Shofar Supplements in Jewish Studies – serie

Mel Gibson's film, The Passion of the Christ, was released on Ash Wednesday, February 24, 2004 to capacity audiences in theatres and auditoriums across the U.S. and other countries. Prior to the film's release, a groundswell of controversy filled the airwaves and media outlets. Some religious groups protested the film, while others embraced it. Mel Gibson focuses on the Passion not the life nor resurrection of Christ. By doing so, he leaves out most of the elements of the Jesus story familiar to Christians and consequently he adds non-biblical gruesome details foreign to the Gospels. Mel Gibson's Passion: The Film, the Controversy, and Its Implications exposes the flaws of Gibson's cinematic Christ and lays out assertively and persuasively the rationale of Jews and Christians in how to grasp and comprehend the passion and execution of the Christian savior known scripturally as the "King of the Jews.

New York Public Intellectuals and Beyond gathers a variety of distinguished scholars, from Eugene Goodheart to Peter Novick to Nathan Glazer, from Morris Dickstein to Suzanne Klingenstein to Ilan Stavans, to revisit and rethink the legacy of the New York intellectuals. The authors show how a small New York group, predominantly Jewish, moved from communist and socialist roots to become a primary voice of liberal humanism and, in the case of a few, to launch a new conservative movement. Concentrating on Lionel Trilling as the paradigmatic liberal intellectual, the book also includes thoughtful reconsiderations of Irving Howe and Dwight MacDonald, and explores the roots of the neoconservative movement and its changing role today.

Blowing the Whistle on Genocide tells the story of Josiah E. DuBois, Jr., a young Treasury Department lawyer who risked his career to alert the world to the Holocaust. As Nazism rose in Germany, many countries refused to allow Jewish immigration. The United States spurred on by the America First Committee wanted to remain neutral during the early days of World War II. Anti-Semitic influences kept the United States from filing its quotas for refugees supposedly to keep Nazi spies out of the country. Dubois exposed the inequities in America's refugee policy and forced the United States government to take action to rescue the displaced Jews. Josiah E. DuBois, Jr. was a different kind of hero of the Holocaust. He was not a rescuer, and he did not shelter refugees. He was a whistle-blower and opened the eyes of the global community to Nazi atrocities.

This book begins with a brief history about the Jews in Babylon (Iraq), their Hebrew creativity and the fact that this creativity was excluded from the history of Modern Hebrew literature because it was unknown to the scholars. The book focuses on the years 1735-1950 and presents the secular Hebrew poetry written in Babylon at that time, the folktales, journalistic articles, and epistles, research of Hebrew literature, a story and a play. The last part presents the Hebrew periodicals that were published in Babylon.

This collection of academic essays written by friends and colleagues of Professor Zev Garber, is a long-overdue tribute to an outstanding scholar, teacher, and mentor. Each contribution was written especially for this volume; none have been previously published. The various sections into which these essays are divided reflect the areas in which Professor Garber has devoted his own prodigious teaching and writing energies: the Holocaust, Jewish-Christian relations, philosophy and theology, history, biblical interpretation. Also included is a full bibliography of Professor Garber's own writings: books, articles both scholarly and popular, opinion pieces, and the like. The introduction by his good friend Steven Jacobs introduces Professor Garber to those who do not know him and reminds those who do of his important contributions to scholarship.

Presented here is a compilation of Irving Howe's interviews during the last fifteen years of his life that could be viewed as the sequel to his intellectual autobiography, A Margin of Hope. Many of these interviews were never published. Others were originally published in such venues as The New York Times, The Jerusalem Post, and the PBS documentary Arguing the World. Howe never organized his thoughts about the great renown of the last fifteen years of his life, during which he had resounding success with World of Our Fathers, received a MacArthur Fellowship, and became widely regarded as the leading left-liberal intellectual in the United States and, arguably, the leading literary critic in America. During this time, Howe also struggled to redefine the American Left in an environment that discounted and marginalized it. These interviews may have particular significance today, a period of new opportunities for the liberal Left, yet one in which it struggles to construct some coherent identity and program.

