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Finding their voice: Jewish women artists in the 19th and 20th centuries.
No full textWhile Jewish women artists became active in the visual arts beginning in the mid-19th century, to date they have not been addressed as a group. This project presents a theoretical and historical overview of the work of six Jewish women artists---Rebecca Solomon, Charlotte Salomon, Helen Frankenthaler, Sonia Delaunay, Louise Nevelson, and Eva Hesse---examining their art in the context of their cultural heritage, Euro-American nationalities, social environments, life experiences, and contemporary art movements. Providing both representational and nonrepresentational artists---an important factor in Jewish aesthetics---this group includes both well-recognized artists and those whose work has only recently become known. For Delaunay, Frankenthaler, Nevelson, and Hesse, this analysis provides an understanding of their artwork in light of their Jewish heritage, as opposed to the Western cultural context in which they are most often viewed.To properly examine the lives and artwork of these artists requires a multi-faceted theoretical framework. Given the history of Jewish exile, which dispersed artists among Euro-American societies, cross-cultural perspectives and analyses provide a context in which to situate their artwork. Contemporary aesthetic theories and women's art scholarship reframe the visual arts, particularly in reference to Jewish women artists. Finally, new textual methods of interpretation contribute to a broader understanding than traditional art historical practice.Since Euro-American art scholars most usually confine themselves within Western culture and aesthetics, the introduction of Jewish aesthetic history and theory provides a more appropriate structure within which to examine the work of Jewish women artists.While this sample group is small, it represents a broad historical and geographical range and examines the various ways of creating visual art within that range. This study weaves together traditional art historical models with newer theories from textual art scholarship, as well as cross-cultural and Jewish cultural studies. This use of a multi-faceted theoretical framework seeks to provide a more complete understanding of the lives and artwork of Jewish women artists, and their place within art history.Thesis (Ph.D.)--Florida Atlantic University, 2003.School code: 0119
The religious acculturation of the Ethiopian Jew in modern Israel: Case study of a spiritual conflict.
No full textThe Israeli Ethiopian Jews want full admission into mainstream Israeli society. The purpose of this study is to gain insight into the social and religious impediments to integration of Ethiopian Jews in modern Israel. Other immigrant groups to Israel, though initially challenged by the same problems of absorption and settlement, after a short time gained full admission into all areas of Israeli society. This is not the case among many first and second generation Ethiopian Israelis. Thirty years after immigration, this group remains frustrated, alienated and marginalized citizens.This study will highlight two aspects of the Ethiopian Jewish challenge to full Israeli integration: (1) African spirituality, (2) Ethiopian spiritual leadership.Ethiopian Jews transplanted African spirituality to Israel. Anchored in this spirituality was a worldview that conflicted with the worldview of Israeli religious and civil authorities. Thus, the Ethiopian Jews' African spirituality presented obstacles to their full integration into mainstream Israel.Second, de-legitimation of the role and influence of Ethiopian Jewish leadership has had a profound effect on the spirituality of the community, and this de-legitimation presents another salient obstacle to their full integration into modern Israeli society. The Ethiopian Israelis are Jewish in religion, but spiritually and culturally, they are Africans.Thesis (Ph.D.)--University of Pittsburgh, 2003.School code: 0178
Posters at AILA Conference (Box 115, Folder 11)
No full textThis folder of material was located in Box 115. Folder originally titled: Posters at AILA Conference - 2003.Digital ImageDigital finding aid
The interplay of peshat and rabbinic traditions in the exegetical works of Rabbi David Kimhi.
No full textThe degree to which midrashic and talmudic traditions should shape one's approach to the biblical text is one of the principal questions with which the preeminent Jewish exegetes of the medieval period grappled. This dissertation examines the incorporation of rabbinic traditions in the commentaries of Rabbi David Kimhi, a renowned Jewish Bible exegete of the thirteenth century in southern France. The dissertation is written both from the point of view of the study of biblical exegesis and the point of view of cultural history.The primary accomplishment of this dissertation lay in the illumination of Radak's method in its multiple aspects and the extensive analysis of his incorporation of rabbinic traditions in his commentaries. Radak was situated at the intellectual crossroads of the northern French achievements in the literal study of the Bible and Spanish accomplishments in the study of linguistics. Even as he synthesized the work of those who preceded him, Radak's principal contribution lay in his dedication to the biblical text. To the extent that rabbinic interpretations aided him in explaining the text, he incorporated them into his commentaries. The precise synthesis of prior methods and interpretations was Radak's greatest innovation.Despite Radak's fundamental role in support of philosophy during the Maimonidean controversy and the well-documented influence of Maimonides on him, Maimonides' rationalist interpretation of aggadot is not evident in the vast majority of Radak's comments. By and large, Radak understood aggadot literally, just as they were understood by Rashi and the peshat exegetes of northern France in the twelfth century. The extent to which northern French exegesis influenced Radak is a fundamental result of our research.Chapter one characterizes Radak's intellectual milieu and the views of his important predecessors. Radak's global methodological statements are examined in chapter two. Chapter three treats cases in which Radak acknowledges the necessity of rabbinic interpretation. In chapter four, the juxtaposition of peshat and rabbinic traditions in dual interpretations (perushim kefulim ) is analyzed. In chapter five, Radak's objections to rabbinic interpretations are investigated. Chapter six probes the relationship between the original rabbinic passages and Radak's record of them in his commentaries.Thesis (Ph.D.)--New York University, 2003.School code: 0146
Invasiones musulmanas en la historiografia Hispano-Latina: Siglos VIII a XIII.
