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Relevant bibliographies by topics / Jewish American girls

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Academic literature on the topic 'Jewish American girls'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Jewish American girls"

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Puga, Ana Elena. "TRANSLATION AND PERFORMANCE: A PREVIEW OF THEATRE SURVEY'S FIRST WORKING SESSION (NASHVILLE, NOVEMBER 2012)." Theatre Survey 53, no. 2 (August 28, 2012): 309–16. http://dx.doi.org/10.1017/s0040557412000117.

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I recently translated and then served as dramaturge on the English-language world premiere of Patricia Suárez's Matchmaker (Casamentera), a contemporary Argentine play about the early twentieth-century sex trade in Jewish women imported from Eastern European villages to Buenos Aires brothels. Matchmaker was published in an anthology I edited, Spectacular Bodies, Dangerous Borders: Three New Latin American Plays, along with my translation of The Girls from the 3.5 Floppies (Las chicas del tres y media floppies) by the Mexican playwright Luis Enrique Gutiérrez Ortiz Monasterio (who goes by the acronym LEGOM) and Heather McKay's translation of Passport by the Venezuelan playwright Gustavo Ott. In February 2012, Matchmaker was staged in the Thurber Theatre at The Ohio State University. The production was directed by Lesley Ferris.

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Berg, Ellen L. "Bridging Worlds: American Adolescent Jewish Girls - Melissa R. Klapper Jewish Girls Coming of Age in America, 1860-1920. New York: New York University Press, 2005. x + 310 pp. Introduction, illustrations, notes, bibliography, and index. $45.00 (cloth), ISBN 0-8147-4780-9." Journal of the Gilded Age and Progressive Era 4, no. 3 (July 2005): 315–17. http://dx.doi.org/10.1017/s153778140000267x.

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Proczkowska, Kwiryna. "Denotacja – humor – tabu." Między Oryginałem a Przekładem 25, no. 43 (March 31, 2019): 67–83. http://dx.doi.org/10.12797/moap.25.2019.43.04.

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Denotation – Humour – TabooThis analysis takes as its subject jokes about Poles that appeared in two US-American sitcoms: The Big Bang Theory (Teoria wielkiego podrywu) and 2 Broke Girls (Dwie spłukane dziewczyny), as well as their official Polish TV translations made for Comedy Central Polska channel. The selected examples refer to Polish traditions, history, and stereotypes about Polish people. They were divided into three categories according to their subject: a joke based on a stereotype, jokes making Poles look exotic, and jokes referring to Polish-Jewish relations, and the history of World War II. The aim here is accordingly: to characterize the original jokes, to analyze their official Polish voice-over translation, and to consider the potential differences in the reception of given fragments by the sourceculture and target-culture viewers. This paper refers to the characteristics of sitcom as a text genre and Eugene A. Nida and Charlesa R. Taber’s theory of functional equivalence.

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Block, Geoffrey. ""Reading Musicals": Andrea Most's Making Americans: Jews and the Broadway Musical (Cambridge: Harvard University Press, 2004)." Journal of Musicology 21, no. 4 (2004): 579–600. http://dx.doi.org/10.1525/jm.2004.21.4.579.

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Andrea Most's Making Americans: Jews and the Broadway Musical studies eight musicals (The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I) in an effort to explore "how first- and second-generation American Jewish writers, composers, and performers used the theater to fashion their own identities as Americans."Most offers imaginative and often insightful sociological readings of musical librettos, lyrics, even stage directions, but virtually ignores music. That music can sometimes elucidate or contradict an exclusively social or literary reading may be seen, for example, in Emile de Becque's immobility at the end of "Some Enchanted Evening." In other cases, when the social assimilation of Jewish characters is revealed to be a musical one as well, music can support Most's argument. The problem exemplified by writings such as Most's-the distortions and misreadings that may result from a social history that does not engage music-may be seen in the broader context of Broadway and opera scholarship. Lessons to be learned from studying the musical Show Boat and the works of Sondheim point to the need for scholars and critics to consider how the music in musicals might convey social meanings, intellectual content, and dramatic ideas beyond words, stories, and stage directions.

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Bélinki, Karmela. "Historic development in immigrant novels: the Jewish conflict in Anzia Yezierska's bread givers and Herman Wouk's Majorie Morningstar." Nordisk Judaistik/Scandinavian Jewish Studies 13, no. 1 (January 1, 1992): 23–26. http://dx.doi.org/10.30752/nj.69470.

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The two novels of this paper, Anzia Yezierska’s Bread Givers and Herman Wouk´s Marjorie Morningstar, represent sequent generations in American Jewish immigrant literature. Bread Givers (1925) is partly an autobiographical novel, the story of an American Jewish immigrant girl in conflict with her traditional role as the servile daughter of a demanding father and the growing impact of American society. Marjorie Morningstar (1955) treats basically the same theme, the clash between tradition and transition, although from the point of view of second generation immigrants. The basic fears of assimilation and loss of identity in the Jewish sense are still there. Both novels also focus on the role of women and particularly the changing role of Jewish women.