There is a general understanding within religious and academic circles that the incarnate Christ of Christian belief lived and died a faithful Jew. This volume addresses Jesus in the context of Judaism. By emphasizing his Jewishness, the authors challenge today's Jews to reclaim the Nazarene as a proto-rebel rabbi and invite Christians to discover or rediscover the church's Jewish heritage. The essays in this volume cover historical, literary, liturgical, philosophical, religious, theological, and contemporary issues related to the Jewish Jesus. Several of them were originally presented at a three-day symposium on Jesus in the Context of Judaism and the Challenge to the Church, hosted by the Samuel Rosenthal Center for Judaic Studies at Case Western Reserve University in 2009. In the context of pluralism, in the temper of growing interreligious dialogue, and in the spirit of reconciliation, encountering Jesus as living history for Christians and Jews is both necessary and proper. This book will be of particular interest to scholars of the New Testament and early church who are seeking new ways of understanding Jesus in his religious and cultural milieu, as well Jewish and Christian theologians and thinkers who are concerned with contemporary Jewish and Christian relationships.

Focusing on a diversely rich selection of writers, the pieces featured in Unfinalized Moments: Essays in the Development of Contemporary Jewish American Narrative explore the community of Jewish American writers who published their first book after the mid-1980s. It is the first book-length collection of essays on this subject matter with contributions from the leading scholars in the field. The manuscript does not attempt to foreground any one critical agenda, such as Holocaust writing, engagements with Zionism, feminist studies, postmodern influences, or multiculturalism. Instead, it celebrates the presence of a newly robust, diverse, and ever-evolving body of Jewish American fiction. This literature has taken a variety of forms with its negotiations of orthodoxy, its representations of a post-Holocaust world, its reassertion of folkloric tradition, its engagements with post modernity, its revaluations of Jadishness, and its alternative delineations of ethnic identity. Discussing the work of authors such as Allegra Goodman, Michael Chabon, Tova Mirvis, Rebecca Goldstein, Pearl Abraham, Jonathan Rosen, Nathan Englander, Melvin Jules Bukiet, Tova Reich, Sarah Schulman, Ruth Knafo Setton, Ben Katchor, and Jonathan Safran Foer, the fifteen contributors in this collection assert the ongoing vitality and ever-growing relevancy of Jewish American fiction.

A Knight at the Opera examines the remarkable and unknown role that the medieval legend (and Wagner opera) Tannhäuser played in Jewish cultural life in the nineteenth and early twentieth centuries. The book analyzes how three of the greatest Jewish thinkers of that era, Heinrich Heine, Theodor Herzl, and I. L. Peretz, used this central myth of Germany to strengthen Jewish culture and to attack anti-Semitism. Readers will see how Tannhäuser evolves from a medieval knight to Peretz's pious Jewish scholar in the Land of Israel. The book also discusses how the founder of Zionism, Theodor Herzl, was so inspired by Wagner's opera that he wrote The Jewish State while attending performances of it. A Knight at the Opera uses Tannhäuser as a way to examine the changing relationship between Jews and the broader world during the advent of the modern era, and to question if any art, even that of a prominent anti-Semite, should be considered taboo.

Between December 1938 and September 1939, nearly ten thousand refugee children from Central Europe, mostly Jewish, found refuge from Nazism in Great Britain. This was known as the Kindertransport movement, in which the children entered as "transmigrants," planning to return to Europe once the Nazis lost power. In practice, most of the kinder, as they called themselves, remained in Britain, eventually becoming citizens. This book charts the history of the Kindertransport movement, focusing on the dynamics that developed between the British government, the child refugee organizations, the Jewish community in Great Britain, the general British population, and the refugee children.After an analysis of the decision to allow the children entry and the machinery of rescue established to facilitate its implementation, the book follows the young refugees from their European homes to their resettlement in Britain either with foster families or in refugee hostels. Evacuated from the cities with hundreds of thousands of British children, they soon found themselves in the countryside with new foster families, who often had no idea how to deal with refugee children barely able to understand English. Members of particular refugee children's groups receive special attention: participants in the Youth Aliyah movement, who immigrated to the United States during the war to reunite with their families; those designated as "Friendly Enemy Aliens" at the war's outbreak, who were later deported to Australia and Canada; and Orthodox refugee children, who faced unique challenges attempting to maintain religious observance when placed with Gentile foster families who at times even attempted to convert them. Based on archival sources and follow-up interviews with refugee children both forty and seventy years after their flight to Britain, this book gives a unique perspective into the political, bureaucratic, and human aspects of the Kindertransport scheme prior to and during World War II.

