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Artículos de revistas sobre el tema "Jewish dance in literature"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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1

Nitza Davidovitch, Nitza, and Eyal Lewin. "The Polish-Jewish Lethal Polka Dance." Journal of Education Culture and Society 10, no. 2 (2019): 15–31. http://dx.doi.org/10.15503/jecs20192.15.31.

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Aim. This paper analyses the inherent paradoxes of Jewish-Polish relations. It portrays the main beliefs that construct the contradicting narratives of the Holocaust, trying to weigh which of them is closer to the historic truth. It seeks for an answer to the question whether the Polish people were brothers-in-fate, victimized like the Jews by the Nazis, or if they were rather a hostile ethnic group.
 Concept. First, the notion of Poland as a haven for Jews throughout history is conveyed. This historical review shows that the Polish people as a nation have always been most tolerant toward
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2

BAĞIROVA, G. M. "ROMAN QARİNİN “ÇİNGİZ XAİMANIN RƏQSİ” ROMANINDA POSTMODERNİST ELEMENTLƏR." Actual Problems of study of humanities 2, no. 2024 (2024): 115–19. http://dx.doi.org/10.62021/0026-0028.2024.2.115.

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Postmodernist Elements in Romain Gary’s Novel “The Dance of Genghis Cohn” Summary An outstanding representative of French literature of the 20th century, Romain Gary’s literary career is distinguished by its variety and color. The writer periodically presents the problems of the time he lived in and the Jewish identity to which he belongs. Also in his works “The dance of Genghis Cohn” highlighted the German-Jewish problem in a unique way. Using various principles of the postmodern novel, Romain Gary has created an interesting novel. From this point of view, the article first gives brief inform
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3

Solomon, Alisa. "Balancing Act: Fiddler's Bottle Dance and the Transformation of “Tradition”." TDR/The Drama Review 55, no. 3 (2011): 21–30. http://dx.doi.org/10.1162/dram_a_00091.

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The Bottle Dance in Fiddler on the Roof was inspired by what the director/choreographer Jerome Robbins called “field research” at Orthodox Jewish weddings. Reshaped and expanded by Robbins's masterful showbiz sensibility, it became a show-stopping number—and, thus transformed, filtered back out of the musical into Jewish celebrations to confer “tradition.”
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4

Hezser, Catherine. "Freak, not Sage: An Exploration into Freakishness in Modern Jewish Culture." Culture and Dialogue 3, no. 1 (2015): 51–71. http://dx.doi.org/10.1163/24683949-00301006.

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The images of the clown and the freak and representations of the grotesque body are recurrent motifs in modern Jewish literature, film, art, theatre and dance. Kafka’s novella Metamorphosis is an early prototype of the changeling who leaves conventional human appearance behind and is gradually transformed into an insect-like creature. The story served as a prototype for Woody Allen’s film Zelig, in which the main protagonist adopts a variety of different personas, amongst them a Nazi in the Third Reich. The theme of morphing into a freak, clown, or grotesque body reappears in various forms in
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5

Repertório, Teatro &. Dança. "MOVIMENTOS DE DANÇA E LITERATURA: SALOMÉ E A CABEÇA DE JOÃO BATISTA NO RELATO DE MARCOS [Enéias Farias Tavares (UFSM)] [Juliana de Abreu Werner T. (UFRGS)]." REPERTÓRIO, no. 15 (July 7, 2010): 176. http://dx.doi.org/10.9771/r.v0i15.5223.

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<div>A dança perpassa a história de todas as civilizações antigas. Na cultura primitiva, ela estabelece uma forma de comunicação única entre um povo e suas tradições. Essa comunicação ocorre por meio de um vocabulário próprio de movimentos e gestos corporais que também farão parte dos rituais religiosos. No caso dos textos judaicos, a dança está associada a comemorações bélicas, à conquista militar, à realização pessoal e ao culto à divindade, além de exemplificar um aspecto do “ritual pagão” dos povos não-judaicos. Por sua vez, o episódio envolvendo a filha de Herodias, Salomé, registra
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6

DE SIMONE, MARIA. "Sophie Tucker, Racial Hybridity and Interracial Relations in American Vaudeville." Theatre Research International 44, no. 2 (2019): 153–70. http://dx.doi.org/10.1017/s0307883319000038.