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Engle, John. "Mademoiselle from Malibu: Eighteenth-Century Pastoral Romance, H-Bombs, and the Collaborative, Intertextual Gidget." Twentieth-Century Literature 66, no. 2 (June 1, 2020): 233–64. http://dx.doi.org/10.1215/0041462x-8536176.

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Mostly dismissed as a trivial entertainment, Frederick Kohner’s Gidget: The Little Girl with Big Ideas (1957) is in fact a telling aesthetic and cultural document. University of Vienna PhD, Jewish exile from Nazi Germany, and successful Hollywood screenwriter Kohner empathetically fictionalized his teenage daughter’s adventures with the original Malibu surf crew and in the process vividly signaled the emergence of a rebellious postwar youth culture. Just as interesting is the way Kohner’s entertaining comic drama of feminist awakening plays out through an intriguingly complex narrative voice, one blurring distinctions between its California teen daughter-protagonist-narrator and the father-author, both learned European exile and savvy Tinseltown operator. In subtly decisive ways, Kohner intervenes allusively and intertextually in the central narrative to anchor buoyant personal history in larger philosophical and political questions, in a cosmopolitan resistance to American puritanical norms, and in knowing reflection on contemporary discussions of representation and image. Gidget is a surprisingly postmodern textual space of disruption and juxtaposition that compellingly addresses its stealth core subject, a postwar America with its Western philosophical baggage and political and historical burden fumbling awkwardly forward toward new social and gender models.

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Rao, Eleonora. "“I Will Always Be Crossing Ocean Parkway; I Have Crossed It; I Will Never Cross It.” Marianna De Marco Torgovnick, Crossing Ocean Parkway." Humanities 8, no. 2 (April 20, 2019): 81. http://dx.doi.org/10.3390/h8020081.

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In Crossing Ocean Parkway (1994), scholar and literary critic Marianna De Marco Torgovnick—now Professor of English at Duke University—traces her story as an Italian-American girl growing up in a working-class Italian neighborhood of New York City that could not satisfy her desire for learning and for upward mobility. De Marco’s personal experiences of cultural border crossings finds here specific spatial reference especially through Ocean Parkway, “a wide, tree-lined street in Brooklyn, a symbol of upward mobility, and a powerful state of mind” (p. vii). Border crossing or trespassing inform this text. De Marco moved from an Italian immigrant milieu to a sophisticated Jewish community, via her marriage, and from a minority group to a successful career in academia. There are also crossings between being a professional, a wife, a mother, and a daughter; between being an insider and an outsider; between longing to be free and the desire to belong; between safety and danger, joy and mourning, nostalgia and contempt. In representing her younger self as “outsider” to her received community, she provides a sharp analysis of the tensions within American society.

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Wells, Dominic. "IN THE FOOTSTEPS OF BACH'S ST. MATTHEW PASSION: THE PASSION SETTINGS OF DAVID LANG AND JAMES MACMILLAN." Tempo 67, no. 264 (April 2013): 40–51. http://dx.doi.org/10.1017/s0040298213000065.

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AbstractIn 2007, two high-profile musical responses to the Christian Passion narrative were written: the little match girl passion, by American composer David Lang, and Scottish composer James MacMillan's St John Passion. A devout Catholic, MacMillan's faith has influenced almost every work he has written to date, and a passion setting therefore seemed inevitable. Lang, on the other hand, has Jewish roots, and is relatively secular in his choice of extra-musical themes in his works: even when using sacred texts, he usually sets them in a secular context. Unsurprisingly, MacMillan's and Lang's contrasting approaches towards the Christian Passion resulted in fundamentally different works, yet both composers cite Bach as a key inspiration in their settings. This study examines the extent to which the influence of Bach's St Matthew Passion, in particular, is present in this pair of 21st-century passions, with regard to both their music and their theology.

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Stauter-Halsted, Keely. "“A Generation of Monsters”: Jews, Prostitution, and Racial Purity in the 1892 L'viv White Slavery Trial." Austrian History Yearbook 38 (January 2007): 25–35. http://dx.doi.org/10.1017/s0067237800021391.