Established as a Jewish settlement in 1909 and dedicated a year later, Tel Aviv has grown over the last century to become Israel’s financial centre and the country’s second largest city. This book examines a major period in the city’s establishment when Jewish architects moved from Europe, including Alexander Levy of Berlin, and attempted to establish a new style of Zionist urbanism in the years after World War I.The author explores the interplay of an ambitious architectural programme and the pragmatic needs that drove its chaotic implementation during a period of dramatic population growth. He explores the intense debate among the Zionist leaders in Berlin in regard to future Jewish settlement in the land of Israel after World War I, and the difficulty in imposing a town plan and architectural style based on European concepts in an environment where they clashed with desires for Jewish revival and self-identity. While “modern” values advocated universality, Zionist ideas struggled with the conflict between the concept of “New Order” and traditional and historical motifs. As well as being the first detailed study of the formative period in Tel Aviv’s development, this book presents a valuable case study in nation-building and the history of Zionism. Meticulously researched, it is also illustrated with hundreds of plans and photographs that show how much of the fabric of early twentieth-century Tel Aviv persists in the modern city.

By analysing its position within the struggles for recognition and reception of different national and ethnic cultural groups, this book offers a bold new picture of Israeli literature. Through comparative discussion of the literatures of Palestinian citizens of Israel, of Mizrahim, of migrants from the former Soviet Union, and of Ethiopian-Israelis, the author demonstrates an unexpected richness and diversity in the Israeli literary scene, a reality very different from the monocultural image that Zionism aspired to create.Drawing on a wide body of social and literary theory, Mendelson-Maoz compares and contrasts the literatures of the four communities she profiles. In her discussion of the literature of the Palestinian citizens of Israel, she presents the question of language and translation, and she provides three case studies of particular authors and their reception. Her study of Mizrahi literature adopts a chronological approach, starting in the 1950s and proceeding toward contemporary Mizrahi writing, while discussing questions of authenticity and self-determination. The discussion of Israeli literature written by immigrants from the former Soviet Union focuses both on authors who write Israeli literature in Russian and of Russian immigrants writing in Hebrew. The final section of the book provides a valuable new discussion of the work of Ethiopian-Israeli writers, a group whose contributions have seldom been previously acknowledged.The picture that emerges from this groundbreaking book replaces the traditional, homogeneous historical narrative of Israeli literature with a diversity of voices, a multiplicity of origins, and a wide range of different perspectives. In doing so, it will provoke researchers in a wide range of cultural fields to look at the rich traditions that underlie it in new and fresh ways.

Author of more than thirteen books and several volumes of poetry, screenwriter, and director, Edith Bruck is one of the leading literary voices in Italy, attracting increasing attention in the English-speaking world not least for her powerful Holocaust testimony, which is often compared with the work of her contemporaries Primo Levi and Giorgio Bassani. Born in Hungary in 1932, she was deported with her family to the concentration camps of Auschwitz, Dachau, Christianstadt, Landsberg, and Bergen-Belsen, where she lost both her parents and a brother. After the war, she traveled widely until 1954 when she settled in Rome. She has lived there ever since. This important new study is motivated by a desire to better understand and situate Bruck's art as well as to advance (and, when necessary, to revise) the critical discourse on her considerable and eclectic body of work. As such, it underscores and analyzes the intermedial nature of her contributions to contemporary Italian culture, which should no longer be understood merely in terms of her willingness to revisit the subject of the Holocaust on the printed page or the silver screen. It also includes previously unpublished interviews with the author. The book will be of broad interest to scholars and students of Jewish (especially Holocaust) studies, Italian literature, film studies, women's studies, and postcolonial culture."This is the first comprehensive scholarly analysis of the work produced by a main contemporary author of Italian Holocaust literature, focused on Bruck's overall artistic production (novels, poetry, film, and TV productions). It will offer scholars and students alike a new interpretive perspective and a valuable source of reference for their studies." Gabriella Romani, Seton Hall University.

