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Artykuły w czasopismach na temat „Jewish-israeli art”

Autor: Grafiati

Data publikacji: 21 września 2024

Data aktualizacji: 31 lipca 2025

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1

Sperber, David. "Breaking the Taboo: Ritual Impurity in Israeli and American Jewish Feminist Art." Israel Studies 28, no. 2 (2023): 29–55. http://dx.doi.org/10.2979/is.2023.a885228.

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ABSTRACT: The article examines works by two Orthodox artists, an American, Mierle Laderman Ukeles (b. 1939) and an Israeli, Hagit Molgan (b. 1972), both concerned with the Jewish laws and rituals of niddah (menstruation) and tevilah (immersion). The analysis of the similarities and differences between works from two major Jewish centers, Israel and the United States, provides insight into how critical responses in works of art point to complex cultural divides. Scholars and curators of Jewish art tend to examine Jewish-Israeli art as distinct from Jewish art created elsewhere. Due to this disc

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Soltes, Ori Z. "Radicant Israeli Art: From Past to Future." Arts 9, no. 1 (2020): 16. http://dx.doi.org/10.3390/arts9010016.

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Mieke Bal’s concept of “migratory aesthetics” and the observation by Saloni Mathur and Anne Ring Peterson that “traditional notions of location, origin and authenticity seem obsolete and in urgent need of reconsideration” perfectly encompass the phrase “Jewish art”, and within that difficult-to-define subject, Israeli art (which, among other things, is not always “Jewish”). As Hava Aldouby has noted, Israeli art presents a unique inflection of the global condition of mobility—which in fact contributes to the problem of easily defining the category of “Israeli art”. Nothing could be more approp

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Sperber, David. "Israeli Art Discourse and the Jewish Voice." IMAGES 4, no. 1 (2010): 109–31. http://dx.doi.org/10.1163/187180010x547666.

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AbstractIsraeli critical art discourse reflects both opposition to Jewish tradition and its enduring influence. Even when artists employ Jewish sources, scholars and critics often detach their art from the traditionalist world. In this essay, the sociological concepts of “hybridization” and “purification” are therefore presented as fundamental processes underpinning the mainstream discourse of Israeli art.This essay demonstrates how while processes of rift and reconstitution with respect to Jewish tradition inform the Israeli art scene, Israeli art discourse, like modern art discourse in gener

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Dekel, Tal. "Black Masculinities and Jewish Identity: Ethiopian-Israeli Men in Contemporary Art." Religions 13, no. 12 (2022): 1207. http://dx.doi.org/10.3390/rel13121207.

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The identity of Jewish-Israeli men of Ethiopian descent has undergone deep-seated changes in the last decade, as evident in visual representations created by contemporary black artists living in Israel. In recent years, a new generation of Ethiopian-Israeli artists has revitalized local art and engendered deep changes in discourse and public life. Ethiopian-Israelis, who comprise less than two percent of the total Jewish population in the country, suffers multiple forms of oppression, especially due to their religious status and given that their visibility—as black Jews—stands out in a society

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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art." Arts 9, no. 2 (2020): 42. http://dx.doi.org/10.3390/arts9020042.

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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Art

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Farkas, Mariann. "Wrestling with the Diaspora’s Angels: A Note on Fra Angelico’s Legacy in Hungarian-Israeli Art." IMAGES 16, no. 1 (2023): 158–66. http://dx.doi.org/10.1163/18718000-12340176.

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Abstract While numerous scholars have analyzed the influence of immigration on Jewish visual culture, few have focused on the Hungarian-Israeli scene. This article seeks to resolve some of the lacunae surrounding expressions of Hungarian immigrant experiences in Israeli art by analyzing the Annunciation theme in Hedi Tarjan’s series Homage to Fra Angelico, which was painted in the 1980s and the 2000s. A woman artist with a complex Christian-Jewish identity, Tarjan expressed her cross-cultural and interfaith experiences in her paintings and can be regarded as a “Jewish Diasporist” in the sense

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Barkai, Sigal. "Neurotic Fantasy: The Third Temple As a Metaphor in the Contemporary Israeli Art of Nira Pereg and Yael Bartana." Contemporary Review of the Middle East 6, no. 3-4 (2019): 238–51. http://dx.doi.org/10.1177/2347798919872586.

