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AHC interview with Hanna Elizabeth Kapit.
No full textFebruary 12, 2002Hanna Elizabeth Kapit (née Elias) was born in Vienna in 1917. She was a student at the University of Vienna. After the Nazis' rise to power, she went to the USA. There she got education at Michigan University, Columbia University, NYC. She then worked as a psychoanalyst in New York.Austrian Heritage CollectionKurt Elias, brother; (AHC 18
Hibat-Zion and Yiddish: The multidimensional encounter between movement, language, and culture.
No full textHibat-Zion, the first Jewish national movement of its kind, emerged in Czarist Russia during the early 1880s. Over a fourteen-year period (1881--1895), the movement made a profound contribution to the birth of a modern Jewish national ideology. Hibat-Zion created and inspired the evolution of a new culture, which in subsequent decades, was to shape the development of the Jewish people. The historiography of the Zionist movement acknowledges that Hibat-Zion established the ideological foundation and facilitated the means for the return of the Jewish people from the Diaspora to its historical homeland in Palestine and cultivated the renaissance of the Hebrew culture.However, in a manner little known to either the research community or the lay public, the Hibat-Zion movement and its ideology created and promoted a wide range of cultural activities in Yiddish. This use of Yiddish not only enriched the language per se, but enabled the vast Jewish population then living in the Russian Empire to be reached in its mother tongue. This wealth of creative writing has been largely neglected by Jewish historians.This dissertation approached the Hibat-Zion movement from a new perspective and examined the following themes: The role played by Yiddish in spreading the Hibat-Zion ideas among the Jewish population; how various cultural mediators, who were supporters of the movement, tried to acquaint this population (the majority of which were Orthodox and Yiddish-speaking) with Hibat-Zion ideology; the role played by preachers and badhanim in the movement's culture and organization; the content of several Yiddish publications initiated by the movement, as well as that of several Yiddish trivial literary works related to this ideology. The study has also explored how the Hibat-Zion ideology influenced Yiddish theater, prose and poetry.The intention was to focus on the multi-faceted encounter between ideology, language, and culture, in order to add a new dimension to the stereotypical, simplistic image of the Hibat-Zion period in Jewish history rather than provide a detailed analysis of Yiddish works and their literary quality. Moreover, the intention was to show that cultural creativity in Yiddish inspired by Hibat-Zion movement, originated in a broad spectrum of social settings. This encounter helped build the modern Jewish national movement, in addition to enhancing the development of Yiddish as a modern language.Thesis (Ph.D.)--The Jewish Theological Seminary of America, 2002.School code: 0315
Mayor Ron Huldai
No full textDigital imageRon Huldai was born in Tel Aviv in 1944. He spent 26 years in the Israeli Air Force, from 1963 to 1989. He was elected Mayor of Tel Aviv in 1998, a position he still holds. He is also Chairman of the Tel Aviv Museum of Art
Professor Yoram Tsafrir
No full textDigital imageYoram Tsafrir was born in Kfar Azar in 1938. He moved to Israel and received his PhD at The Hebrew University in Archeology in 1976. He was a lecturer there and later was appointed Director of the Hebrew University National Library, a position from which he is now retire
Escape to Shanghai, China, 1939-1949.
No full textThis memoir was written for educational purposes, particularly for its use in schools (7th and 8th grade), which is reflected in the style it was written. It also includes a map showing his emigration route from Vienna to Shanghai, a photograph, and many resources for teachers. It was originally published in the State of New Jersey Holocaust/Genocide Curriculum in 2002. The memoir starts with the family’s departure from Vienna, on January 23, 1939. It later on describes daily life in Shanghai and the later Jewish ghetto. The memoir ends with the Seiden family’s departure to Israel on January 1, 1949.Norbert Seiden, 09/01/2004Norbert Seiden was born on 01/22//1932 in Vienna where he lived at Rembrandtstrasse in the 2nd district. After the Nazis’ rise to power, Mr. Seiden fled on 01/23/1939 to Shanghai, China. He was interned in the Shanghai Ghetto, from May 1943 until August 1945. Throughout his stay, he attended the Shanghai Jewish Youth Association (SJYA) School. In 1948, he went to Israel for a year, and then came back to Austria where he stayed until 1951. Finally he came to the USA on 07/11/1951 where he was educated at the Newark College of Engineering. He now lives in Livingston, NJ.Austrian Heritage CollectionRighteous Gentiles in the HolocaustShanghai ghett
מסע הדג /
No full textUri dreams that he walks in the street holding a gold fish in a jar. Suddenly the fish grows to enormous proportions and he offers to take Uri to the Promised Land. Uri climbs on the fish, and after a while they reach a new country. Uri is greeted by two nice boys, who offer him dry clothes and good food. Uri offers to pay them, but they tell him in this country there no need for money - there is plenty of food for everybody, and there is no jealousy and no hatred among the people
New directions in Jewish American fiction.