Bernard Goldstein’s memoir describes a hard world of taverns, toughs, thieves, and prostitutes; of slaughterhouse workers, handcart porters, and wagon drivers; and of fist- and gunfights with everyone from anti-Semites and Communists to hostile police, which is to say that it depicts a totally different view of life in prewar Poland than the one usually portrayed. As such, the book offers a corrective view in the form of social history, one that commands attention and demands respect for the vitality and activism of the generation of Polish Jews so brutally annihilated by the barbarism of the Nazis. In Warsaw, a city with over 300,000 Jews (one third of the population), Bernstein was the Jewish Labor Bund’s “enforcer,” organizer, and head of their militia—the one who carried out daily, on-the-street organization of unions; the fighting off of Communists, Polish anti-Semitic hooligans, and antagonistic police; marshaling and protecting demonstrations; and even settling family disputes, some of them arising from the new secular, socialist culture being fostered by the Bund. Goldstein’s is a portrait of tough Jews willing to do battle—worldly, modern individuals dedicated to their folk culture and the survival of their people. It delivers an unparalleled street-level view of vibrant Jewish life in Poland between the wars: of Jewish masses entering modern life, of Jewish workers fighting for their rights, of optimism, of greater assertiveness and self-confidence, of armed combat, and even of scenes depicting the seamy, semi-criminal elements. It provides a representation of life in Poland before the great catastrophe of World War II, a life of flowering literary activity, secular political journalism, successful political struggle, immersion in modern politics, fights for worker rights and benefits, a strong social-democratic labor movement, creation of a secular school system in Yiddish, and a youth movement that later provided the heroic fighters for the courageous Warsaw Ghetto Uprising.

In May 1938, Hungary passed anti-Semitic laws causing hundreds of Jewish artists to lose their jobs. In response, Budapest’s Jewish community leaders organized an Artistic Enterprise under the aegis of OMIKE Országos Magyar Izraelita Közm?vel?dési Egyesület (Hungarian Jewish Education Association) to provide employment and livelihood for actors, singers, musicians, conductors, composers, writers, playwrights, painters, graphic artists, and sculptors.Between 1939 and 1944, activities were centered in Goldmark Hall beside the Dohány Street Synagogue in Budapest. Hundreds of artists from all over Hungary took part in about one thousand performances, including plays, concerts, cabaret, ballet, operas, and operettas. These performances appealed to the highly cultured Budapest Jewish community, ever desirous of high-caliber events, particularly under oppressive conditions of the time. Art exhibitions also were held for painters, graphic artists, and sculptors to sell their creations.Lévai’s 1943 book (with new, additional chapters by noted historians and musicians) is the core of this expanded edition and provides interviews with individual artists who recall their early lives and circumstances that led them to join the Artistic Enterprise. The book records the technical functioning, structure, and operation of this remarkable theater and concert venue. It provides fascinating details about those who worked behind the scenes: répétiteurs, hair stylists, and personnel involved with costumes, lighting, and scenery. Because the stage was small, clever choreographic and scenery improvisation had to be made, and the stagehands were clearly up to the task. Since these artists were not allowed to perform before the general public or advertise with posters on the streets, the book describes special means devised to overcome these difficulties and bring Jewish audiences into the theater in large numbers.Lastly, the book carries the theater’s story up to Sunday morning, March 19, 1944, a day of infamy, when the German army marched into Hungary.

Symbolized by a three-hundred-year-old Seder plate, the religious life of Fred Behrend's family had centered largely around Passover and the tale of the Jewish people's exodus from tyranny. When the Nazis came to power, the wide-eyed boy and his family found themselves living a twentieth-century version of that exodus, escaping oppression and persecution in Germany for Cuba and ultimately a life of freedom and happiness in the United States. Behrend's childhood came to a crashing end with Kristallnacht (the Night of Broken Glass) and his father's harrowing internment at the Sachsenhausen concentration camp. But he would not be defined by these harrowing circumstances. Behrend would go on to experience brushes with history involving the defeated Germans. By the age of twenty, he had run a POW camp full of Nazis, been an instructor in a program aimed at denazifying specially selected prisoners, and been assigned by the U.S. Army to watch over Wernher von Braun, the designer of the V-2 rocket that terrorized Europe and later chief architect of the Saturn V rocket that sent Americans to the moon. Behrend went from a sheltered life of wealth in a long-gone, old-world Germany, dwelling in the gilded compound once belonging to the manufacturer of the zeppelin airships, to a poor Jewish immigrant in New York City learning English from Humphrey Bogart films. Upon returning from service in the U.S. Army, he rose out of poverty, built a successful business in Manhattan, and returned to visit Germany a dozen times, giving him unique perspective into Germany's attempts to surmount its Nazi past.