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This article discusses Sophie Tucker's racialized performance in the context of early twentieth-century American vaudeville and black–Jewish interracial relations. Tucker's vaudeville musical acts involved mixed racial referents: ‘black-style’ music and dance, Jewish themes, Yiddish language and the collaboration of both African American and Jewish artists. I show how these racial combinations were a studied tactic to succeed in white vaudeville, a corporate entertainment industry that capitalized on racialized images and fast changes in characters. From historical records it is clear that Tuc
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7

Batstone, Leah. "A Dance from Iglau: Gustav Mahler, Bohemia, and the Complexities of Austrian Identity." 19th-Century Music 44, no. 3 (2021): 169–86. http://dx.doi.org/10.1525/ncm.2021.44.3.169.

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A survey of Mahler’s correspondents, especially his classmates at the University of Vienna in the 1870s, reveals a multifaceted identity he shared with them. Most of his fellow members of the Pernerstorfer Circle, young intellectuals who met to discuss art and politics during their university years, had a similar background: German-speakers with a Jewish heritage and an upbringing in one of the Eastern minority communities of the Habsburg Empire. While some of Mahler’s music has been examined with respect to his Jewish background, little has been said about the influence of Bohemia on the comp
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8

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, negri
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9

Rossen, Rebecca. "Uneasy Duets: Contemporary American Dances about Israel and the Mideast Crisis." TDR/The Drama Review 55, no. 3 (2011): 40–49. http://dx.doi.org/10.1162/dram_a_00093.

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Jewish choreographers have consistently created dances that embody the shifting role of Israel in American Jewish life. Countering the Zionism of mid-century dances about Israel, contemporary Jewish American choreographers such as Liz Lerman and Kristen Smiarowski actively question the ideology of unconditional support, deftly grapple with the Israeli-Palestinian conflict, and situate performance as an opportunity for activism, inquiry, and debate.
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10

Markenson, C. Tova. "Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance. By Rebecca Rossen. Oxford: Oxford University Press, 2014. Pp. 336 + 50 illus. $99 Hb; $29.95 Pb." Theatre Research International 41, no. 1 (2016): 89–91. http://dx.doi.org/10.1017/s0307883315000681.

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11

Trifonova, Lilia. "The Beheading: Salome’s Gesture in the Works of Wilde, Moreau and Beardsley." Acta Nova Humanistica: A Journal of Humanities Published by New Bulgarian University 1, no. 2 (2024): 37–48. https://doi.org/10.33919/anhnbu.24.1.2.3.

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The paper explores the problem of female subjectivity in nineteenth-century literature and visual art, focusing on the figure of Salome in the play by Oscar Wilde and the paintings of Gustave Moreau and Aubrey Beardsley. The biblical story of the Jewish princess Salome and John the Baptist, as well as the fascination with the severed head served on a silver platter, is of interest to Julia Kristeva in her book The Severed Head: Capital Visions. For Kristeva, John the Baptist can be thought of as “the figure of the figure,” he sets the course of the figure of “prophecy in actuality.” On the oth
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12

Urian, Dan. "The Image of the Arab in Israeli Theatre—from Competition to Exploitation (1912–1990)." Theatre Research International 17, no. 1 (1992): 46–54. http://dx.doi.org/10.1017/s0307883300015601.