No full textBetween the 8th and the 13th centuries, Spain's Christian society developed from a partly subjugated and partly exiled ethnic, religious, and political minority into an ever more powerful majority. By exploring rhetorical and conceptual models of history from the origins of peninsular historiography to Rodrigo Jimenez de Rada's De rebus Hispanie, I investigate the evolving narrative of identity and nation building. The methodology I employ emphasizes literary discourse analysis, but it is also interdisciplinary, drawing upon ethnography, religion, philosophy, and law, in accordance with the hybrid nature of Medieval historiography. Following the first Muslim invasion in 711, which brought ethnic, political, and religious heterogeneity to the Iberian space acclaimed as homogenous by Isidore of Seville and Julian of Toledo in the 7th century, historians recreate this Visigothic ideal by establishing rhetorical frontiers between Christians and Muslims. In so doing, these authors draw on four principal discourse modalities: Greek ethnography, Romano-Gothic political rhetoric, hagiographic rhetoric of virtue and vice, and the Biblical allegory of fall and redemption.Interpretations and representations of Islam's role in Iberian history develop alongside the concept of history itself. Mozarabic chroniclers, who adopt an Eastern apocalyptic view of history under Byzantine cultural influence in the 8th century, describe Muslims in hyperbolic terms drawn from Old Testament prophets. Asturian writers, who legitimize the rebirth of Christian monarchy at the end of the 9th century, draw on the original Visigothic legal code in presenting Muslims as illegal settlers who imperil legitimate royal power. In response to the growing instability of the throne and internal strife between Christian factions, Leonese authors (10th--12th cc.) further blur the distinction between external (Muslim) and internal (Christian) enemies of the crown. Drawing on Neoplatonic philosophical thought, developed by Hispanic Arabs and Jews in the 11th and 12th centuries and diffused through the Toledo school of translators, Rodrigo Jimenez de Rada culminates this conceptual evolution of Latin historiography by presenting Spain as returning to its origins. Thus although historians systematically perpetuate an image of Arabs and Muslims as extraneous to Spain, Muslim philosophical thought shapes the concept of Spanish history in the Castilian Latin tradition.Thesis (Ph.D.)--The University of Wisconsin - Madison, 2003.School code: 0262
The Kaddish: A Jewish prayer in western art music.
No full textJewish music originated in the Middle East but has spent almost 2000 years in exile, developing amidst other cultures. The Jews of Europe, despite being restricted to ghettos for many centuries, were nevertheless influenced by the art and culture of their neighbors, and likewise contributed to the artistic development of their host communities, especially in Europe after the period of emancipation. Among the prayers that have attracted special interest for composers of western art music is the Kaddish. An integral and vital part of the Jewish liturgy common to communities of Jews around the world, the Kaddish is a prayer of sanctification that is mentioned as part of the prescribed synagogue daily prayers for the first time in tractate Soferim 10:7 ca. sixth century C.E. It is believed, however, that the first Kaddish was written several centuries earlier, maybe as early as 440 B.C.E.Many composers of western art music have chosen the Kaddish as the basis for a musical composition. A search of the music literature reveals several compositions titled Kaddish, and in each case, the connection is unique but not always clear. One explanation for this fact is that over the centuries the Kaddish has evolved as a prayer with diverse uses and associations, and many musical variants. Therefore, composers have been inspired to present the Kaddish from different perspectives. This paper will focus primarily on the works of three composers, Salamone Rossi, Maurice Ravel and Leonard Bernstein and will explore how the Kaddish functions within the musical structure and how it influences the artistic conception. Studying the old cantorial manuscripts and anthologies and the diverse collection of concert works led me to compose a Kaddish of my own.Thesis (D.M.A.)--University of Cincinnati, 2003.School code: 0045
Manipulating the news: The United States press and the Holocaust, 1933--1945.
