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This article considers one of the major weaknesses in the existing historiography of Irish Jewry, the failure to consider the true extent and impact of antisemitism on Ireland’s Jewish community. This is illustrated through a brief survey of one small area of the Irish-Jewish narrative, the Jewish relationship with Irish nationalist politics. Throughout, the focus remains on the need for a fresh approach to the sources and the issues at hand, in order to create a more holistic, objective and inclusive history of the Jewish experience in Ireland.
rezensiertes Werk: Gartner, Isabella: Menorah : Jüdisches Familienblatt für Wissenschaft, Kunst und Literatur (1923–1932) ; Materialien zur Geschichte einer Wiener zionistischen Zeitschrift. - Würzburg : Königshausen & Neumann, 2009. - 356 S. ISBN 978-3-8260-3864-8
Halakha and Microhistory
(2010)
Shifra was a Jewish businesswoman in Moravia in the fifteenth-century. In 1452 due to financial fraud she was arrested in Brno. Her life was saved by some members of the local Jewish community, who renounced their financial claims against their Christian neighbours in the exchange of Shifra’s life. However, one member of the community consented to the agreement only on condition that the other members would pay his losses. The case was extensively discussed in the correspondence of contemporary rabbis, among them Israel Bruna and Israel Isserlein. Their letters about the Shifra-affair reveal some important characteristics of the rabbinic authority in the late medieval Ashkenaz.
Scholars of modern Jewish thought explore the hermeneutics of “translation” to describe the transference of concepts between discourses. I suggest a more radical approach – translation as transvaluation – is required. Eschewing modern tests of truth such as “the author would have accepted it” and “the author should have accepted it,” this radical form of translation is intentionally unfaithful to original meanings. However, it is not a reductionist reading or a liberating text. Instead, it is a persistent squabble depending on both source and translation for sustenance. Exploring this paradigm entails a review of three expositions of the Korah biblical narrative; three readings dedicated to keeping an eye on current events: (1) Tsene-rene (Prague, 1622), biblical prose; (2) Yaldei Yisrael Kodesh, (Tel Aviv, 1973), a secular Zionist reworking of Tsene-rene; and (3) The Jews are Coming (Israel, 2014–2017) a satirical television show.
This study deals with the impacts of the Holocaust on the identity of the Jewish community in Slovakia. The author is interested in the question (whether and) in which form God remained among the survivors after Auschwitz. The available ethnological material has shown that suffering during the Holocaust often resulted into abandoning the religion, and particularly in Judaism. Many survivors broke up their contacts with Jewry. They often decided to join the communist party (either due to their conviction or opportunism.) Our research has indicated that for the majority of the Slovak Jews, God after the Holocaust is rather an abstract concept or non existing. However, he is definitely not the biblical God of the Tora and micvot, to which our ancestors used to pray.
Between history and legend
(2010)
In the early modern period, Jewish historiography moved from the Hebrew domain into the Yiddish one. Jewish writers have succeeded to match the historical literature to the particular needs of their audience. The most popular Yiddish chronicle of this kind was written in Amsterdam in the 18th century by Menachem Man Amelander, following both the Jewish and Christian genre. This paper briefly surveys the genre characteristics of this chronicle and the way it served the purpose of guarding Jewish memory and tradition.
Inhalt: 1. Introduction 2. Summary of the narratives 3. Classification and structure of the narratives 3.1 The Death of R. Johanan's Tenth Son 3.2 The King's Son and His Three False Friends 4. The context of the narratives in Beer Sheva and Glikl's Memoirs 4.1 The context in Beer Sheva 4.2 The context in Glikl's Memoirs 5. Conclusion
Kotzo shel yod by Y. L. Gordon (1832–1892) – one of the prominent intellectuals of the Jewish Enlightenment period – is a well-known Hebrew poem. This poem is characterized by a daring, sharp criticism of the traditional Jewish institutions, which the author felt required a critical shake-up. Gordon’s literary works were inspired by the Jewish Ashkenazi world. This unique and pioneering literary work was translated into Judeo-Spanish (Ladino). The aim of this article is to present the Sephardic version of Gordon’s poem. The article will attempt to examine the motives behind the translation of this work into Ladino, the reception of the translated work by its readership and the challenges faced by the anonymous translator who sought to make this work accessibleto the Ladino-reading public, in the clear knowledge that this version was quite far removed from the Ashkenazi original from which it sprang.