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In the political reality of Israel, some symbols lie at the heart of the political, religious, national, and historical discourse that characterize the peoples and cultures living on the Israeli-Palestinian soil. Among these, the Temple Mount in Jerusalem is one of the most complex and conflictual symbols. The multiple religious claims to the Temple Mount—Jewish, Christian, and Muslim—are the subject of extensive study, but this article focuses on their reflection in contemporary Israeli art. In traditional Jewish art, the visual representations of the Temple or of Jews praying nearby expresse

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Segal, Orna. "Beyond Bezalel: Expressions of Jewish Identity in the Art of Female Israeli National Religious Graduates." Ars Judaica 20 (November 2024): 139–59. https://doi.org/10.3828/arsjudaica.2024.20.8.

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Artists from the National-Orthodox sector have become more prominent in the Israeli art scene in recent years. I here present research on the expression of Jewish identity in the works of three active artists who studied in religious educational institutions, as reflected in interviews with them, and in works that contain elements related to their identity and the world from which they emerged. The study investigates the extent of expression of Jewish-religious identity in their art, how it is expressed, and whether the goals of the promotion of art within the religious education system are re

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Farkas, Mariann. "Weaving Communist Dreams: Jewish Textile Art between Socialist Realism and Neo-Avant-Garde." Ars Judaica 20 (November 2024): 121–38. https://doi.org/10.3828/arsjudaica.2024.20.7.

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Although numerous scholars have analyzed Jewish identity in the visual arts, few have focused on Hungarian textile art. This article seeks to resolve lacunae surrounding expressions of Jewish identity by analyzing the tapestries of Hédi Tarján (1932–2008), a Hungarian-born Israeli female artist. The topic will be examined from diverse interdisciplinary points of view, including perspectives of art history, Jewish studies, and memory studies. The article concludes by arguing that Tarján used symbolic language and nostalgia as a defense mechanism against the communist regime’s cultural doctrine

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Rubenstein, Ruth. "A Postmodern Metamorphosis: The Process of Michael Sgan-Cohen’s Reception into the Israeli Art Field." Images 10, no. 1 (2017): 65–83. http://dx.doi.org/10.1163/18718000-12340076.

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Abstract This essay looks at Michael Sgan-Cohen’s reception in the Israeli art field over a period of 25 years. It suggests that whereas Sgan-Cohen’s signature style of referencing and reworking Jewish sources did not change much over that time, the Israeli art field did shift in its reception of his work, from an unfavorable stance in 1978, to a somewhat more accepting one in 1994, to recognition of Sgan-Cohen as an artist of merit in 2004. Critical commentaries on his exhibitions and interviews with key personalities within the field shed light on Sgan-Cohen’s reception and elucidate the cha

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Carmon Popper, Irit. "Art-Heritage-Environment: Common Views Art Collective Engagement with Bedouin Minority in Israeli Desert Region (2019–2021)." Arts 11, no. 6 (2022): 128. http://dx.doi.org/10.3390/arts11060128.

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The Bedouin and Jewish inhabitants of the southern Israeli desert region share a common desert vista. However, they are diverse, multicultural communities who suffer inequity in access to valuable resources such as water. Between 2019 and 2021, Common Views art collective initiated a socially engaged durational art project with Bedouin and Jewish inhabitants entitled Common Views. The art collective seeks to enact sustainable practices of water preservation as a mutually fertile ground for collaboration between the conflicted communities, by reawakening and revitalizing rainwater harvesting, a

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Eiserman, Jennifer. "Understanding Jewish Art Jewishly: A Rationale and a Model for Including Jewish Art in Canadian Post-Secondary Coursework." Canadian Review of Art Education / Revue canadienne d’éducation artistique 47, no. 1 (2020): 22–31. http://dx.doi.org/10.26443/crae.v47i1.103.