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The Arab, as presented in plays of the early days of settlement, is linked by his manual labour to the land of his birth. He might be primitive and his encounter with the chalutzim may be necessary to improve his situation and show him how the world has progressed, but he is also an example to be copied for his sheer work capability. He is seen as a powerful competitor with the Jewish work-force, due both to his ability to be content with little and to his forced acceptance of meagre wages. Towards the end of this period and for several decades afterwards, the Arab was pushed aside into the fr
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13

Schwan, Alexander H. "Queering Jewish Dance: Baruch Agadati." Dance Research Journal 54, no. 2 (2022): 54–69. http://dx.doi.org/10.1017/s0149767722000201.

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AbstractThe work of the homosexual Israeli dance pioneer and choreographer Baruch Agadati (1895–1976) queered Jewish dance. His project of Hebrew Dance was a queer take on traditional Jewish dance material mixed with a seemingly queer shift of the antisemitic distortions of this material. Throughout his approach to Jewish dance traditions from a perspective as a nonobservant, secular Jew, Agadati transcended boundaries of religion, secularity, and nation to a complex questioning of how Jewishness could be expressed through modern dance.
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14

Sautter, Cia. "The embodied Jewish voice." Dance, Movement & Spiritualities 10, no. 2 (2023): 243–56. https://doi.org/10.1386/dmas_00058_1.

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V’Yomer-וַיֹּ֥אמֶר ‘And God spoke’. In the Hebrew Bible, the creator established material reality through vocalization. Yet, before God speaks, a ‘ruach’ – wind or spirit – moves over the waters. Movement, breath, spirit and material existence are, thus, tied in this story. Later in this account humans are made ‘in our image’, referring perhaps to all that came before this. Humans were made from material reality as well as vocalization. Not surprisingly, within the Hebrew life portrayed in scriptures, both song and dance are a feature, as they involve breath, words and physical movement, often
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15

Nemetz, Lillian Boraks. "An Ancestral Dance in Jewish Prague." Psychoanalytic Perspectives 5, no. 1 (2007): 45. http://dx.doi.org/10.1080/1551806x.2007.10473011.

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16

Desmond, Jane. "Dancing Jewish: Jewish identity in American modern and postmodern dance." Studies in Theatre and Performance 36, no. 3 (2016): 285–87. http://dx.doi.org/10.1080/14682761.2016.1192388.

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17

Kosstrin, Hannah. "Modernist Continuities: Queer Jewish Dances, the Holocaust, and the AIDS Crisis." Dance Research Journal 54, no. 2 (2022): 70–85. http://dx.doi.org/10.1017/s0149767722000171.

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AbstractDuring the height of the 1980s AIDS epidemic in the United States, LGBTQ+ Jewish choreographers agitated for gay rights by using Holocaust allusions to address the AIDS crisis. Modernist practices in their work generate a long modernist midcentury that reframes established historical binaries between modernist and postmodernist concert dance modalities. This article argues that choreographers who drew upon Holocaust memory to address the AIDS crisis engendered a queer Jewish imaginary by engaging Jewishness from ethnic Ashkenazi (European) Jewish American lineages of modernist dance as
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18

Ilan, Tal. "Dance and Gender in Ancient Jewish Sources." Near Eastern Archaeology 66, no. 3 (2003): 135–36. http://dx.doi.org/10.2307/3210918.

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19

Goodman, Karen. "Synthesis in Motion." Experiment 20, no. 1 (2014): 86–117. http://dx.doi.org/10.1163/2211730x-12341260.

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This paper discusses the importance of Russian-born choreographer, theatre director, and teacher Benjamin Zemach (1901-1997) to Los Angeles. It contextualizes the sustained influences of his Jewish heritage, his training with Stanislavsky and Vakhtangov in the Habima Theatre, Russian dance and theatre synthesis and early American modern dance. The article focuses on his work in Los Angeles during two different periods of American culture and politics preceding and following World War ii (1931-35 and 1946-71), examining closely his contributions to Los Angeles Jewish and mainstream dance and th
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20

Holt, Kathryn. "Book Review: Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance." Feminist Review 118, no. 1 (2018): 112–14. http://dx.doi.org/10.1057/s41305-018-0106-y.