The article is a study research that attempts to reconstitute one facet of the Jewish cultural history, represented by the Jewish typographical activity in a geographic and historic context, i.e. North Transylvania at the end of the 19th and the beginning of the 20th centuries. The core of the study is represented by a detailed research of the typographical activity of Jacov Wieder’s printing house that he had set up in 1897 at Seini, a small locality in the county of Satu Mare. Wieder’s printing house, where some 150 Hebrew book titles were printed, was activated alongside with some other 20 Hebrew printing houses of the same county until 1944. The Hebrew books printed at Seini are thoroughly examined from the point of view of their subject and authors. The high technical quality of the print of Wieder’s printing house and not less the prestige of the authors contributed to its fame and reputation. The books were distributed throughout the world and reached the Jewish communities from countries in the immediate proximity Eastern, Central and Western Europe and even North America and the Land of Israel.
The political and social changes with which the 19th century began in the Balkans after a great part of their territories were taken over by the Austrian Empire, also resulted in social and intellectual activity and created a new framework in the relationship with the Ottoman Empire. Vienna turned into the shelter of many citizens from the Balkans who then became the transmitters of innovation to their co-citizens through their contact with central European culture. In this sense, the members of Jewish communities participated as much as members of other ethnical and social groups. The most prominent of these Jews was Israel Hayim de Belogrado (‘of Belgrade’), who developed an important intellectual work in the Austrian capital between 1813 and 1837. He even reformed Judeo-Spanish spelling and introduced new methodologies for learning Hebrew as a second language, based on the use of a trilingual nomenclature (Hebrew, Judeo-Spanish, German) when presenting the lexical repertoire.
The article explores the pedagogical dimension of contemporary visual art which takes the Holocaust as a main subject of representation. It asks how a work of art can offer a viable alternative to the already existing methods or practices of Holocaust education, whose traditional aim is to endow the apprentice with an ‘absolute knowledge’ of the Holocaust. The article analyzes the characteristics and the effectiveness of a ‘performative’ approach to teaching about the Holocaust, which relies on an element of interaction and on critical self-reflection, by undertaking a close analysis of Your Coloring Book, – an art installation created by Israeli artist and representative of the third generation after the Holocaust, Ram Katzir.
In this article we analyze several examples of the syntactic structure ansí un...(Eng. such a...) apparently calqued from the German expression so ein... that can be found in different Judeo-Spanish texts since the second half of 19th Century. Although the eldest examples appeared in Judeo-Spanish translations of German novels, published in Vienna – what suggests that they could be mere cases derived from a kind of translation too attached to the original –, we can also find more examples in Sephardic texts produced outside the German speaking area (Bosnia, Bulgaria, etc.), not being necessarily translations of a German original. Dealing with all these cases, we will try to trace (and explain) the spread of the ansí un syntactic structure in modern Judeo-Spanish prose.
On the example of the women’s magazines in Yiddish “Yidishe Froyenvelt” (1902- 1903), “Di Froy” (Vilnius1925-1933), “Froyen-Shtim” (Warsaw 1925) and “Di Froyen-Velt” (New York 1913) this article presents: • how feminist postulates are connected with questions of Jewish identity in a religious and political context • how the model image of a modern Jewish woman is presented • what the main spheres of feminist interests presented in the magazines are (a struggle for equal rights within the Jewish community as well as other social spheres, searching for and presenting outstanding women in the Jewish and world history, descriptions of women’s professional activities, psychological analysis of a woman's nature, establishing ties and a feeling of solidarity between women’s movements of other nations) • how the traditional women's roles are presented (mother, wife, housewife) • what degree of women’s participation in the edition of these periodicals is (a list of articles' authoresses and literature works appearing on columns of the periodicals) • whether and how a feminist discourse affects a language structure of the periodicals Comparing magazines from the beginning of the 20th century and the latter part of 1920s the article answers the question what direction did Jewish feminism evolve to and what content rose or fell in importance.
The essay compares the dichotomous concepts of corporeality and spirituality in Judaism and Christianity. Through the ages, deviations from normative principles of beliefs could be discerned in both religions. These can be attributed either to the somewhat confrontational interaction between Jews and Christians in the Medieval urban environment or to the impact of Hellenic civilization on both monotheistic religions. Out of this dynamic impact emerged Christian art with a predilection to expressed corporeality, whereas Jewish religiosity found its artistic expression in a spiritual noniconographical mode. A genuine Jewish art and iconography could develop only after a certain degree of assimilation and secularization. Marc Chagall was the first protagonist of a mature expression of Jewish iconography.
What did Cain say to Abel?
(2009)