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Abstract: This paper surveys literature in art education that explores cultural inclusivity. It then surveys Jewish Canadian history in order to provide a sketch of the cultural context, providing a rationale for teaching Jewish art at Canadian universities. A brief history of the nature of Jewish art and its relationship to that of the dominant cultures in which Jews have lived will be described. It proposes a model for teaching Jewish art and art by Jewish artists in Canadian universities that can provide students with opportunities to truly understand the cultural context in which this work

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Čičigoj, Katja. "Justine Frank: Author, object, event, ghost." Maska 35, no. 200 (2020): 122–31. http://dx.doi.org/10.1386/maska_00016_1.

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The article analyses the workings of the Justine Frank phenomenon – a forgotten Jewish surrealist whose oeuvre was discovered in the early 2000s by the contemporary Israeli artist Roee Rosen. It discusses the question of the mutual creation of author functions of the critic and the artist, the researcher and the object of research, the predecessors and successors on the field of art. A reflection of Justine Frank’s ambivalent position in the history of (Israeli and European) art is concluded with a description of a proposed pragmatical approach to such art projects. Based on Massumi, Deleuze a

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Simhony, Naomi. "Exceptionally Jewish: Israeli Synagogue Architecture in the 1960s and 1970s." Arts 9, no. 1 (2020): 21. http://dx.doi.org/10.3390/arts9010021.

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This article examines three exceptional synagogues designed in Israel in the 1960s and 1970s. It aims to explore the tension between these iconic structures and the artworks integrated into them. The investigation of each case study is comprised of a survey of the architecture and interior design, and of ceremonial objects and Jewish art pieces. Against the backdrop of contemporary international trends, the article distinguishes between adopted styles and genuine (i.e., originally conceived) design processes. The case studies reveal a shared tendency to abstract religious symbolism while formu

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Holman Weisbard, Phyllis. "Using Women's Studies/ Feminist Periodicals as a Resource for Researching Jewish Women." Judaica Librarianship 10, no. 1 (2000): 71–74. http://dx.doi.org/10.14263/2330-2976.1159.

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Articles on Jewish women are frequently published in women's studies/ feminist periodicals, where they may not readily come to the attention of Judaica researchers owing in large measure to the difficulties inherent in the indexing of this new interdisciplinary field. From her vantage point as publisher of Feminist Periodicals: A Current Listing of Contents and with a background in Judaica librarianship, the author has taken note of a wealth of material on Jewish women, covering both religious and secular aspects of Jewish women's identity, upbringing, and psyche; the status of Israeli women a

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Winter, Aviva Roskin. "Identity and Place in the Art of Tuvia Katz." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (2021): 109–30. http://dx.doi.org/10.3828/aj.2021.17.6.

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The art of Argentinian-born Israeli artist Tuvia Katz (b. 1936) reveals the different stages of his life, all of which are entwined in his search for Jewish identity. These stages include stylistic, iconographic, and iconological aspects. Katz is one of the most senior newly religious artists in Israel, who have established a distinctive, novel set of images that reflect the experience of becoming religious as a fundamental and profound change in their lives, lifestyles, and identities. Katz’s art sheds light on the phenomenon of ḥazarah be-teshuvah in Israel in general and among artists in pa

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Marnin-Distelfeld, Shahar. "Images of Wild Flowers in Israeli Visual Culture: Representations of a Troubled Land." IMAGES 12, no. 1 (2019): 180–202. http://dx.doi.org/10.1163/18718000-12340118.

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Abstract This article examines images of wild flowers in Israeli visual culture from the period of pre-state Israel until the present day. These images have served as “cultural objects” that have helped construct a national identity. They have appeared in Hebrew publications, stamps, banknotes, and artworks. Arguing that the choice of botanical art is a political statement, this article shows the complex attitudes embodied in contemporary wild flower images—both thematic and stylistic—in which the artists negotiate their multifaceted relationship with the Land of Israel as a troubled territory

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Brenner, Rachel Feldhay. "Between Identity and Anonymity: Art and History in Aharon Megged's Foiglman." AJS Review 20, no. 2 (1995): 359–77. http://dx.doi.org/10.1017/s036400940000698x.

