handle/123456789/25951/18-Babenko.pdf?sequence=1 [in Ukrainian]. Baidachenko, 1925 – Baidachenko H. Proty Peruna y Khrysta – elektryka y radio [Against Perun and Christ – electricity and radio] // Robitnyche-selianska pravda. 1925. 31 hrudnia. № 298. S. 3 [in Ukrainian]. Bezbozhnyk, 1923 – Relihiina dyskusiia v s. Nesterivtsi [Religious discussion in the village of Nesterivka] // Robitnyche-selianska pravda. 1923. 29 kvitnia. № 94. S. 2. Pidpys: Bezbozhnyk [in Ukrainian]. Bliau, 1923 – Bliau D. Blahochestyvыe masloboishchyky [Pious chippers] // Robitnyche-selianska pravda. 1923. 16 travnia. № 107. S. 4 [in Russian]. Bondarchuk, 1925 – Relihiinyi durman ta babski zabobony [Religious dope and women superstitions] // Robitnyche-selianska pravda. 1925. 5 liutoho. № 28. S. 2. Pidpys: Bondarchuk [in Ukrainian]. Borotba komnezamu, 1923 – Borotba komnezamu s. Kniazhykiv z relihiinymy zabobonamy [The struggle of the komnezam of the village of Knyazhyky with religious prejudices] // Robitnyche-selianska pravda. 1923. 29 kvitnia. № 94. S. 2. Pidpys: B. [in Ukrainian]. Brusianin, 1925 – Brusianin V. Komu potribni relihiini sviata? [Who needs religious holidays?] // Robitnyche-selianska pravda. 1925. 12 kvitnia. № 83. S. 1 [in Ukrainian]. Vecher antyrelyhyoznoi propahandы, 1923 – Vecher antyrelyhyoznoi propahandы v teatre «Kommuna» [An evening of anti-religious propaganda at the Kommuna theater] // Robitnyche-selianska pravda. 1923. 11 kvitnia. № 78. S. 3. Pidpys: D. [in Russian]. Vecher v klube, 1923 – Vecher v klube polyhrafystov [Evening at the club of printers] // Robitnyche-selianska pravda. 1923. 4 kvitnia. № 74. S. 2. Pidpys: D. [in Russian]. Vidhadai, 1923 – Bez boha khlib matymesh, a z bohom torbu chipliatymesh [Without God you will have bread, and with God you will cling to a bag] // Robitnyche-selianska pravda. 1923. 15 veresnia. № 209. S. 3. Pidpys: Selkor Vidhadai [in Ukrainian]. Vitrynska, 2016 – Vitrynska O. V. Polityka radianskoi vlady shchodo yudaizmu v Ukraini v 1921–1929 rokakh. [The policy of the Soviet government towards Judaism in Ukraine in 1921–1929] Dys… kand. ist. nauk. Poltava, 2016. 254 s. URL: https://shron1.chtyvo.org.ua/Vitrynska_Olena/Polityka_radianskoi_vlady_schodo_iudaizmu_v_Ukraini_v_1921–1929_rokakh.pdf [in Ukrainian]. Volska, 1925 – Ne derzhit uchniv vdoma v relihiini sviata [Do not keep students at home on religious holidays] // Robitnyche-selianska pravda. 1925. 19 hrudnia. № 290. S. 3. Pidpys: Selkorka Volska [in Ukrainian]. Haievska, 2013 – Haievska T. Derzhavni radianski sviata: istoryko-kulturolohichnyi aspekt [State Soviet holidays: historical and cultural aspect] // Kulturolohichna dumka. 2013. № 6. S. 153–159. URL: http://nbuv.gov.ua/UJRN/ Kultdum_2013_6_21 [in Ukrainian]. Demennyi, 1923 – Shkola s. Kamianechoho boretsia z relihiinymy zabobonamy [School in the village of Kameneche struggles religious prejudices] // Robitnyche-selianska pravda. 