This article discusses the place of Hebrew and Jewish images and stereotypes in the works of the Israeli-Arab Hebrew writer Sayed Kashua. When describing his Arab protagonists, Kashua portrays both the stereotype of the oppressed Diaspora Jew, who is trying to blend in and hide his identity, and the stereotype of the Israeli Jew, the image that many of Kashua's protagonists aspire to imitate. The article argues that adopting those images and stereotypes has a dual function. On the one hand, it can be understood as an attempt to imitate and internalize the majority's gaze, creating a sense of brotherhood and familiarity with Jewish-Israeli readers. On the other hand, the same images and stereotypes can be understood as having a major subversive thrust that ridicules the Jewish-Israeli identity and its perception of the Israeli-Arab and criticizes the Israelization process among Palestinian citizens of Israel. This subversive dimension, typical of Kashua's sarcastic style, becomes sharper in his more recent works.
Adia Mendelson-Maoz and Liat Steir-Livny
Michael Radford’s The Merchant of Venice
Maria-Clara Versiani Galery
This article discusses different responses to Michael Radford’s 2004 screen rendition of Shakespeare’s The Merchant of Venice. It examines selected newspaper reviews, as well as academic papers that critique the filmic adaptation of Shakespeare’s play, taking into account its representation of Shakespeare’s Jew. The article interrogates to what extent the medium – theatre or cinema – affects the way the audience experiences the work, especially when dealing with an issue as complex as antisemitism. In this manner, Radford’s attempt to historicize the events in Merchant is viewed as a form of attenuating the antisemitic elements in the play.
selfishness. 7 Because these qualities characterize nearly everyone in the competitive Mediterranean economy, ‘Jewishness’ assimilates disparate identities in one term. As Jewish stereotypes spread, they cease to function as markers of difference. A
Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice
Jeanette R. Malkin and Eckart Voigts
briefly. This gesture is clearly intended to interconnect the ‘separate, discrete temporal layers’, 29 the fictional male Jewish stereotype Shylock to the twentieth-century non-fictional Holocaust survivor Ruth Posner/Sarah. The gaze is only queered here
Critical Notes on Agamben’s Political Messianism
’s grace. 7 Agamben, by contrast, keeps his distance from Lutheran dialectics of law and grace and, above all, from the anti-Jewish stereotypes it has fostered during the modern era. As I have already indicated, his intention is rather to restore the
Cabarets from a Concentration Camp
German-speaking buffoons. In a possibly self-deprecating scene, he embodies negative Jewish stereotypes in a character named Mordechai, who is described as having ‘a nose – well – it's hard to describe, and sidelocks’ (Peschel, Performing Captivity