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Dora Apel analyzes the ways in which artists born after the Holocaust-whom she calls secondary witnesses-represent a history they did not experience first hand. She demonstrates that contemporary artists confront these atrocities in order to bear witness not to the Holocaust directly, but to its "memory effects" and to the implications of those effects for the present and future. Drawing on projects that employ a variety of unorthodox artistic strategies, the author provides a unique understanding of contemporary representations of the Holocaust. She demonstrates how these artists frame the past within the conditions of the present, the subversive use of documentary and the archive, the effects of the Jewish genocide on issues of difference and identity, and the use of representation as a form of resistance to historical closure.
The Sabras were the first Israelis—the first generation, born in the 1930s and 1940s, to grow up in the Zionist settlement in Palestine. Socialized and educated in the ethos of the Zionist labor movement and the communal ideals of the kibbutz and moshav, they turned the dream of their pioneer forebears into the reality of the new State of Israel. While the Sabras made up a small minority of the new society’s population, their cultural influence was enormous. Their ideals, their love of the land, their recreational culture of bonfires and singalongs, their adoption of Arab accessories, their slang and gruff, straightforward manner, together with a reserved, almost puritanical attitude toward individual relationships, came to signify the cultural fulfillment of the utopian ideal of a new Jew. Oz Almog’s lively, methodical, and convincing portrayal of the Sabras addresses their lives, thought, and role in Jewish history. The most comprehensive study of this exceptional generation to date, The Sabra provides a complex and unflinching analysis of accepted norms and an impressive appraisal of the Sabra, one that any examination of new Israeli reality must take into consideration. The Sabras became Palmach commanders, soldiers in the British Brigade, and, later, officers in the Israel Defense Forces. They served as a source of inspiration and an object of emulation for an entire society. Almog’s source material is rich and varied: he uses poems, letters, youth movement and army newsletters, and much more to portray the Sabras’ attitudes toward the Arabs, war, nature, work, agriculture, cooperation, and education. In any event, the Sabra remained central to the founding myth of the nation, the real Israeli, against whom later generations will be judged. Almog’s pioneering book juxtaposes the myths against the realities and, in the process, limns a collective profile that brilliantly encompasses the complex forces that shaped this remarkable generation.
This unprecedented collection brings together the major Jewish American writers of the past fifty years as they examine issues of identity and how they’ve made their work respond. E.L. Doctorow questions the very notion of the Jewish American writer, insisting that all great writing is secular and universal. Allegra Goodman embraces the categorization, arguing that it immediately binds her to her readers. Dara Horn, among the youngest of these writers, describes the tendency of Jewish writers to focus on anti-Semitism and advocates a more creative and positive way of telling the Jewish story. Thane Rosenbaum explains that as a child of Holocaust survivors, he was driven to write in an attempt to reimagine the tragic endings in Jewish history. Here are the stories of how these writers became who they are: Saul Bellow on his adolescence in Chicago, Grace Paley on her early love of Romantic poetry, Chaim Potok on being transformed by the work of Evelyn Waugh. Here, too, are Philip Roth, Cynthia Ozick, Erica Jong, Jonathon Rosen, Tova Mirvis, Pearl Abraham, Alan Lelchuk, Rebecca Goldstein, Nessa Rapoport, and many more. Spanning three generations of Jewish writing in America, these essays — by turns nostalgic, comic, moving, and deeply provocative- constitute an invaluable investigation into the thinking and the work of some of America’s most important writers.
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An unprecedented annotated anthology of the most important Jewish mystical works, A Kabbalah and Jewish Mysticism Reader is designed to facilitate teaching these works to all levels of learners in adult education and college classroom settings. Daniel M. Horwitz's insightful introductions and commentary accompany readings in the Talmud and Zohar and writings by Ba'al Shem Tov, Rav Kook, Abraham Joshua Heschel, and others. Horwitz's introduction describes five major types of Jewish mysticism and includes a brief chronology of their development, with a timeline. He begins with biblical prophecy and proceeds through the early mystical movements up through current beliefs. Chapters on key subjects characterize mystical expression through the ages, such as Creation and deveikut ("cleaving to God"); the role of Torah; the erotic; inclinations toward good and evil; magic; prayer and ritual; and more. Later chapters deal with Hasidism, the great mystical revival, and twentieth-century mystics, including Abraham Isaac Kook, Kalonymous Kalman Shapira, and Abraham Joshua Heschel. A final chapter addresses today's controversies concerning mysticism's place within Judaism and its potential for enriching the Jewish religion.
The Jewish-Christian dialogue continues to be a challenge for Christian theology, calling for a rethinking of Christian hermeneutics. Hans Ucko widens the arena for Jewish-Christian dialogue and proposes a constructive interaction between contextual theologies and Jewish-Christian dialogue. Minjung theology from South Korea and Dalit theology from India have creatively worked with the concepts people, peoplehood and People of God. The Jewish-Christian dialogue has likewise delved into the question of People of God. An encounter between these two worlds might be mutually enriching and challenging.