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“How long will the jackals continue to feed upon our live bodies?” So begins a Polish newspaper's depiction of the rapacious activities of twenty-seven alleged international traffickers on trial for transporting girls from Austrian Galicia to brothels and harems in the Middle East, Africa, and the Americas. Aft er years of veiled discussion in the Polish-language press about the mysterious disappearance of poor female workers and peasant daughters, the case erupted in the fall of 1892, with lasting implications for the way trafficking and the domestic sex trade would be understood in the Habsburg lands and the former Polish territories alike. Seventeen men and ten women—all of them Jewish—stood trial for a decades-long conspiracy to scour the Crownland in search of “human goods” and “sell them to … local public houses or transport [them] abroad.” The affair helped define the public's perception of the sex trade in Eastern Europe between the 1880s and 1930, as thousands of young women were smuggled out of the region and into sexual servitude. The trial played out in the Galician administrative capital of L'viv, a city of mixed Polish, Jewish, German, and Ukrainian population. Trial transcripts and newspaper coverage provide a rare glimpse into the secret world of commercial sex at the turn of the twentieth century. More importantly, commentary from the journalists and local citizens attending the proceedings offers a window into the way the Galician public understood the commercial sex trade, a tolerated practice that employed medical doctors, police inspectors, landlords, pimps, and procurers, alongside the prostitutes themselves. The trial attracted attention as far away as Cracow, Warsaw, and Vienna, where the Austrian parliament devoted a fiery session to its outcome and to a discussion of the “shameful outrages of the Jewish people” in the aff air. In the Galician setting, public exposure to the horrors of international prostitution networks contributed to a new and more militant direction in Polish nationalist sentiment, one that inextricably linked sexuality with ethnicity.

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Mollona, Massimiliano. "Seeing the Invisible: Maya Deren's Experiments in Cinematic Trance." October 149 (July 2014): 159–80. http://dx.doi.org/10.1162/octo_a_00188.

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In July 1791, the story goes, a small voodoo gathering in Santo Domingo sparked the Haitian Revolution, the first black anti-colonial revolution in history. The glorious history of the “Republic of the black Jacobins” was often celebrated by Surrealist artists in New York and Paris in their exposé of the decadent state of colonial powers in the aftermath of the Second World War. For instance, Haiti is central to André Breton's anti-colonial manifesto, Aimé Cesaire's idea of negritude, Rudy Burckhardt's lyric film symphonies, and Zora Neale Hurston's novels on creole culture. In New York, negritude did not have quite the same revolutionary appeal as in Paris, where Josephine Baker was hailed as a Surrealist goddess of “natural” beauty and power. But the electric Haitian voodoo performances of dancer and choreographer Katherine Dunham attracted a diverse community of African-American artists, émigrés, intellectuals, and communist sympathizers in the off-limits clubs, cafés, and private parties in Harlem. In its uncontainable, carnivalesque power, open forms, and sexual energy, Haitian voodoo captured an attraction to the “primitive” that affected American intellectuals and popular culture alike. Before becoming a Hollywood star, Dunham, of mixed West African and Native American roots, traveled to Haiti to study voodoo rituals for an anthropology degree at the University of Chicago. Fusing American dance, European ballet, and voodoo movements, she became a symbol of the black diaspora. In a recent film interview, Dunham recalls how her young assistant (or “girl Friday,” in the parlance of the time) Maya Deren was fascinated by Haitian dance and would use it to steal the show in rehearsals, public performances, and glitzy parties. The daughter of Russian Jewish émigrés and Trotskyite activists, Deren was struck by the power of this syncretic dance, which blended different cultural backgrounds and formed political consciousnesses while always providing entertainment and energizing dinner parties and giving voice to invisible deities. In her experimental filmmaking, Deren infused this magnetic power of dance into cinema.

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Dissertations / Theses on the topic "Jewish American girls"

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Beskin, Anna. "Good Girl, Bad Girl: The Role of Abigail and Jessica in The Jew of Malta and The Merchant of Venice." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001900.

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Books on the topic "Jewish American girls"

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Marks, Marlene Adler. Nice Jewish girls: Growing up in America. New York: Plume, 1996.

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Hurwitz, Johanna. The rabbi's girls. New York, N.Y., U.S.A: Puffin Books, 1989.

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Hurwitz, Johanna. The rabbi's girls. New York: HarperTrophy, 2002.

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Goldstein, Lisa. The red magician. New York: Orb Books, 1995.

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Goldstein, Lisa. The red magician. New York: Tor, 1993.

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Shukert, Rachel. Have you no shame?: And other regrettable stories. New York: Villard Books, 2008.

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Ross, Fran. Oreo. Boston: Northeastern University Press, 2000.

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Bank, Melissa. The wonder spot. Thorndike, Me: Center Point Pub., 2005.

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The wonder spot. New York: Viking, 2005.

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6 diaries: Six teens take a new look at tznius. Southfield, MI: Targum Press, 2009.

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Book chapters on the topic "Jewish American girls"

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"Address at the American College for Girls in Beirut." In Modern Middle Eastern Jewish Thought, 31–37. Brandeis University Press, 2013. http://dx.doi.org/10.2307/j.ctv102bhzm.17.

