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Original poems and illustrations on the weekly Tora portion, drawing on and responding to classic Jewish commentaries.
Examines the question of the legal status of Hebrew language and culture in the Soviet Union. While the Hebrew tongue was never officially prohibited, the history of the Jewish community within the Soviet and has been a story of conflict, not cooperation.
Six classic texts of modern Hebrew literature viewed from a variety of critical perspectives.
A feature of English landscape architecture, a ha-ha is a wall at the bottom of a ditch; its purpose is to allow the presence of cows and sheep on one's lawn, but at an agreeable distance and with none of the malodorous unsightliness that proximity would bring. Similarly, The Ha-Ha, the latest offering from poet David Kirby, is both an exploration of the ways in which the mind invites chaos yet keeps it at a distance and an apologia for humor, reflecting Irish poet Patrick Kavanagh's observation that tragedy is merely underdeveloped comedy. Embracing wit, wide-ranging scholarship, and an equal love of travel as well as the pleasures of home, The Ha-Ha depicts comedy as a radical form of intelligence, a way of thinking that just happens to be noisy and rumbustious. We are staying with Barbara's parents on Oahu, and the first night we're there, I notice an angry-looking man is staring at me out of the neighbor's upstairs window and mumbling something, but the second night I realize that it's that poster of Bo Diddley from the famous Port Arthur concert, and there's a phone wirein front of his face that bobs up and down when the trade winds blow, which they do constantly, making it seem as though Mr. Diddley is saying something to me. From "The Ha-Ha, Part I: The Tao of Bo Diddley" published in The Ha-Ha: Poems by David Kirby. Copyright © 2003 by David Kirby. All rights reserved. - See more at: http://lsupress.org/books/detail/the-ha-ha/#sthash.g8vUSeuN.dpuf
Yehuda Amichai (1924-2000) was Israel's most popular poet, as well as a literary figure of international reputation. In this collection, renowned translators Chana Bloch and Stephen Mitchell have selected Amichai's most beloved poems, including forty poems from his later work. A new foreword by C.K. Williams, written especially for this edition, addresses Amichai’s enduring legacy and sets his poetry in the context of the new millennium.
Includes almost 760 entries ranging in length from 3,100 words on the first (1855) edition of Leaves of Grass to 140 words on Elizabeth Leavitt Keller. Entries include biographical data; thematic, formal and technical considerations; discussions of the poet's social and personal life; and commentary on all of Whitman's works, including poem clusters, major poems, essays, and lesser known works such as the novel Franklin Evans and two dozen short stories. A chronology and genealogy are included. Annotation copyrighted by Book News, Inc., Portland, OR
This book explores the psychological trauma affecting soldiers and civilians who have encountered the violence of war or terrorism, arguing that the enigmas surrounding war trauma are rooted in culture, collective memory and social norms. Focusing primarily on a large-scale sociological study in Israel, chapters detail the ideological, political, historical and economic factors that shape the multifaceted connection between individual and collective trauma, probing the exterior layers of Israeli society and exposing the complex relationship between society and emotionally scarred individuals everywhere. Divided into three main parts, particular attention is paid to the treatment of soldiers and civilians, and the tension between the medical and societal approaches to PTSD, shedding light on the intricate relationships between war trauma and society worldwide. Part 1 looks at traumatized soldiers and the changing attitudes towards CSR and PTSD; Part 2 explores civilian trauma and shock, including the first published research on the implications of war trauma in Israeli Arab society; and Part 3 analyses the deficiencies and contradictions in current international definitions and discourses of trauma, and the profound consequences of war trauma in society as a whole. Psychological War Trauma and Society will be of key value for academics and postgraduate students in the fields of psychology, sociology, history, Jewish studies, military studies, social work, terrorism studies and political science, as well as professionals who work with traumatised individuals, either directly or indirectly, including psychologists, psychotherapists and social workers. The Hebrew edition of the book was the winner of the 2012 AIS (Association for Israel Studies) Shapiro Award for Best Book in Israel Studies.
While individual essays reveal literary discoveries of self and forgings of identity by women rising to the opportunities and challenges of drastically altered Jewish social realities, a significant number also show the sad decline of women writers upon whom silence was reimposed. Several chapters consider how Jewish women were depicted by male writers from the Middle Ages through the mid-nineteenth century.
The first major poet of the Hebrew literary renaissance of Moslem Spain, Shmuel Ben Yosef Ha-Levi HaNagid (993-1056 c.e.) was also the Prime Minister of the Muslim state of Granada, battlefield commander of the non-Jewish Granadan army, and one of the leading religious figures in a medieval Jewish world that stretched from Andalusia to Baghdad. Peter Cole's groundbreaking versions of HaNagid's poems capture the poet's combination of secular and religious passion, as well as his inspired linking of Hebrew and Arabic poetic practice. This annotated Selected Poems is the most comprehensive collection of HaNagid's work published to date in English. "The Multiple Troubles of Man" The multiple troubles of man, my brother, like slander and pain, amaze you? Consider the heart which holds them all in strangeness, and doesn't break. "I'd Suck Bitter Poison from the Viper's Mouth" I'd suck bitter poison from the viper's mouth and live by the basilisk's hole forever, rather than suffer through evenings with boors, fighting for crumbs from their table.
Amichai writes of the language of love, and tea with roasted almonds, of desire and love. Of a Jewish cemetery whose groundskeeper is an expert on flowers and seasons of the year, but no expert on buried Jews; of Russian shirts embroidered in the colors of love and death; of Jerusalem, the city where everything sails: the flags, the prayer shawls, the caftans, the monks' robes, the kaffiyehs, and young women's dresses. The poet tenderly, mischievously, breaks open the grand diction of the revered Jewish verses and supplications and suddenly discovers the light that his own experience casts upon them. Here, the bread of memory and the circuses of forgetting, nostalgia for God and a better world, dust and heat, and tamarisk trees that stand as flight attendants for the next millennium, saying, "You can still get a seat on the third millennium before liftoff." Open Closed Open-poems at once meditative and playful, anxious and full of hope, sung in a language of biblical directness and meaning, that through the microcosm of the everyday give us the gift of the world at large.