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In a recent article, “Israeli Literature Over Time,”Aharon Megged describes his work as “unremittingly concerned with burning national issues,” mainly with the issue of Israel′s relationship to the Diaspora.1 Megged′s intense preoccupation with the Zionist ideology of the negation of the Diaspora emerged in his 1955 story “Yad va-shem” (“The Name”). The story presents a scathing criticism of Israel′s dissociation from the history of the Diaspora and especially from the catastrophe of the Holocaust. “Yad va-shem” was followed by an article entitled “Tarbutenu ha-yeshana ve-ha-hadasha” (“Our Old

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Marnin-Distelfeld, Shahar, and Edna Gorney. "Why Draw Flowers?" Anthropology of the Middle East 14, no. 1 (2019): 45–69. http://dx.doi.org/10.3167/ame.2019.140104.

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Botanical art and illustration, presented alongside scientific descriptions, were at the heart of Jewish national projects during the British Mandate in Palestine-Israel and following the establishment of the state of Israel in 1948. Looking back, we recognised three prominent women artists who contributed widely to many such botanical projects: Ruth Koppel, Esther Huber and Bracha Avigad. This study aims to investigate the plant images these three artists have created. We will do so by using the approach of visual anthropology while focusing on two main aspects: the connection between botanic

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Westreich, Avishalom. "Assisted Reproduction in Israel: Law, Religion and Culture." Brill Research Perspectives in Family Law in a Global Society 1, no. 2 (2016): 1–61. http://dx.doi.org/10.1163/24058386-12340002.

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AbstractThe theme of this composition is the right to procreate in the Israeli context. Our discussion of this right includes the implementation of the right to procreate, restrictions on the right (due to societal, legal, or religious concerns), and the effect of the changing conception of the right to procreate (both substantively and in practice) on core family concepts.In the current Israeli legal and cultural sphere, two issues are at the forefront of the discussion over the right to procreate: first, the regulations governing and conflicts surrounding surrogacy and egg donation, and seco

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Foresti, Margherita. "All Is Not Well: Contemporary Israeli Artistic Practices de-Assembling Dominant Narratives of Warfare and Water." Arts 12, no. 4 (2023): 150. http://dx.doi.org/10.3390/arts12040150.

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Well (2020) is an installation by Israeli artists Noga Or Yam and Faina Feigin. It investigates the story of an underground passage in Tel Aviv designed by a British Mandate-era Jewish architect. Starting from this building, the artists’ archival research leads them to the story of a water source which does not figure in the architect’s plan. While the story of the well is unearthed, so is one about the tense relations between the Jewish architect and the Palestinian orange merchant who inhabited the site before 1948. By restaging a hypothetical archive, Well reminds us of the problems inheren

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Nissim Gal. "Place and Time in Digital Landscapes: Critical Jewish Resonance in Contemporary Israeli New-Media Art." Journal of Jewish Identities 2, no. 2 (2009): 21–49. http://dx.doi.org/10.1353/jji.0.0059.

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Harari, Dror, and Gillit Kroul. "Debating Natalism: Israeli One-Woman Shows on Experiencing Childlessness." New Theatre Quarterly 35, no. 02 (2019): 121–34. http://dx.doi.org/10.1017/s0266464x19000046.

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Natalism constitutes one of the main values of Israeli society, to the extent that the state’s explicit policy is to encourage and heavily finance childbearing. Whatever the reasons for this pronatalist ideology may be – religious, cultural, or politico-demographic – the fact is that, in twenty-first century Israel, motherhood is still considered a biological imperative; and a Jewish-Israeli woman’s reproductive body is implicitly mobilized for national needs. Against the backdrop of this persistent pro-birth agenda, in this study Dror Harari and Gillit Kroul discuss a noteworthy number of rec

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Presiado, Mor. "The Body as Memory: Breast Cancer and the Holocaust in Women’s Art." Arts 12, no. 2 (2023): 65. http://dx.doi.org/10.3390/arts12020065.