No full textIn New Directions in Jewish American Fiction I argue that Jewish American writers have unwittingly performed a social and literary function for American culture not unlike the communal responsibilities entrusted to rabbinic figures during the outset of the Babylonian exile and whose discussions and stories became the Talmud. Previous studies of Jewish American fiction have all but ignored theological and spiritual concerns, tending to group writers based solely on ethnic origins and sociological constructs. In contrast, I propose a new cultural and narratological paradigm based upon traditional textual Jewish civilization and culture, both Biblical and Talmudic. I argue that my paradigm is a central and heretofore unexplored component necessary for understanding and analyzing the condition of Jewish American writers and their fiction within American culture. My theological paradigm confronts Jewish American writers' treatment of the rupture of immigrant acculturation in the first half of the twentieth century, and charts the ways in which theologically based Jewish American writers---for example Saul Bellow, Bernard Malamud, and Philip Roth---in an attempt to retrieve a lost culture and literary legacy, have responded to and represented the Holocaust in their work. Concurrently, I account for the creation of what I term a Neo-Orthodoxy in the work of contemporary Jewish American feminist novelists Rebecca Goldstein and Allegra Goodman. Finally, my project locates a Liturgical Literature , an imaginative literature centrally Jewish in its concerns and characterized by a fresh midrashic mode, in the late twentieth-century work of Cynthia Ozick and Henry Roth.Thesis (Ph.D.)--New York University, 2002.School code: 0146
Postmodern puddles: A method for understanding the presence and meaning of bodily fluids in contemporary culture, and in artistic works of women, African-American, Latino and gay artists of the nineteen eighties and nineteen nineties.
No full textThis dissertation is of interest to individuals concerned with contemporary cultural theory, interdisciplinarity, postmodern methodology, art history, literature, women's studies, multicultural and gender theory, censorship issues, and popular culture. Artists whose work are discussed are Andres Serrano, Kiki Smith, Cindy Sherman, Orlan, Toni Morrison, Laura Esquivel, Jewelle Gomez, Gilbert and George, David Wojnarowicz, and selected others from the groups referenced in the titles. In addition to artistic analysis, there are substantial sections on mainstream and countercultural phenomena such as film, television, medical science, politics, trends, fashions and movements.The primary objectives of the dissertation are to document and explain the surfeit and significance of bodily fluids in contemporary culture and the arts in the last two decades. Since bodily fluids are not new in western culture, just newly conceived and significant, a postmodern method involves an examination of multiple frames of meaning that have been recognized through historical production and current postmodern adoption. Part of the dissertation is dedicated to recognizing and discussing the most obvious of those frames: Religion, Science, Politics, and Horror. The exploration of the persistence, combination, fracturing, and transformation of such frames from traditional, to modern, to postmodern usage is an important part of the analysis.By examining and extending the usefulness of Julia Kristeva's principle of abjection, in reference to other groups besides women, and to other frames besides the psychological and feminine, the dissertation methodology seeks commonalities and differences of bodily fluid usage among marginalized groups on new terms. There is also an exploration of the evidence and implications of cultural abjection as a network of fluid release that coincides with, yet marks out marginalized groups as sites of expulsion. The tense dynamic of oppression and liberation that configures the politics of bodily fluids is conceived as posthuman, inaugurating a implosion of western binaries and a radically different mode of conceiving of humanity and politics.Thesis (D.A.)--State University of New York at Albany, 2002.School code: 0668
In the shadow of the Mexican Inquisition: Theological discourse in the writings of Luis de Carvajal and in Sor Juana's "Crisis de un sermon".