No full textThis work is a qualitative/quantitative study of the treatment in the US press of the Jewish refugee crisis of the 1930s and the Final Solution of the 1940s. In it, 23 of America's daily newspapers are closely examined and relevant articles coded to determine various details such as their frequency, placement, tone, and potential effect. Then, the data is compared to the American policy as it regarded European Jews of the day as well their influence upon opinion leaders and public opinion of the day. Also, it compares the findings and conclusions made here with those found in Deborah Lipstadt's Beyond Belief: The American Press & the Coming of the Holocaust, 1933--1945 .During the 1930s, there was an evolution of reporting that made the US press, for the most part, able to depict the true nature of Nazi antisemitism. Even so, it was also clear that the press found many other issues of greater importance. Then, during the Final Solution, war news took precedence as very few articles were printed on the plight of European Jews outside of a very short list of American cities. Coverage did increase late in the war with the liberation of the concentration camps, but even here it was presented in an inconsistent manner. It is believed that since there was limited print space for international news in most dailies, that editors and publishers had to choose the articles that were most important to them and their readers. Various forms of antisemitism surely played a part in many of these decisions.The actions of President Franklin D. Roosevelt, Secretary of State Cordell Hull, Secretary of the Treasury Henry Morgenthau, Jr, Secretary of War Henry Stimson, as well as other important actors like Breckenridge Long, Wilbur Carr, William Phillips, and John J. McCloy are examined. The actions of American Jews are looked at closely in the context of public opinion and social psychology theory.Thesis (Ph.D.)--State University of New York at Albany, 2003.School code: 0668
AHC Interview with Marc Monies.
No full textOctober 20, 2003Marc Monies was born in Vienna on April 19, 1921 under the name Marcel. He lived on Brunnengasse in the 16th Viennese district and was a member of Hanoar Hatzioni, a Zionist Youth Group. He fled from Vienna on November 3, 1938, to Holland where he stayed for three days, then he went on to the USA. He studied physics at New York City College from 1939 until 1947. In between, from 1943 untuil 1945, he had joined the US Army and served in the US Army Signal Corps in China, Burma, India and in the Philipines. He worked as engineer and machinist, and then became a partner in a manufacturing company. He retired in Douglaston, NY.Austrian Heritage Collectio
A union of many cultures: Yiddish socialism and interracial organizing in the International Ladies' Garment Workers' Union, 1913--1941.
No full textThis dissertation revolves around a remarkable phenomenon of interracial union building during the Great Depression. Beginning in the early 1930s, the International Ladies' Garment Workers' Union organized large numbers of Black and Hispanic workers in a predominantly Jewish-led and Jewish- and Italian-populated union through a broadly-conceived program of education, culture, and community involvement. The ILGWU admitted these new members, most of whom were women, into racially-integrated local unions. The Dressmakers' Local 22 of New York City was the largest local union to do so. Local 22 opened several branch offices in the communities where members lived including a West Harlem section for Blacks and an East Harlem section for Spanish-speaking workers. Local and International union education departments formed a dizzying array of cultural activities that were open to the families of union members as well.This study of the form of union organization in the ILGWU, called social unionism, is a dramatic exposure of the way in which race and culture intermingled at a critical place in American political and social development. I focus on the 1930s when modern unions were forming and beginning to influence public policy on a grand scale. I argue that the educational, recreational, social, and cultural programs and events produced in the ILGWU were an essential element in the rebuilding of the union from 1934--1937. The strength of the movement they envisioned was predicated on the inclusion of workers from all racial and ethnic backgrounds. They did not mean the inclusion of races and ethnic cultures to be a blending or absorption of cultures, but rather a celebration of the workers' many distinct cultures. Using manuscript collections and oral history interviews, I explore the Yiddish Socialist roots of social unionism in the ILGWU and I examine the cultural products of the union's programs in the 1930s and 1940s. I reveal how gender roles and politics dominated the context in which these programs and activities emerged and waned, and how the meanings of some activities changed over time.Thesis (Ph.D.)--Rutgers The State University of New Jersey - New Brunswick, 2003.School code: 0190
AHC interview with Joseph Lupcher.
No full textJoseph Lupcher was born in Vienna in 1924 where he lived on Springergasse in the second district with his parents Ethel and Kalman Lubczer (Lupcher). He attended public elementary and high schools in Vienna. For a certain period he also attended the Jewish Chajesgymnasium in Vienna. After the Nazis’ rise to power JL could not continue schooling and the family's business was closed. He left Vienna on 05/01/1939 and went from Cherbourgh, France on the "Queen Mary" to New York, USA where he met up with relatives of his mother's. His parents had to wait for their Polish quota and stayed in Italy for a period of time wherupon they joined their son in New York. Upon his arrival, Joseph Lupcher continued schooling and later on he started to work in a factory. He is married to Ruth Imus and has a daughter, Sharon. He is retired and lives in Flushing, Queens, NY.Austrian Heritage Collectio