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The Holocaust is a living trauma in the individual and collective body. Studies show that this trauma threatens to be reawakened when a new and traumatic experience, such as illness, emerges. The two traumas bring to the fore the experiences of death, pain, bodily injury, fear of losing control, and social rejection. This article examines the manifestation of this phenomenon in art through the works of three Jewish artists with autobiographical connections to the Holocaust who experienced breast cancer: the late Holocaust survivor Alina Szapocznikow, Israeli artist Anat Massad and English arti

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Reisner, Rinat Podissuk. "The Past Versus an Unknown Future: On Intergenerational Transmission Between Mothers and Daughters in Druze Art." Israel Studies 30, no. 1 (2025): 174–209. https://doi.org/10.2979/is.00039.

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ABSTRACT: In recent decades, there has been a proliferation of talented and innovative women artists from the Arab sector in Israel, and particularly the Druze community. Their work allows them to be heard both as women in the Israeli art scene and as members of a minority group. It engages with social and cultural conflicts, while presenting critical perspectives on the patriarchal Arab society in which they live and on the dominant Jewish majority. They explore the intersection between Western and Oriental cultures and between patriarchal and pluralistic societies, attempting to create a new

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Scheflan-Katzav, Hadara. "Thou Shalt Tell Thy Daughter: Mothers Tell Daughters Their Holocaust Story—Three Case Studies of Contemporary Israeli Women Artists." Arts 11, no. 5 (2022): 94. http://dx.doi.org/10.3390/arts11050094.

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The story of Israel and its raison d’être are suffused by memories of the Holocaust, which construct the self-definition and identity of the state. This article examines works by three contemporary Israeli women artists—Dvora Morag, Miri Nishri, and Bracha Ettinger—who subvert the traditional telling of history and enable rethinking of the past as the basis for the individual’s existence in the nation state. Through the works of these artists, official memory disintegrates into fragments of personal memories of the artists’ mothers, enabling a new moral, historical perspective. The reconstruct

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Havel, Boris. "Jeruzalem u ranoislamskoj tradiciji." Miscellanea Hadriatica et Mediterranea 5, no. 1 (2019): 113–79. http://dx.doi.org/10.15291/misc.2748.

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The article describes major early Islamic traditions in which Jerusalem has been designated as the third holiest city in Islam. Their content has been analyzed based on the historical context and religious, inter-religious and political circumstances in which they were forged. Particular attention has been paid to textual and material sources, their authenticity, dating and their interpretation by prominent orientalists and art historians. The article addresses specific themes, such as Jerusalem in Islamic canonical texts, Muhammad’s Night Journey to al-Aqṣā, the legends of Caliph ‘Umar’s conq

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Lee Weinberg. "DIY: How to (Not So) Safely Dismantle the Bomb of On-Screen Jewish-Israeli Identity: The Synergies with Art and Television in the Representation of Jewish-Israeli Identity and What Can Be Learned from Them." Jewish Film & New Media 4, no. 1 (2016): 109. http://dx.doi.org/10.13110/jewifilmnewmedi.4.1.0109.

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Atshan, Sa’ed, and Katharina Galor. "Curating Conflict." Conflict and Society 6, no. 1 (2020): 1–17. http://dx.doi.org/10.3167/arcs.2020.060101.

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This article compares four Jerusalem exhibits in different geographical and political contexts: at the Tower of David Museum in Jerusalem, the Palestinian Museum in Birzeit, the Metropolitan Museum of Art in New York, and the Jewish Museum Berlin. It examines the role of heritage narrative, focusing specifically on the question of the Israeli-Palestinian conflict, which is either openly engaged or alternatively avoided. In this regard, we specifically highlight the asymmetric power dynamics as a result of Israel’s occupation of East Jerusalem, and how this political reality is addressed or avo

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Fadhil HAMMOODY, shaimaa. "NAZISM AND ITS REFLECTION IN THE NOVEL BY DAVID GROSSMAN." International Journal Of Education And Language Studies 04, no. 02 (2023): 179–95. http://dx.doi.org/10.47832/2791-9323.2-4.13.