1923. 14 kvitnia. № 81. S. 2. Pidpys: Demennyi [in Ukrainian]. Didus, 1923 – Antyrelihiina propahanda na paskhalni sviata v s. Hromakh [Anti-religious propaganda on Easter holidays in the village of Gromy] // Robitnyche-selianska pravda. 1923. 4 kvitnia. № 74. S. 2. Pidpys Didus [in Ukrainian]. Yev. Hen, 1924 – Shcho take sviato rizdva? [What is a Christmas holiday?] // Robitnyche-selianska pravda. 1924. 25 hrudnia. № 225. S. 2. Pidpys: Yev. Hen [in Ukrainian]. Zakrepym pobedu, 1923 – Zakrepym pobedu [Let's consolidate the victory] // Robitnyche-selianska pravda. 1923. 4 kvitnia. № 74. S. 1 [in Russian]. K antyrelyhyoznoi propahande, 1923 – K antyrelyhyoznoi propahande v paskhalnыe dny [To anti-religious propaganda on Easter days] // Robitnyche-selianska pravda. 1923. 24 bereznia. № 65. S. 1 [in Russian]. K Komsomolskoi paskhe, 1923 – K Komsomolskoi paskhe [For Komsomolskaya Easter] // Robitnyche-selianska pravda. 1923. 29 bereznia. № 69. S. 3 [in Russian]. Kak obmanыvaiut, 1923 – Kak obmanыvaiut Yehovu [How Jehovah is Deceived] // Robitnyche-selianska pravda. 1923. 1 kvitnia. № 72. S. 2 [in Russian]. Kyrydon, 2017 – Kyrydon A. M. Indoktrynatsiia radianskosti: obriadovo-sviatkovyi kanon yak marker formuvannia ateizovanoho suspilstva (1920–1930-i rr.) [The indoctrination of Sovietness: a ceremonial-festive canon as a marker of the formation of an atheistic society (1920s–1930s)] // Umanska starovyna. 2017. Vypusk 3. S. 5–20. URL: http://www.irbis-nbuv.gov.ua/cgi-bin/irbis_nbuv/cgiirbis_64.exe?I21DBN=LINK&P21DBN=UJRN&Z21ID=&S21REF=10&S21CNR=20&S21STN=1&S21FMT=ASP_meta&C21COM=S&2_S21P03=FILA=&2_S21STR=umanst_2017_3_3 [in Ukrainian]. Labenskyi, 1924 – S. Kniazhyky [The village of Knyazhiki] // Robitnyche-selianska pravda. 1924. 6 serpnia. № 107. S. 3. Pidpys: Labenskyi [in Ukrainian]. Litstudiia, 1925 – Litstudiia «Pluhu» pry Umanskim Ahrotekhnikumi [Litstudio "Plow" at Uman Agricultural College] // Robitnyche-selianska pravda. 1925. 15 kvitnia. № 85. S. 2. Pidpys: P. K. [in Ukrainian]. Makukha, 1923 – Borotba z relihiinymy zabobonamy v s. Pidvysokomu [Struggle against religious prejudices in the village of Pidvysoke] // Robitnyche-selianska pravda. 1923. 29 kvitnia. № 94. S. 2. Pidpys: Makukha [in Ukrainian]. Matukhno, 2017 – Matukhno Yu. O. Problema klasyfikatsii radianskykh sviat u pershe porevoliutsiine desiatylittia [The problem of classifying Soviet holidays in the first post-revolutionary decade] // Naukovi pratsi istorychnoho fakultetu Zaporizkoho natsionalnoho universytetu. 2017. Vyp. 48. S. 139–142. URL: http://www.irbis-nbuv.gov.ua/cgi-bin/irbis_nbuv/cgiirbis_64.exe?C21COM=2&I21DBN=UJRN&P21DBN=UJRN&IMAGE_FILE_DOWNLOAD=1&Image_file_name=PDF/Npifznu_2017_48_27.pdf Medsanrabotnyky, 1923 – Medrabotnyky ne otstaiut [Medical workers are not lagging behind] // Robitnyche-selianska pravda. 1923. 