to understand them as a sui generis Religious-Zionist phenomenon, despite their divergence from ‘mainstream’ Religious-Zionist ideology. Understanding the Hyphen In order to distinguish them from the non-Zionist Haredim, the Religious
The Hyphen Cannot Hold
Contemporary Trends in Religious-Zionism
Of Other Cinematic Spaces
Urban Zionism in Early Hebrew Cinema
The Zionist ethos is commonly described as pro-rural and anti-urban, with the imagined Zionist space perceived as being rural and the Zionist drama as a reflection of the life of the pioneers in Palestine. Recent studies of early Hebrew cinema shared this view. This article analyzes two Jewish films from inter-war Palestine, Vayehi Bimey (In the Days of Yore) (1932, Tel Aviv) and Zot Hi Ha'aretz (This Is the Land) (1935, Tel Aviv), to suggest a more complex view of the Zionist ethos and spatial imagery in the context of the relationship between the urban and the rural. A thematic and formal analysis of the films shows their sources of Soviet influence and reveals the presentation of the city as a nationalist space.
Benzion Netanyahu's Formative Years
The Politics of Resentment in Palestine, 1932–1935
for his leading role in shaping the Israeli right-wing political landscape. This study focuses on the father, not the son, and on the crystallization of his worldview and Zionist ideology, particularly on the formative years of his life in the early
Jewish Sacred Music by Israeli Composers
In this lecture I should like to describe and discuss certain aspects of the multilayered phenomenon of ‘Jewish sacred music by Israeli composers’. These are solely marginal aspects of a continuous, dynamic, contradictory and quite fragmented process, in which Israeli ‘identity’ has been situated ever since Zionist ideology began to shape it in a definitive manner.
Comments on Assaf Likhovski's: Law and Identity in Mandate Palestine
Dr. Likhovski’s book is a formidable achievement that has relevance for the development of Israeli law, for students of comparative legal systems, particularly colonial ones, for the history of Zionist ideology, and for conceptualizers of legal anthropology. I shall focus on only a few aspects of his work from the standpoint of a political historian of Mandatory Palestine.
Corporeality As a Weapon: Siegmund Breibart's Embodiment of Muskeljudentum
Matthew J. Sherman
Ideations of corporeality are situated at the crux of "muscular Judaism" in early twentieth- century Europe. The sporting event was viewed as a battlefield for equalization. In the ideological context of Muskeljudentum, the apathy of Talmudjudentum (Talmudic Judaism) was replaced by exercise, in which the strengthening of the corporeal would rejuvenate the psychical. Jewish strongman Siegmund Breitbart capitalized on his masculine feats of strength and aesthetic appeal by creating public performances, which displayed not only militarized corporeality, but also provided a stage for the promotion of "muscular Judaism," through both symbolic and literal representations of Zionist ideology. Breitbart reappropriated masculine Jewish corporeality, embodied corporeal notions of reciprocity at the core of Muskeljudentum, and found individual agency through the militarized aesthetic and motion of his body.
Negating Diaspora Negation
Children's Literature in Jewish Palestine During the Holocaust Years
For years, it had been assumed that since the end of the Second World War and up until the Eichmann trial in 1961, Hebrew culture in Israel tended to repress the Holocaust or narrate it according to the Zionist ideology's viewpoint – to accentuate the events of the rebellion against the Nazis and to infer from them a lesson of national revival and restoration. The consensus concerning children's literature, in particular, maintained that it had been utterly committed in the early decades of statehood to extracting out of the Holocaust a 'fortifying tale' bearing a national lesson. This paper, however, argues the existence of a developed Holocaust discourse in children's literature written in Jewish Palestine during the war years, and suggests that children's literature even predated adult literature in setting the Holocaust theme at centre stage. This article aims to shed light on a rare narrative in the Israeli public discourse of the Holocaust: the literary story told to Jewish children in Palestine during the years of the Holocaust. At the time, this new narrative for children was extensive and diverse. For the first time in the history of Zionist children's literature, it challenged the Diaspora-negating code that had been dominant since its beginning. Nevertheless, only a few years later, with the founding of the State of Israel, this new narrative was rapidly 'forgotten' by the Israeli collective memory and proceeded to be neglected by literary and educational research as well. Although it spanned a short time period and failed to leave a literary impact on writings for children in Israel, this Holocaust narrative is tremendously important, having evoked the unique voice of the Jewish settlement in Palestine (the Yishuv) during the Second World War. It also serves as a case study of the crucial function of children's literature within the public discourse during traumatic times, illuminating the advantages of children's literature as a marginal and peripheral form of communication in the public domain.
The Word of the Lord to Shylock
Biblical Forms in the Translations of Shakespeare’s The Merchant of Venice to Hebrew
Israeli Shakespeare Renaissance of the 1960s can be attributed to Israelis’ need to discuss issues of ideology, identity, and religion through vehicles other than an existing hegemony of Zionist ideology. 9 These observations seem to have been
Looking at Zionism from New and Challenging Perspectives
minorities in case the mandate is abolished and Muslim Syria is united with Muslim Palestine” (51–52). What is special about the book is the opportunity to discuss the Israeli occupation and development as a state not through the usual prism of Zionist
The Pedagogy of Song
Teaching Israel through Music
Daniel Stein Kokin
manner, namely by focusing on settlement, a central plank of Zionist ideology that remains deeply embedded in Israeli identity. 5 The goal of this essay, by contrast, is to stimulate further reflection on why and how music can be deployed to enhance