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The journey of modern Hebrew literature began in the last third of the eighteenth century, and Jewish critics record the virtue of introducing this new art to the Jews and alerting the public to it, Abraham Mabo. They reflect the realism of life through their writings, which expressed the writer's awareness and intellectual aspiration, which provided him with an increase of his references that he influenced and was influenced by to reflect them through the transformations that accompanied his career in the field of literary authorship. Intellectualism in the novel text of the wellknown Israeli

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MUSSA, AMANI. "“Between a child who wants to tell and an adult who does not want to hear”. Arts Therapists’ Dilemmas in the Application of Arts Therapy with Children from Arab Society Who Suffered Abuse." Interdyscyplinarne Konteksty Pedagogiki Specjalnej, no. 25 (June 15, 2019): 374–401. http://dx.doi.org/10.14746/ikps.2019.25.16.

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Amani Mussa, “Between a child who wants to tell and an adult who does not want to hear”. Arts Therapists’ Dilemmas in the Application of Arts Therapy with Children from Arab Society Who Suffered Abuse. Interdisciplinary Contexts of Special Pedagogy, no. 25, Poznań 2019. Pp. 373-401. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2019.25.16. The Arab education system in Israel together with the ethics and legal regulations are found to indicate reports of maltreated and sexually abused children. The problem of viewed in this paper is connected with th

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Krom, Anna E. "Between Two Worlds: the Image of a Dybbuk on the Modern Opera Stage." Observatory of Culture 21, no. 1 (2024): 86–94. http://dx.doi.org/10.25281/2072-3156-2024-21-1-86-94.

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The article is devoted to the theme of the artistic embodiment of the Hebrew legend of the dybbuk on the modern opera stage. The legends about the restless soul of a sinner, “stuck” between two worlds — the world of the living and the world of the dead — are reflected in the works of famous Jewish writers of the turn of the 19th—20th centuries. They received their first vivid refraction in drama in the play “Between Two Worlds (Dybbuk)” (1915) by the outstanding folklorist and ethnographer Semyon Akimovich Ansky. The story of the dybbuk, heard by Anton during folklore expeditions in Volhynia a

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Zolotaryova, Natalya. "The life and work of J. Dorfman: self-knowledge journey." Aspects of Historical Musicology 38, no. 38 (2025): 142–58. https://doi.org/10.34064/khnum2-38.06.

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Statement of the problem. The name of Joseph Dorfman (1940, Odesa, Ukraine – 2006, Los Angeles, buried in Tel Aviv, Israel) is little-known in our country, although the artist began his career in Ukraine, and his composer creation is extremely large and diverse – it contains more than 200 works in various genres that have received worldwide recognition. In addition, J. Dorfman was involved, along with J. Tal, M. Kopytman and N. Sherif in the creation of the modern Israeli school of composing. Thus, the study of the origins of J. Dorfman’s work, his heritage in general and its genre and style p

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Bendikova, S. "PECULIARITIES OF MUSIC EDUCATION IN ISRAEL: TRADITIONS AND NATIONAL PRIORITIES." Aesthetics and Ethics of Pedagogical Action, no. 29 (June 14, 2024): 153–66. http://dx.doi.org/10.33989/2226-4051.2024.29.306162.

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The review article presents the peculiarities of musical education in Israel, taking into account the multicultural diversity of Israeli society, and vectoriality for the preservation of cultural and educational traditions; similarities and differences in musical education in Israel and Ukraine were revealed. It is proved that the teaching of music and singing in Israel has features, among which the multicultural content, which combines elements of European classical music, Jewish musical tradition, and music of various ethnic groups living in the country; the organization of musical education

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ШИМЧИШИН, М., та Н. КОВТУН. "ХУДОЖНЯ РЕПРЕЗЕНТАЦІЯ VS ІСТОРІЯ ГОЛОКОСТУУ ТВОРЧОСТІ ГІЗЕР МОРРІС". Current issues of linguistics and translation studies 22 (2 грудня 2021): 146–50. https://doi.org/10.31891/2415-7929-2021-22-30.