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Klapper, Melissa R. "1. American Jewish Girls and the Politics of Identity, 1860–1920." In Girlhood, 33–48. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813549460-006.

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Martschukat, Jürgen. "Immigrant Families in Urban America, 1880–1920." In American Fatherhood, 118–40. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479892273.003.0008.

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Chapter 7 follows a young Jewish immigrant, Minnie Goldstein, and her family as they make their way from Warsaw, Poland, to New York City’s Lower East Side in 1894. Based on her personal and autobiographic account of her life story in America, the chapter juxtaposes the girl’s memories of her family life in America and of the Jewish diaspora in general with the derogatory depiction of life in the Lower East Side tenements by progressive reformers such as Jacob Riis. The chapter also discusses how perceptions of ethnically and religiously diverse family concepts served to make the so-called “new immigrants” an exotic and pathological other in a culture and politics increasingly focusing on the idea of “racial purity.” Thus, the chapter argues that modern concepts and practices of ethnicity and race were closely related to specific understandings of family life.

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Feinstein, Amy. "Pariah Modernism." In Gertrude Stein and the Making of Jewish Modernism, 87–122. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066318.003.0005.

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Chapter 4 considers the solely-metaphorical presence of Jews in the final text of The Making of Americans. Paralleling the evolution found in Stein’s notebooks, the novel’s narrator largely abandons storytelling in lieu of character study. Stein replaces the Jewish and Anglo-Saxon character types from the notebooks with a purely behavioral nomenclature and, as a result, the published volume contains no explicit references to Jews. The narrator nonetheless maintains a focus on a categorically Jewish and modern type: the pariah. He introduces several pariah figures, from servant girls and parvenus to avant-garde writers, who join him in a fraternity of what he calls “Brother Singulars.” With an eye to Hannah Arendt’s notion of the modern Jewish visionary or “conscious pariah,” the chapter argues that Stein’s narrator, with the characterological “plot” he is writing for himself and strangers, estranges narration by increasingly abstracting his characterology with indefinite pronouns as the novel progresses. Amidst the formal experimentation of ever-increasing repetition and abstraction, the narrator’s Jewish pariahs recede into textual indistinguishability while still differentiating themselves from others. Through this association, Stein sets the agenda for ethical authorship in the modern era.

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"8. The Bad Girls of Jewish Comedy: Gender, Class, Assimilation, and Whiteness in Postwar America." In A Jewish Feminine Mystique?, 144–59. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813550305-010.

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"3. AMY LEVY’S MIDRASHIC POETRY: “A GREEK GIRL” AND “MAGDALEN”." In From Anglo-First-Wave towards American Second-Wave Jewish Feminism, 97–136. Piscataway, NJ, USA: Gorgias Press, 2013. http://dx.doi.org/10.31826/9781463229450-006.

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Mordden, Ethan. "Dancing With a Ghost." In Pick a Pocket Or Two, 73–89. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0006.

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This chapter evaluates British musicals in the 1930s and 1940s. This period, the chapter argues, was characterized by a lack of ambition. One problem was the paucity of Jewish writers in the UK. This ethnic group is notable for imaginative expertise in musical theatre and this is one of many reasons why the American brand is so protean. The most disappointing element could be argued to be passéiste choreography. In the meantime, the American musical was letting dance evolve most originally than in the UK. It is worth noting that Charles B. Cochran hired American choreographers for his most aspiring shows of the early 1930s, Ever Green (1930) and Nymph Errant (1933). Ever Green is a spectacular book musical that introduced Britain to the recent German invention of the revolving stage. The comedy musical then became less popular. However, Me and My Girl (1937) was an outstanding comedy musical. Me and My Girl was the work of composer Noel Gay, with L. Arthur Rose and Douglas Furber involved. Though as producer-director Lupino Lane could be called the show's auteur.

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Nadel, Ira. "Newark, Newark, Newark." In Philip Roth, 18–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199846108.003.0002.

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This chapter on Roth’s life growing up in Newark, New Jersey, focuses on the city’s history and colorful personalities, from boxers to gangsters. Longy Zwillman, kingpin bootlegger who discovered Jean Harlow, and Rabbi Joachim Prinz, who will sponsor Roth’s first trip to Israel in 1963 and appear in The Plot Against America, are key figures. Family life and the challenges his father faced as an insurance salesman for Metropolitan Life are crucial elements in understanding Roth’s origins, as well as the protective care of his mother and the adventures of his brother who went off to art school and the Navy. The chapter also analyzes the importance of Newark, especially the Weequahic section, for Roth’s writing and how its reality differed from his often idealized depiction of the city. Sports, movies, girls, and high school, as well as the story of the Jews of Newark, become the center of the chapter, expanded by his early love of reading and trips to the library.

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