6 kvitnia. № 76. S. 2 [in Russian]. Na obshchem sobranyy, 1923 – Na obshchem sobranyy transportnykov y stroytelei [At a general meeting of transport workers and builders] // Robitnyche-selianska pravda. 1923. 31 bereznia. № 71. S. 3 [in Ukrainian]. Naiblyzhchi zavdannia, 1924 – Naiblyzhchi zavdannia raionnykh komisii po protyrelihiinii propahandi [Immediate tasks of district commissions for anti-religious propaganda] // Robitnyche-selianska pravda. 1924. 11 sichnia. № 7. S. 3 [in Ukrainian]. Novoselytskyi, 1923 – Novoselytskyi F. Stradaiushchye y voskresaiushchye bohy y yskuplenye ymy liudskykh hrekhov [Suffering and resurrecting gods and their atonement for human sins] // Robitnyche-selianska pravda. 1923. 20 bereznia. № 61. S. 2 [in Russian]. Paskhalnaia kampanyia, 1923 – Paskhalnaia kampanyia [Easter campaign] // Robitnyche-selianska pravda. 1923. 28 bereznia. № 68. S. 3 [in Russian]. Polytprosvet, 1923 – Prazdnyk Paskhy y paskhalnыe obriadы [Easter holiday and Easter ceremonies] // Robitnyche-selianska pravda. 1923. 20 bereznia. № 61. S. 2. Pidpys: Polytprosvet Ukoma KSM [in Russian]. Polishchuk, 2009 – Polishchuk V. Onoprii Turhan – zhurnalist i pysmennyk [Onopriy Turgan is a journalist and writer] URL: https://umanliteratura.ucoz.ua/news/v_polishhuk_onoprij_turgan_zhurnalist_i_pismennik/2010-12-20-256 [in Ukrainian]. Popova, 1925 – Popova O. Sviatkuimo ne bozhi sviata, a sviata pratsi y peremohy [Let us celebrate not God's holidays, but the holidays of work and victory] // Robitnyche-selianska pravda. 1925. 12 kvitnia. № 83. S. 2 [in Ukrainian]. Proletshkola, 1923 – Proletshkola protyv boha [Proletarian school against god] // Robitnyche-selianska pravda. 1923. 28 bereznia. № 68. S. 2 [in Russian]. Rabkor, 1923 – Budem borotsia s relyhyei kak y s vooruzhennыm vrahom [We will fight religion like an armed enemy] // Robitnyche-selianska pravda. 1923. 3 kvitnia. № 73. S. 3. Pidpys: Rabkor K. [in Ukrainian]. Rabota ahytpropa, 1923 – Rabota ahytpropa v aprele [Agitprop work in April] // Robitnyche-selianska pravda. 1923. 9 travnia. № 101. S. 3 [in Russian]. Robitnyk, 1924 – Osvitu zhintsi na seli [Education for a woman in the countryside] // Robitnyche-selianska pravda. 1924. 8 liutoho. № 18. S. 3. Pidpys: Robitnyk [in Ukrainian]. Robitnyche zhyttia, 1924 – Robitnyche zhyttia [Working life] // Robitnyche-selianska pravda. 1924. 23 kvitnia. № 48. S. 3 [in Ukrainian]. Sylantiev, 2005 – Sylantiev V. I. Vlada i pravoslavna tserkva v Ukraini (1917–1930 rr.) [Authorities and the Orthodox Church in Ukraine (1917–1930)] Avtoref. dys… dokt. ist. nauk. Kharkiv, 2005. 46 s. [in Ukrainian]. Syrotiuk, 1924 – Zubrytskyi KNS ne porvav shche z relihiieiu [The Zubrytsia CРР has not yet broken with religion] // Robitnyche-selianska pravda. 1924. 5 sichnia. № 4. S. 2. Pidpys: Syrotiuk [in Ukrainian]. Sidorenko, 1923 – Sidorenko Z. Neobkhidna chystka komnezamu s. Pobiinoi [It is necessary to clean the komnezam of the village of Pobiyna] // Robitnyche-selianska pravda. 