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The article finds out that at the beginning of the XXI century there was a powerful actualization of the Holocaust discourse not only in history and sociology, but also in many genres of art. It also describes the possible reasons of the "memory boom", which was caused by the need to rethink, verbalize and reinterpret the tragic events that happened in the XX century, and examines its connection with the modern discourse of trauma and memory studies. It is outlined that Holocaust literature is closely linked to the formation of Jewish collective identity and the creation of the Israeli state w

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Mendel, Yonatan, and Nadeem Karkabi. "The Re-Enchantment of the Orient: Mista‘arvim and Their Special Status in Jewish-Israeli Society." Middle East Journal 77, no. 2 (2023): 161–80. http://dx.doi.org/10.3751/77.2.12.

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Mista‘arvim – Jewish-Israeli soldiers who masquerade as Arabs – and Hista‘arvut (the act thereof) hold a special place in Jewish-Israeli culture. By analyzing popular television programs – a thriller titled Fauda (Arabic for “chaos”) and documentaries by journalist Zvi Yehezkeli – we argue that “cultural Hista‘arvut” is a powerful reflection of Zionist perceptions of Palestinian and Arab Others. Cultural Hista‘arvut helps frame the paradox of a Jewish-Israeli society that is located inside the Middle East but maintains distance as a superior outsider that is not of the region. In this sense, t

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Koutsourakis, Angelos. "Militant Ethics." Cultural Politics 16, no. 3 (2020): 281–302. http://dx.doi.org/10.1215/17432197-8593494.

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The publication of Rainer Werner Fassbinder’s play Der Müll, die Stadt und der Tod (Garbage, the City, and Death; 1976) constitutes one of the major scandals in German cultural history. The play was accused of being anti-Semitic, because one of its key characters, a real estate speculator, was merely called the Rich Jew. Furthermore, some (negative) dramatis personae in the play openly express anti-Semitic views. When asked to respond, Fassbinder retorted that philo-Semites (in the West Germany of the time) are in fact anti-Semites, because they refuse to see how the victims of oppression can

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Popescu, Diana. "The Promise, The Land: Jewish-Israeli Artists in Relation to Politics and Society. Linz: O.K. Center for Contemporary Art Upper Austria, March 7–April 27, 2003 Catalog edited by Thomas Edlinger. Vienna: Folio, 2003." Images 5, no. 1 (2011): 126–27. http://dx.doi.org/10.1163/187180011x604517.

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Rouhana, Nadim N. "““Jewish and Democratic””? The Price of a National Self-Deception." Journal of Palestine Studies 35, no. 2 (2006): 64–74. http://dx.doi.org/10.1525/jps.2006.35.2.64.

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The current academic and legal campaign to constitutionalize Israel as a state that is both ““Jewish and democratic”” amounts to an act of national self-deception, rooted in the collective inability or unwillingness to accept that discriminatory policies toward the non-Jewish minority contradict democratic processes, on the part of that country's Jewish majority. The author addresses the recent efforts to create an Israeli constitution by the consent of the Jewish majority that would legitimatize the denial of equal citizenship rights for non-Jewish citizens. Because Israeli Jews have construc

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Kalir, Barak. "To deport or to ‘adopt’? The Israeli dilemma in dealing with children of non-Jewish undocumented migrants." Ethnography 21, no. 3 (2020): 373–93. http://dx.doi.org/10.1177/1466138120939593.

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This article analyses the unprecedented decision taken by the Israeli state in 2005 to legalize the status of non-Jewish undocumented migrants’ children. In explaining how the plight of culturally assimilated non-Jewish children succeeded in penetrating the hermetic ethno-religious definition of citizenship in Israel, the article focuses on the subtle yet critical influence of kinship on modern state-making and the affective fashioning of national belonging. By insisting on treating culturally assimilated non-Jewish children as Others, Israel increasingly ran the risk of unveiling the feeble c

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d'Evereux, Veronika. "K postavení menšin na území státu izrael v kontextu mezinárodního práva a zákona o národním státě." AUC IURIDICA 67, no. 3 (2021): 129–52. http://dx.doi.org/10.14712/23366478.2021.29.