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21

Iwamoto, Yoshio, Haruki Murakami, and Alfred Birnbaum. "Dance Dance Dance." World Literature Today 68, no. 4 (1994): 889. http://dx.doi.org/10.2307/40150822.

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22

Kosstrin, Hannah. "Inevitable Designs: Embodied Ideology in Anna Sokolow's Proletarian Dances." Dance Research Journal 45, no. 2 (2013): 5–23. http://dx.doi.org/10.1017/s0149767712000307.

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Anna Sokolow (1910–2000), an American Jewish choreographer known for her social statements, led the workers dance movement and performed as a soloist with Martha Graham. She imbued her dancesStrange American Funeral(1935) andCase History No.—(1937) with proletarian ideology that spoke to 1930s working- and middle-class audiences aligned with values of revolutionary and modern dance. These choreographies spoke to a political atmosphere focused on social justice while they appealed to a broad dance-going public. Sokolow's Graham training engendered a modernist aesthetic in her choreography that
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23

Simms, Norman. "Seeing Israeli and Jewish Dance (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 31, no. 2 (2013): 167–69. http://dx.doi.org/10.1353/sho.2013.0024.

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24

Schwadron, Hannah. "Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance by Rebecca Rossen." American Jewish History 99, no. 2 (2015): 204–6. http://dx.doi.org/10.1353/ajh.2015.0020.

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25

Spiegel, Nina S. "Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance, written by Rebecca Rossen." Images 10, no. 1 (2017): 149–50. http://dx.doi.org/10.1163/18718000-12340079.

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26

Rosenblit. "Judith Brin Ingber (ed.), Seeing Israeli and Jewish Dance." Nashim: A Journal of Jewish Women's Studies & Gender Issues, no. 24 (2013): 163. http://dx.doi.org/10.2979/nashim.24.163.

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27

Jonathan Freedman. "On Jewish Literature:." Studies in American Jewish Literature (1981-) 31, no. 1 (2012): 19. http://dx.doi.org/10.5325/studamerjewilite.31.1.0019.

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28

Saposnik, Irving, and Sam B. Girgus. "Jewish American Literature." Contemporary Literature 26, no. 4 (1985): 492. http://dx.doi.org/10.2307/1208120.

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Felman, Jyl. "Transgression in Jewish Literature." Judaica Librarianship 8, no. 1 (1994): 119–20. http://dx.doi.org/10.14263/2330-2976.1250.

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Jewish library collection policies as they relate to Jewish gay and lesbian issues are discussed. Questions considered are whether a book about gay Jews or a book written by a Jewish gay author should be included in Judaica collections. The issue is placed within a historical Jewish literary tradition which includes authors such as Grade, Ozick, Miller, Roth and Rukeyser-who write about such transgressive themes as sexuality, assimilation, self-loathing, agnostic rabbis, etc. Through personal examples drawn from her collection of Jewish short stories, Hot Chicken Wings, the author makes a case
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30

Eshel, Ruth. "Concert Dance in Israel." Dance Research Journal 35, no. 1 (2003): 61–80. http://dx.doi.org/10.1017/s0149767700008779.

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Israel is a society of Jewish immigrants who have returned to their ancient biblical homeland. It is also a complex society made up of people of varied cultures and ideologies, enduring changing economic and political situations. For the past eighty years, Israeli dancers have reflected and helped to shape the internal dialogues of Israeli life and contributed to a global exchange of dance ideas, especially with modern dancers from Europe and America.The independence of ancient Israel came to an end in C.E. 73, when Romans destroyed the Temple in Jerusalem after fierce battles with the Jews. T
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31

Brownmiller, Sara N., and Donald C. Dickinson. "The Literature of Dance." Reference Services Review 16, no. 1/2 (1988): 115–20. http://dx.doi.org/10.1108/eb049019.

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32

Katz-Zichrony, Sari. "Cultural policy in dance: the embodiment of Jewish tradition in early childhood dance education in Israel." Israel Affairs 23, no. 6 (2017): 1086–105. http://dx.doi.org/10.1080/13537121.2017.1360047.