1923. 19 kvitnia. № 85. S. 2 [in Ukrainian]. Soloviov, 1924 – Soloviov D. Nebazhane yavyshche [An undesirable phenomenon] // Robitnyche-selianska pravda. 1924. 16 sichnia. № 9. S. 2 [in Ukrainian]. Tabel, 1924 – Tabel sviat i nerobochykh dniv. Oboviazkova postanova Kyivskoho hubvykonkomu № 49 vid 19 bereznia 1924 roku [Table of holidays and non-working days. Mandatory Resolution of the Kyiv Provincial Executive Committee № 49 of March 19, 1924] // Vistnyk Kyivskoho hubvykonkomu. 1924. 2 kvitnia. № 14. S. 2 [in Ukrainian]. Tarapon, 2016 – Tarapon O. Derzhavni sviata v Ukraini 1920–1930-kh rr. yak zasib formuvannia radianskykh politychnykh tsinnostei [Public holidays in Ukraine in the 1920s and 1930s as a means of forming Soviet political values] // Aktualni pytannia humanitarnykh nauk: mizhvuzivskyi zbirnyk naukovykh prats molodykh vchenykh Drohobytskoho derzhavnoho pedahohichnoho universytetu imeni Ivana Franka. Drohobych, 2016. Vyp. 15. S. 96–102. URL: http://nbuv.gov.ua/UJRN/apgnd_2016_15_13 [in Ukrainian]. Tolko 40 pyshchevykov, 1923 – Tolko 40 pyshchevykov ne odurachenы relyhyei [Only 40 food workers are not fooled by religion] // Robitnyche-selianska pravda. 1923. 31 bereznia. № 71. S. 3 [in Russian]. Turhan, 1924 – Turhan O. Proty staroho rizdva [Against old Christmas] // Robitnyche-selianska pravda. 1924. 24 hrudnia. № 224. S. 2 [in Ukrainian]. Fiialko, 1923 – Fiialko S. Antyrelihiina propahanda v s. Ksendzivtsi [Anti-religious propaganda in the village of Ksendzivka] // Robitnyche-selianska pravda. 1923. 19 kvitnia. № 85. S. 2 [in Ukrainian]. Flerovskyi, 1923 – Flerovskyi Y. Stradaiushchyi, umershyi y voskresshyi... [Suffering, dead and resurrected...] // Robitnyche-selianska pravda. 1923. 6 kvitnia. № 76. S. 3 [in Russian]. Flierovskyi, 1925 – Flierovskyi I. Zvidky pishly tserkovni sviata [Where did the church holidays come from?] // Robitnyche-selianska pravda. 1925. 10 kvitnia. № 81. S. 2 [in Ukrainian]. Tserkvy, 1923 – Tserkvy, kostelы, synahohy – pod klubы y teatrы [Churches, churches, synagogues - for clubs and theaters] // Robitnyche-selianska pravda. 1923. 6 kvitnia. № 76. S. 2 [in Russian]. Chuchalin, 2019 – Chuchalin O. P. Vplyv ateistychnoi propahandy radianskoi presy na relihiinu sytuatsiiu v USRR u 1920–1930-ti rr. [The influence of atheistic propaganda of the Soviet press on the religious situation in the USSR in the 1920s and 1930s] // Hileia: naukovyi visnyk. 2019. Vypusk 142(1). S. 182–188. URL: http://www.irbis-nbuv.gov.ua/cgi- bin/irbis_nbuv/cgiirbis_64.exe?I21DBN=LINK&P21DBN=UJRN&Z21ID=&S21REF=10&S21CNR=20&S21STN=1&S21FMT=ASP_meta&C21COM=S&2_S21P03=FILA=&2_S21STR=gileya_2019_142(1)__39 [in Ukrainian]. Yunenko, 1925 – Yunenko S. Nash KNS [Our СPP] // Robitnyche-selianska pravda. 1925. 16 sichnia. № 9. S. 3 [in Ukrainian].

