Suchergebnisse

This little book will be as offensive to some Christian and Jewish believers as it certainly will be to determined secularists. That, plus a demanding style of presentation, will keep Pannenberg's Human Nature, Election, and History (Westminster; 116 pp.; $4.95) off anybody's best seller list, but that may be just as well. Arguments that relentlessly probe first principles and aim to upset our most deeply rooted assumptions need to be conditioned, as it were, in smaller and more disciplined discussion before they are readied for popular dissemination. Such a statement may seem frightfully elitist, but it would in no way embarrass Wolfhart Pannenberg.

"Rainbow Jews deals with the intersection of gay and jewish identity in American and Israeli film and theater from the 1960s to the present. Its main area of interest is the extent to which Jewish creative voices in the performing arts have constructed multidimensional images of, and a welcoming public space for, the gay, lesbian, and transgendered community as a whole. Through a close reading of numerous American and Israeli plays and films, Jonathan Friedman evaluates some of the key conventions and tropes that have been employed to construct, critique, and reflect the social reality of the connection between Jewishness and gay identity in the United States and Israel."--Jacket

Jüdische Theatertexte, wie sie von 1890 bis 1938 in Wien aufgeführt und / oder geschrieben wurden, stehen im Zentrum dieser Arbeit. Dazu zählen jiddische Singspiele, Melodramen und ernsthafte Dramen ebenso wie Texte berühmter deutschjüdischer Autoren der Wiener Moderne und die sogenannten Jargonschwänke, die äußerst populär waren. Nach einer Einführung in die Thematik werden die ästhetischen und dramaturgischen Grundlagen der jüdischen Dramatik vorgestellt. Dabei wird klar, dass diese aus der nichtjüdischen Theaterwelt stammen, wie etwa das im jiddischen Theater wichtige Genre des Lebensbildes, das auf Wiener Bühnen des 19. Jahrhunderts zu finden war. Die in der zeitgenössischen Kritik und in der Theatergeschichtsschreibung oft negativ verwendeten Begriffe Schund und Jargon für das Jiddische und dessen Theatertexte werden im weiteren diskutiert. Außerdem wird auf das Klischee von der angeblich so starken Neigung von Juden zu Selbstpersiflage und Selbstverhöhnung eingegangen. Im zentralen Teil werden die jüdischen Dramen, nach Themen geordnet, vorgestellt und analysiert. Wesentliche Themenbereiche sind: Liebe und Partnerwahl, Ehe und Familie; Antisemitismus; Geschichten und Legenden aus der Zeit vor der Diaspora sowie Mythen und Legenden. Die Breite und Vielfalt der Familiendramen verweist auf die zentrale Bedeutung der Familie innerhalb der jüdischen Geschichte und Kultur. In den Dramen, der Hauptthema Antisemitismus ist, werden die unterschiedlichen Lebensbedingungen sowie die sozialen und politischen Grundlagen der Juden in West- und Osteuropa evident. Geschichten und Legenden aus der Zeit vor der Diaspora, vor allem aus der Bibel, bilden die Stoffen jiddischer Singspiele und Operetten, die ebenso vorgestellt werden wie die dramatischen Bearbeitungen der Golem- und Dibbuk-Sagen. Die Arbeit schließt mit einer umfassenden Dramenbibliographie, die nicht nur die verwendeten Texte umfasst, sondern auch die jeweiligen Übersetzungen, um Zugänge zu diesen Texten und eine weitere Auseinandersetzung damit zu ermöglichen. ; From 1890 until 1938 in Vienna, Jewish theatre was a lively and fascinating part of the theatrical scene. Yiddish operettas and melodramas, serious plays and so-called Jargonschwänke were staged. The widespread texts of these Jewish theatre-evenings, in Yiddish and German, are discussed and analysed in this work. After an introduction, the aesthetical and dramaturgical basics of Jewish drama are presented. As the study shows, Jewish drama has got a very strong connection to non-Jewish theatre. Especially the dramaturgic forms can be found in non-Jewish drama before it emerges in Jewish texts, like the so-called lebnsbild. In the 19th century, it was popular on the Viennese stages, around 1900 it was a main genre of New York City's Yiddish theatres. Jargon and shund are terms often used to describe Yiddish plays and theatre - these terms are discussed in the present work as well as the cliché of Jewish self-mockery and self-hatred. The most prominent themes Jewish plays are dealing with are: love, marriage and family; anti-Semitism; stories and heroes from ancient Jewish history; myths and legends. The broad spectrum of plays about family and social life shows its importance in Jewish history and presence. The different political and historical situations of Jews in Western and Eastern Europe become evident in text concerning anti-Semitism. In Yiddish operettas and melodramas heroes from ancient Jewish history and the bible are shown, and in the 1920s plays about Dibbuks and Golems were most popular. A bibliography of Jewish dramas, complete with existing translations, builds the last part of this work.