No full textThe purpose of this project is to look for traces of inquisitorial ideology as well as resistance to the Inquisition itself in theological texts by two subaltern writers in colonial Mexico: Luis de Carvajal as a crypto-Jew in a Catholic empire, and Sor Juana as a woman theologian in a male-dominated church.In the first chapter, I give a brief overview of the history of medieval Inquisitions, through the founding of the Spanish Inquisition in 1478, the reasons the Spanish Inquisition came to Latin America, and the goals of the Inquisition in Mexico.In chapter two, I explore the concept of an inquisitorial literary analysis, as well as controversies in Inquisition scholarship. I also analyze "El sacrificio de Isaac," a play written by an anonymous Franciscan in 1540 in an effort to evangelize the indigenous population of Tlaxcala, and which demonstrates an inquisitorial ideology.In chapter three, I examine the writings of Luis de Carvajal, a crypto-Jew who was executed by the Inquisition in 1595. Memorias, the letters of Luis de Carvajal, and his Testamento all show traces of inquisitorial ideology. Nonetheless, Carvajal manages to interpellate his inquisitors by reversing their own ideological tropes. Carvajal resists the Mexican Inquisition through his discursive strategies.In chapter four, I examine Crisis de un sermon by Sor Juana Ines de la Cruz, which is the text that provoked La carta de Sor Filotea de la Cruz and Sor Juana's Respuesta a Sor Filotea. One can see inquisitorial traces in Crisis de un sermon. In this text God is shown as jealous and does not permit competition, people are weak and sinful, there are performative aspects in God's examples, and punishment is a means of saving souls. Also, intentions are more important than acts. The texts examined here, especially Crisis de un sermon, demonstrate not only that Sor Juana thoroughly understood inquisitorial theology, but that she also possessed a clearly articulated fear of that institution. The Inquisition was an important subtext in the works of Sor Juana Ines de la Cruz.Thesis (Ph.D.)--The Ohio State University, 2002.School code: 0168
The art of the klezmer: Improvisation and ornamentation in the commercial recordings of New York clarinettists Naftule Brandwein and Dave Tarras, 1922--1929.
No full textThis thesis is an investigation into the instrumental social music of the Eastern European Jewish immigrant community in New York during the early decades of the twentieth century. A professional tradition with roots in medieval Germany, klezmer music had developed in the Jewish communities of Eastern Europe during the course of several centuries and was brought to North America by immigrants beginning in the late nineteenth century. European klezmorim had formed a socio-economic group which fulfilled a ritual function within traditional Jewish society at weddings and other celebrations. Like Yiddish culture in general, the Jewish instrumentalists adapted to the New York environment, creating a synthesis during the period 1880--1950 which contained both Eastern European and American attributes.This study begins with the hypothesis that there is a unique style and repertoire created and interpreted by the klezmorim, of which key stylistic aspects can be identified. Utilising a three-prong approach---historical, ethnographic and musicological---it provides a focused study based on the recordings of the clarinettists Naftule Brandwein (1884--1963) and Dave Tarras (1895--1989) made during the years 1922--1929 and, at the same time, places their music within a larger socio-cultural context. Drawing on musical parallels to Harshav's theory of polylingualism in Yiddish, the study treats the various genres within the overall category of metric dance tunes as a single field, investigating key stylistic elements at the syntactical and improvisational levels. It focuses in particular on issues of modality, compositional process, improvisation and ornamentataion. A dynamic approach to modality presents a new way of looking at oral musical traditions which contain elements of both modal systems and Western tonality. The study both confirms the importance of ornamentation as being crucial in defining style in oral traditions and suggests that certain categories of ornaments may also serve a structural function. Building upon Nettl's concept of a "point of departure" upon which musicians base their improvisations, those of Brandwein and Tarras may be regarded as being based on a myriad of points of departure at every level of detail which, when aggregated, made up the performance. Finally, through investigating the interface between syntactical and improvisational elements, a new way of looking at improvisation is suggested---one which blurs the boundary between the compositional and the performative.Thesis (Ph.D.)--The City University (London) (United Kingdom), 2001.School code: 0919