“This was not America.” Michael Charles Steinlauf in conversation with Elżbieta Janicka (Warsaw – New York – Warsaw, 2014–2015)Born in Paris in 1947, Michael Charles Steinlauf talks about his childhood in New York City, in the south of Brooklyn (Brighton Beach), in a milieu of Polish Jewish Holocaust survivors. His later experiences were largely associated with American counterculture, the New Left, an anti-war and antiracist student movement of the 1960s (Students for a Democratic Society, SDS) as well as the anticapitalist underground of the 1970s (“Sunfighter”, “No Separate Peace”). In the 1980s, having undertaken Judaic Studies at Brandeis University, Steinlauf arrived in Poland, where he became part of the democratic opposition circles centred around the Jewish Flying University (Żydowski Uniwersytet Latający, ŻUL). In the independent Third Republic of Poland, he contributed to the creation of the Museum of the History of Polish Jews in Warsaw.Michael C. Steinlauf’s research interests focus on the work of Mark Arnshteyn (Andrzej Marek) and of Yitskhok Leybush Peretz, Yiddish theatre as well as Polish narratives of the Holocaust. The latter were the subject of his monograph Bondage to the dead: Poland and the memory of the Holocaust (1997, Polish edition 2001 as Pamięć nieprzyswojona. Polska pamięć Zagłady). An important topic of the conversation is the dispute concerning the categories used to describe the Holocaust, including the conceptualisation of Polish majority experience of the Holocaust as a collective trauma. Controversies also arise in connection with the contemporary phenomena popularly conceptualised as the “revival of Jewish culture in Poland” and “Polish–Jewish dialogue.” Another subject of the conversation is Michał Sztajnlauf (1940–1942), Michael C. Steinlauf’s stepbrother. The fate of the brothers was introduced into the canon of Polish culture by Hanna Krall’s short story Dybuk (1995, English edition 2005 as The Dybbuk) and its eponymous stage adaptation by Krzysztof Warlikowski (2003). Looking beyond artistic convention, the interlocutors try to learn more about Michał himself. This is the first time the readers have an opportunity to see his photographs from the Warsaw Ghetto.The conversation is illustrated with numerous archival materials from periods before and after World War Two as well as from German-occupied Poland. „To nie była Ameryka”. Z Michaelem Charlesem Steinlaufem rozmawia Elżbieta Janicka (Warszawa – Nowy Jork – Warszawa, 2014–2015)Urodzony w 1947 roku w Paryżu, Michael Charles Steinlauf opowiada o dzieciństwie spędzonym w Nowym Jorku, na południowym Brooklynie (Brighton Beach), w środowisku ocalałych z Zagłady polskich Żydów. Istotna część jego późniejszych doświadczeń związana była z amerykańską kontrkulturą, Nową Lewicą, studenckim ruchem antywojennym i antyrasistowskim lat sześćdziesiątych (Students for a Democratic Society, SDS) oraz podziemiem antykapitalistycznym lat siedemdziesiątych („Sunfighter”, „No Separate Peace”). W latach osiemdziesiątych, w związku z podjęciem studiów judaistycznych na Brandeis University, Steinlauf przyjechał do Polski, gdzie stał się częścią środowiska opozycji demokratycznej, skupionego wokół Żydowskiego Uniwersytetu Latającego (ŻUL). W III RP miał swój udział w tworzeniu Muzeum Historii Żydów Polskich w Warszawie.Zainteresowania badawcze Michaela C. Steinlaufa ogniskują się wokół twórczości Marka Arnsztejna (Andrzeja Marka), Jicchoka Lejbusza Pereca, teatru jidysz oraz polskich narracji o Zagładzie, którym poświęcił monografię Pamięć nieprzyswojona. Polska pamięć Zagłady (2001, pierwodruk angielski 1997 jako Bondage to the dead: Poland and the memory of the Holocaust). Ważną część rozmowy stanowi spór dotyczący kategorii opisu Zagłady, w tym koncepcji polskiego doświadczenia Zagłady jako traumy zbiorowej. Kontrowersja nie omija zjawisk współczesnych, konceptualizowanych potocznie jako „odrodzenie kultury żydowskiej w Polsce” oraz „dialog polsko-żydowski”.Bohaterem rozmowy jest także Michał Sztajnlauf (1940–1942), przyrodni brat Michaela C. Steinlaufa. Historia braci weszła do kanonu kultury polskiej za sprawą opowiadania Hanny Krall Dybuk (1995) oraz teatralnej inscenizacji Krzysztofa Warlikowskiego pod tym samym tytułem (2003). Abstrahując od konwencji przekazu artystycznego, rozmówcy próbują dowiedzieć się czegoś więcej o samym Michale. Czytelniczki i czytelnicy po raz pierwszy mają możność zobaczyć jego fotografie pochodzące z getta warszawskiego.Rozmowa jest bogato ilustrowana niepublikowanymi dotąd archiwaliami sprzed drugiej wojny światowej i z okresu powojennego, a także z czasów okupacji hitlerowskiej w Polsce.