From 1890 until 1938 in Vienna, Jewish theatre was a lively and fascinating part of the theatrical scene. Yiddish operettas and melodramas, serious plays and so-called Jargonschwänke were staged. The widespread texts of these Jewish theatre-evenings, in Yiddish and German, are discussed and analysed in this work. After an introduction, the aesthetical and dramaturgical basics of Jewish drama are presented. As the study shows, Jewish drama has got a very strong connection to non-Jewish theatre. Especially the dramaturgic forms can be found in non-Jewish drama before it emerges in Jewish texts, like the so-called lebnsbild. In the 19th century, it was popular on the Viennese stages, around 1900 it was a main genre of New York City's Yiddish theatres. Jargon and shund are terms often used to describe Yiddish plays and theatre - these terms are discussed in the present work as well as the cliché of Jewish self-mockery and self-hatred. The most prominent themes Jewish plays are dealing with are: love, marriage and family; anti-Semitism; stories and heroes from ancient Jewish history; myths and legends. The broad spectrum of plays about family and social life shows its importance in Jewish history and presence. The different political and historical situations of Jews in Western and Eastern Europe become evident in text concerning anti-Semitism. In Yiddish operettas and melodramas heroes from ancient Jewish history and the bible are shown, and in the 1920s plays about Dibbuks and Golems were most popular. A bibliography of Jewish dramas, complete with existing translations, builds the last part of this work.

The article offers an in-depth discussion of Radu Jude's 2016 film Scarred Hearts, adapted from Max Blecher's autobiographical novel with the same title (1937), as well as other of his writings. The article is structured in four parts. The first references André Bazin's celebrated essay on Robert Bresson's Diary of a Country Priest, bringing it to bear on a discussion of the unorthodox relation between Jude's film and its literary sources. The second section of the article discusses Jude's decision to foreground the protagonist's—and the novelist's—Jewish identity. Set far from home, in France, in an isolated sanatorium for tuberculosis, Blecher's novel was unconcerned with public events such as the rise of the anti-Semitic far right all over Europe; they didn't intrude—not even as background noise. Transposing the story to a Romanian sanatorium, Jude decided to have the young Jewish protagonist go through his experiences with terminal sickness and literature, with love and friendship, against an implied background of rising anti-Semitism, of increasingly widespread support for the local Iron Guard, as well as for Hitler. In its third section, the article discusses Radu Jude's approach to period drama, analyzing his mix of period detail and anachronism. The fourth section discusses Jude's intermedial game-playing and general artistic playfulness.

This paper discusses the reemergence on the stage of strong female characters who are transformed, through modern myth-making, from their roots in ancient myths and classical archetypes into a new stage entity, in the plays of Nissim Aloni. His women are representatives of the tragic spirit in a modern world that disallows tragedy, and through his unique use of theatricality as an ironic device he empowers them to reorder their universe into a meaningful whole.

"Their children? Our children!" Holocaust memory in postwar France -- A drama of faith and family: custody disputes in postwar France -- Notre vie en commune: the family versus the children's home -- The homes of hope? Trauma, universal victimhood, and universalism -- From competition to cooperation: redefining Jewish identities.