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My life is a sandwich.
No full textThis is Peter C. Hereld's account of his life with the inclusion of ephemera, letters, and biographical documents. The first portion of the manuscript consists of diary entries from his mother's diary, 1920-1936, while the second part is comprised of Peter C. Hereld's recollections on his life in Germany, and then in America.Peter C. Hereld was born Claus Peter Herzfeld, on November 20, 1920. As the result of Hitler's decree that Jews were not worthy of a public education, he was forced out of school in 1936 and began work in a chemical company. His parents tried to emigrate to Ecudaor and Brazil; in 1939 his family immigrated to Albuquerque, New Mexico.See also ME 133
Citizenship Seminar, Boston (Box 105, Folder 17)
No full textThis folder of material was located in Box 105. Folder originally titled: Citizenship Seminar - Boston - December 12-13, 1996.Digital ImageDigital finding aid
Former Soviet Union Trip--Zhirinovsky Rally and Presidential Elections, Moscow (Box 105, Folder 18)
No full textThis folder of material was located in Box 105. Folder originally titled: FSU Trip - June 1996.Digital ImageDigital finding aid
Place, landscape and Earth in Israeli art: From nationalist dreams to conceptual art, 1920--1970.
No full textThis study explores the motifs of place, landscape, earth (territory), and nationality in Israeli art from the 1920s to the 1970s, when the approach to these topics underwent a paradigm crisis with the emergence of Environmental and Earth Art. These motifs are reexamined in the particular art trends, through the works of pioneer artists like Nahum Gutman and Yossef Zaritsky, as well as Conceptual, Environmental and earth artists like Joshua Neustein, Avital Geva and Micha Ullman.Section I examines art as a reaction to the ideology of a newly forming society trying to erase the remnants of ghetto mentality through identification with the local landscapes. This section traces the theme of the "pioneer" as an almost super-human model of the New Jew and its relationship with the local landscapes. Section II observes the Jewish-European aspects of localism through "French" and "German" expressionistic influences, and Israeli artists' relationship to the Orient and the local physical and mental environment. Section III deals with the "Canaanites" passion for the local soil and Hebrew identity which was expressed through nostalgic attachment to nature, landscapes, and the archaic past. Section IV tracks the awakening from the Zionist Dream and its ramifications from the sixties onwards. Section V deals with the Americanization of Israeli culture during the 1960s when artists broke away from the dominating "lyrical abstraction" through daring and experimental work that evolved into Conceptual, Environmental and Earth Art. Sections VI and VII examine the transition from painting the landscape to working within the landscapes, and the evolution of art and state from the romantic stage of construction into a stage of reaction from a conscious, critical distance.The Epilogue summarizes the attitude of Israeli art towards the motifs of Landscape, Land, Territory and Nationality considering Jewish tradition's rejection of the physical "place," and the "image."Thesis (Ph.D.)--Union Institute and University, 1996.School code: 1414
The representation of speech in biblical Hebrew narrative : a linguistic analysis /
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Synagogue Mejor, late 16th Century, Bursa
No full textFounded by Spanish Jews from Mallorca (Mejor) who resettled in Bursa. Stairs lead to the upper tevah - dramatically cantilevered over the entrance to the synagogue. The second tevah was once found within the ellipse defined by the columns. This abandoned synagogue faces near-certain demolition.Digital imag
Synagogue Ashkenaz, circa 1905, Galata Quarter, Istanbul
No full textThe largest of the three Ashkenazi synagogues that once stood in Istanbul, all in the Galata quarter. The Ashkenazim first arrived from Germany in the 13th century. Its large, brilliantly-colored dome is embellished with stars. The chandeliers were imported from Vienna. Many of the plaques found throughout the synagogue are written in German.Digital imag
The Great Synagogue, date unknown, Gaziantep
No full textThe façade, constructed of two types of local stone, faces a vast courtyard around which were found all the institutions of Jewish life in this eastern town: a second synagogue, a school, the communal offices and a large well. The last of the Jews left Gaziantep in the 1970'sDigital imag
Bikur Holim (Visiting the Sick) Synagogue in Izmir, circa 1724
No full textA view from the Beit Midrash (smaller sanctuary) through a large window into the main sanctuary shows the central tevah and its round columnsDigital imag