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33

Dalia Kandiyoti. "What Is the “Jewish” in “Jewish American Literature”?" Studies in American Jewish Literature (1981-) 31, no. 1 (2012): 48. http://dx.doi.org/10.5325/studamerjewilite.31.1.0048.

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34

Kandiyoti, Dalia. "What Is the "Jewish" in "Jewish American Literature"?" Studies in American Jewish Literature 31, no. 1 (2012): 48–60. http://dx.doi.org/10.1353/ajl.2012.0009.

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35

Frankel, Ellen. "Legend in Jewish Children's Literature." Judaica Librarianship 8, no. 1 (1994): 97–99. http://dx.doi.org/10.14263/2330-2976.1239.

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Until recent times, Jewish children's legends did not exist as a separate literature. Children learned stories either from classical Jewish sources, family members, or traveling story tellers.
 Recent interest in and publication of Jewish children's stories represent both a boon and a danger. Contemporary versions of traditional tales blur the distinctions between fiction and folklore, challenging the inherent conservatism of the folk process.
 What makes a particular story Jewish? Jewish tales attempt to find meaning and divine purpose in national and personal events. They also reso
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36

Gomel, Elana, and Hana Wirth-Nesher. "What Is Jewish Literature?" Poetics Today 18, no. 1 (1997): 141. http://dx.doi.org/10.2307/1773245.

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37

Abramson, Edward A., Hana Wirth-Nesher, and Nancy A. Harrowitz. "What Is Jewish Literature?" Modern Language Review 92, no. 1 (1997): 143. http://dx.doi.org/10.2307/3734693.

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38

Jelen. "Women and Jewish Literature." Nashim: A Journal of Jewish Women's Studies & Gender Issues, no. 16 (2008): 153. http://dx.doi.org/10.2979/nas.2008.-.16.153.

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Nolden, Thomas. "CONTEMPORARY GERMAN JEWISH LITERATURE*." German Life and Letters 47, no. 1 (1994): 77–93. http://dx.doi.org/10.1111/j.1468-0483.1994.tb01523.x.

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40

Schachter, Allison. "Deprovincializing European Jewish Literature." Hebrew Studies 63, no. 1 (2022): 283–90. http://dx.doi.org/10.1353/hbr.2022.0015.

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41

Jacoby, Jay. "Lilith in Jewish Literature." Judaica Librarianship 3, no. 1-2 (1987): 79–82. http://dx.doi.org/10.14263/3/1987/969.

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42

Konner, Sarah. "Shared space and between space: Considering Jewishness and race through interspecies dancing1." Choreographic Practices 13, no. 1 (2022): 53–74. http://dx.doi.org/10.1386/chor_00041_1.

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This autoethnographic text describes a dance and personal historical research process during COVID-19 quarantine and Black Lives Matter protests in 2020. As implications of a changing planet and unequal cross-cultural impacts and responsibilities become ever more clear, this research explores assimilation into Whiteness in Ashkenazi Jewish American lineage and how that relates to interspecies dancing. What is lost in this story of assimilation? What might interspecies collaborations teach us about relating cross-culturally? Whiteness and Jewishness are considered through histories of speaking
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43

Bucur, Dragoș. "Jewish Literature & World Literature. Unlearning (Trans)Nationalism." Metacritic Journal for Comparative Studies and Theory 9, no. 1 (2023): 198–213. http://dx.doi.org/10.24193/mjcst.2023.15.11.

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The present paper proposes an investigation of the concept of Jewish literature in its relation to world literature studies within an analysis of the first generation of Jewish writers who became part of the Romanian literary life following the 1923 emanc
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44

Bambara, Celia Weiss. "On locating interculturalism and somatics: Looseness, holding on and swimming." Journal of Dance & Somatic Practices 14, no. 2 (2022): 217–30. http://dx.doi.org/10.1386/jdsp_00082_1.