AbstractIn the history of modern theatre, Otto Brahm is canonized mainly as the founder of the Freie Bühne (1889), the first Naturalist stage in Germany, which – as a private society – produced censored plays by Ibsen and Hauptmann and opened the way for the general acceptance of socially-oriented contemporary plays on the German stage. Brahm began as an influential theatre critic who, throughout the 1880s, fought against the popular theatre which was dominated by the star-system and by French-influenced light comedies. Instead, he advocated those new plays – especially by Ibsen – that presented contemporary society in positivist detail and with a social-activist critique. Brahm maintained his faith and focus on such plays when he became director of the Berlin Deutsches Theater (1894–1904) and, later, of the Lessing-Theater (1904–1912). Throughout, he produced a quality of theatre that turned Berlin into a famous theatre capital. Brahm ’s Jewish identity has rarely been studied, mainly because Brahm himself left so little witness to it, despite the growing political and racial anti-Semitism that existed during his life. This identity, which at the time was always significant, played a considerable role both in his personal life and in his extraordinary career. This article traces this role, as well as Brahm’s complex relationship to his Judaism, with the goal of re-inscribing Brahm ’s history into a Jewish context.

AbstractBiblical death penalty becomes practically inapplicable through talmudic legislation, though it is supported by the authority of the Torah. Consequently, death penalty remains a potential means of punishment, at least theoretically so, constituting a motif in the dramatic texts of the German-Jewish Zionist, lawyer and writer Sammy Gronemann (1875–1952). Following his immigration to Tel Aviv in 1936, difficulties in the application of this topos and of »Talion« in general become apparent in his dramatic works, particularly with regard to Germany. In face of the emerging horrors of the Shoah, Gronemann struggled to preserve the humanist-talmudic moment of the suspension of death penalty. He did so despite Zionist attempts to return to the biblical origins of Judaism, with its implied denial of cultural achievement in the Diaspora.

Abstract This essay examines the notion of Narrentum (foolishness) in Franz Kafka’s writings, reflecting Walter Benjamin’s engagement with the legacy of Kafka’s fools. The Narr, associated with playfulness, irony, and resistance, provides a comic perspective on the question of being-Jewish. Alongside its Germanic, mostly Baroque, heritage, the Narr incorporates traditional Jewish tropes, primarily rooted in Aggadic traditions. However, in Kafka’s world, the Narr embodies performative skills also linked to Yiddish theatre. In Benjamin’s readings, Kafka’s Narr is associated with the crisis of modern Judaism and with different modes of wisdom. The Narr signifies particular sorts of nihilistic freedom, which Benjamin refers to as redemptive.

Abstract This article explores the American Yiddish theater’s creative reworkings of William Shakespeare, a practice epitomized by the presumed parodic dictum “translated and improved” (fartaytsht un farbessert). It argues that this theater’s translational politics of chutzpah strives to breach fixed literary and familial lineages by treating the high-canonical Anglo text as a porous space, open to endless cultural attachments. Through revisionary acts of intercultural exchange, the Yiddish theater and its followers envision literary inheritance as something that is not bounded by familial descent and dissent but rather is open to alternative modes of kinship. Specifically, this late nineteenth-century strategy is carried forward by authors such as Anzia Yezierska and Grace Paley, who turn to the Yiddish theater’s proclaimed improvement of Shakespeare in their multilingual English works in order to envision a radical fluidity of the American self. Writing on the periphery of US literary production, the authors studied in this article Judaize, Yiddishize, and queer Shakespearean characters, insisting on both the semantic and semiotic ways in which translations can democratize the linguistic economy of Anglo-American literature.