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The New Israeli Basic Law that was adopted in 2018 called “Israel – the Nation State of the Jewish People” divided the Israeli society. Part of the inhabitants accepted this law with enthusiasm because of its emphasis on the reasons why the State of Israel was established. On the contrary, the more secular part of Israeli society, as well as the minority citizens, strongly objected to this law and described it as an unjust disregard of the non-Jewish citizens, an act of racial discrimination or even an apartheid. The aim of this paper is mainly to examine selected provisions of this law, i.e.,

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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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Ben-Lulu, Elazar, and Jackie Feldman. "Reforming the Israeli–Arab conflict? Interreligious hospitality in Jaffa and its discontents." Social Compass 69, no. 1 (2021): 3–21. http://dx.doi.org/10.1177/00377686211046640.

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This ethnography analyzes three Israeli Reform Jewish rituals as manifestations of interreligious hospitality. The Daniel Reform congregation invites Muslim residents of Jaffa to participate in rituals incorporating Arabic and Muslim clergy and prayers. The egalitarian and pluralistic Jewish symbols and narratives promote neighborly relationships. Nevertheless, some participants’ responses reaffirm popular suspicions and prejudices, which the ceremony seeks to overcome. Interreligious hospitality here is not so much an act of theological reconciliation, but a political act also directed toward

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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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Amit, M., D. Guedj, and A. J. Wysenbeek. "Expression of rheumatoid arthritis in two ethnic Jewish Israeli groups." Annals of the Rheumatic Diseases 55, no. 1 (1996): 69–72. http://dx.doi.org/10.1136/ard.55.1.69.

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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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Wysenbeek, A. J., L. Leibovici, A. Weinberger, and D. Guedj. "Expression of systemic lupus erythematosus in various ethnic Jewish Israeli groups." Annals of the Rheumatic Diseases 52, no. 4 (1993): 268–71. http://dx.doi.org/10.1136/ard.52.4.268.

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Libel-Hass, Einat, and Elazar Ben-Lulu. "Are You Our Sisters? Resistance, Belonging, and Recognition in Israeli Reform Jewish Female Converts." Politics and Religion Journal 18, no. 1 (2024): 131–57. http://dx.doi.org/10.54561/prj1801131l.

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The religious conversion process is a significant expression of an individual’s intention to gain a new religious identity and be included in a particular religious community. Those who wish to join the Jewish people undergo giyur (conversion), which includes observing rituals and religious practices. While previous research on Jewish conversions in Israel focused on the experiences of persons who converted under Orthodox auspices, this study analyzes the experiences of female immigrants from the former Soviet Union (FSU) and the Philippines who chose to convert through the Reform Movement in

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Marienberg-Milikowsky, Itay. "Upon a Certain Place: On the Dialectics of Transmitting Tradition in the Work of Haim Be’er." Zutot 13, no. 1 (2016): 94–106. http://dx.doi.org/10.1163/18750214-12341276.

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Haim Beʾer is recognized by Hebrew literary criticism as a writer who conducts a profound dialogue between ancient Jewish texts and modern Jewish-Israeli culture. This article offers a critical appraisal of this view. Through a reading of Beʾer’s novel Lifnei ha-makom (Upon a Certain Place, 2007), the article offers a new way of looking at how Beʾer sees the relation between old and new. Instead of mediating between tradition and modernity and translating the old for a generation that has partly severed ties with it, Lifnei ha-makom undermines the very mediation that is so much identified with

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Scharf, Orr. "Thinking Proleptically: Paul Mendes-Flohr on Intellectual History as Second-Person Dialogue." Religions 13, no. 5 (2022): 397. http://dx.doi.org/10.3390/rel13050397.

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The current article argues that Paul Mendes-Flohr’s turn to address contemporary challenges faced by Jews at large, and Israeli Jews in particular, is proleptic in the sense that it excavates the anticipation of the current intellectual, spiritual and moral reality from the intellectual history of modern German−Jewish thought. Based on a reading of his recent book, Cultural Disjunctions: Post-Traditional Jewish Identities, the discussion shows how Mendes-Flohr’s adaptation of Martin Buber’s call to aspire to I−Thou relations supports proleptic historiography both as a historiographical methodo

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