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This article addresses how improvisation and somatics are methods of movement research that permit the overlap of Jewish and African diasporic practices and coalitions outside of the bounds of language. Improvisation and somatics are queried as ways of making dance and as shifting spaces of coalition, of standing with others, and standing also for myself as a Jewish woman. I articulate a viewpoint on overlapping diasporas between Jewish and African diasporic populations which is asserted in tandem with analyses of the ways in which diasporas, and interculturalisms, make present for me implicit
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Levy, Lital, and Allison Schachter. "Jewish Literature / World Literature: Between the Local and the Transnational." PMLA/Publications of the Modern Language Association of America 130, no. 1 (2015): 92–109. http://dx.doi.org/10.1632/pmla.2015.130.1.92.

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In the past two decades, scholars of world literature and transnational literary studies have called for an overhaul of the national literature model, in favor of a model based on literature's movement beyond national boundaries. Yet across the spectrum of approaches, scholarship on world literature has focused on the languages of the metropolitan center while largely overlooking the literary cultures of the so-called peripheries. We examine Jewish literature as a transnational and multilingual body of writing whose networks of linguistic and cultural exchange provide a clear counterpoint to t
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46

Wibowo, Denny Eko, and Muhammad Fazli Taib Saearani. "Study of Literature Transformation in Bedhaya Hagoromo Dance." Jurai Sembah 1, no. 1 (2020): 25–34. http://dx.doi.org/10.37134/juraisembah.vol1.1.3.2020.

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Bedhaya Hagoromo dance was arranged by Didik Nini Thowok in 2001, and last performed in 2014. The dance was adapted from Jaka Tarub Nawang Wulan folklore and Hagoromo stage play which was manifested into its dancing composition. This literature transformation contained the plot adapted from folklore literature into the bedhaya dance literature, creating a unique assemblage. The purpose of this study is to identify the form of literature transformation and to study the elements performed in the dance. The qualitative research method in this study is literature transformation approach, namely by
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47

deLahunta, Scott. "Knowing: Dance’s trade literature." International Journal of Cultural Property 29, no. 2 (2022): 157–69. http://dx.doi.org/10.1017/s0940739122000157.

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AbstractThis article explores the possibility that dance is a field of expert knowledge that can be studied from the perspective of documents created by dancers and choreographers whose anticipated viewers/readers are mainly other practitioners. These documents include written texts and annotated video recordings created with the aim of sharing processes, techniques and ideas. These documents seek, in a variety of ways, to partially transform experiential knowledge from the tacit/ implicit to the explicit. As such, they suggest a form of trade literature that circulates dance knowledge within
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48

Scheinberg, Cynthia. "INTRODUCTION: RE-MAPPING ANGLO-JEWISH LITERARY HISTORY." Victorian Literature and Culture 27, no. 1 (1999): 115–24. http://dx.doi.org/10.1017/s1060150399271069.

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[I]t is not enough to make the Jew respected, but to have JUDAISM rightly reverenced; and to do this, there must be a JEWISH LITERATURE, or the Jewish people will not advance one step. — Grace Aguilar, The Jewish Faith (1846)THE ESSAYS COLLECTED in this issue of Victorian Literature and Culture seek to introduce Victorianists to some of the many Anglo-Jewish writers of nineteenth-century England. What differentiates this moment in Anglo-Jewish scholarship from most previous considerations is that we do not purport to fill a falsely constructed “void” of Anglo-Jewish literary silence; on the co
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49

Goellner, Ellen W., and Jacqueline Shea Murphy. "Bodies of the Text: Dance as Theory, Literature as Dance." Journal of Aesthetics and Art Criticism 57, no. 1 (1999): 96. http://dx.doi.org/10.2307/432078.

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Woods, Karen, Ellen W. Goellner, and Jacqueline Shea Murphy. "Bodies of the Text: Dance as Theory, Literature as Dance." Dance Research Journal 28, no. 2 (1996): 83. http://dx.doi.org/10.2307/1478593.

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