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  • 1
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 110-128
    Keywords: Keren, Tali, ; Installations (Art) ; Jewish women artists ; Israelis ; Ideology in art ; United States Relations ; Israel Relations
    Abstract: This article analyzes how Tali Keren’s The Great Seal (2016–2018) and Un-Charting (2021) reveal “messianic affinities,” the complex and contradictory web of projections and transferences crisscrossing the Atlantic that make up the ideological basis of the close Israeli-American relationship. Taking up American revolutionary ideas positioning the United States as the “promised land,” The Great Seal explores Benjamin Franklin and Thomas Jefferson’s design for the US seal, proposed in 1776. While ultimately not adopted, the seal—which depicts Moses leading the Israelites out of Egypt and carries the maxim tyrannis seditio, obsequium deo (“rebellion against tyrants, obedience to God”)—represents an undercurrent in American ideology, the legacy of which remains in the dozens of New Zion towns dotting the North American landscape. Like The Great Seal, Un-Charting provides a vision of Zion refracted through the lens of prophetic Christianity and North American settler colonialism. In Un-Charting, the prophecy of a new Jerusalem as harbinger of a new world order is mapped out in painstaking detail through the eyes of Richard Brothers (1757–1824), a British naval officer who believed himself to be a prince of the Hebrews. In both exhibitions, Keren connects these histories to contemporary Israeli image-making abroad by examining how Israeli-American relations today are driven by a growing Christian Evangelical block insistent that support for the State of Israel will hasten the Second Coming of Jesus Christ.
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  • 2
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 129-144
    Keywords: American fiction 20th century ; Spy stories History and criticism ; Israelis in literature ; Arab-Israeli conflict Literature and the conflict ; Six Day War, 1967 Influence ; Politics in literature ; Israel In literature
    Abstract: During the twentieth century, more than 150 political thrillers and spy novels appeared with characterization and plots that related specifically to Israelis and the Arab-Israeli conflict. In a genre of fiction where characters and the “plot” are vital, the portrayal of Israelis is an important indicator of political perception. These novels illustrate that as the nature of the Arab-Israeli conflict changed, so too did American views of Israelis as seen through the lens of crime fiction both with regard to the authors’ perceptions of political events and to how publishers have gauged readers’ receptivity to their presentations of these events. Israeli heroes, including James-Bond- and Rambo-types, suddenly appeared and disappeared; the negative Israeli emerged; and by the end of the century, as authors got tired of writing about the Arab-Israeli conflict and as new threats appeared in news, different sorts of heroes emerged.
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  • 3
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 161-175
    Keywords: Rechter, Zeev, ; Weinstein, Gal, Criticism and interpretation ; Biennale di Venezia. ; Architecture, Israeli ; Art, Israeli ; Nation-building
    Abstract: In 1946, two years prior to the founding of Israel, an initial query about the construction of an Israeli Pavilion was submitted to the mayor of Venice. Five years later, Zeev Rechter was appointed as the architect for the Biennale project. Built in a style characterizing pre-state construction in Israel and completed in 1952, the Pavilion and its architecture played an important symbolic role in the construction of national identity at a time when the “newly founded Israeli state faced the challenge of uniting its heterogeneous population into a national community.” The Pavilion was to represent Israel on an international platform, and Rechter’s modernist design reflected the state’s longing to promote the country as part of the West. Over the years, several artists representing Israel at the Venice Biennale have transformed the Pavilion through architectural interventions. Most recently, Gal Weinstein visibly “aged” the Pavilion by growing layers of mold on the walls and floors of the space in his 2017 exhibition Sun Stand Still. This chapter takes the exhibition as a case study, examining how Weinstein uses materiality and installations disrupting the modernist architecture and functionalist aesthetic of the Pavilion as a means of critiquing how the nation forged its image on a global stage while simultaneously reflecting on the current state of the country. The centerpiece of the exhibition—an installation of molding growths spread throughout the building that actively age and decay the interior of the structure—serves as an allegory for the nation, Weinstein’s manipulation of the interior of the Pavilion functioning as a metaphorical critique of the state.
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  • 4
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 196-203
    Keywords: Āl Aḥmad, Jalāl Travel ; Intellectuals History 20th century ; Holocaust, Jewish (1939-1945) Commemoration ; Israel History 1956-1967
    Abstract: In 1963, leading Iranian intellectual Jalal Al-e Ahmad paid a visit to the young State of Israel. Invited by the Israeli diplomatic mission in Tehran—part of the then-increasing cultural, military, and economic ties between the Shah’s Iran and the Jewish state—Al-e Ahmad’s two-week journey inspired him to write one of his most interesting and enigmatic texts: the travelogue and political essay The Israeli Republic (“Safar be Velayat-e Esrael” in Persian). Scholars have considered the essay mainly as a political document; after all, Al-e Ahmad’s main argument is that Zionism and the Jewish state can and should serve as a model for reform in Iran. However, what is striking about Al-e Ahmad’s text is the extent to which his relationship with Israel can be cast as a viewer’s engagement with a seen object, as a visual encounter. While still in Iran, Al-e Ahmad first got interested in Israel comes when sees a book in a window display, and his description of his journey turns on his observation of a shifting tableau of objects, individuals, and landscapes. In this chapter, I will explore the visual dimension of The Israeli Republic, highlighting the critical role that it plays in Al-e Ahmad’s understanding of the Jewish state.
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  • 5
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 204-227
    Keywords: Hare, David, ; Churchill, Caryl. ; Rotman, B. ; Viner, Katharine. ; Rickman, Alan. ; Theater History 21st century ; English drama History and criticism ; Arab-Israeli conflict Literature and the conflict ; Antisemitism History 21st century ; Israel In literature
    Abstract: In 2017, a British online magazine asked why, with regard to Israel, “British theatre can only produce shrill agitprop.” It answered that “British theatres think it is better to be self-righteous than carefully to explore both sides of complex conflicts.” In recent years, the arts in the United Kingdom have suffered from outbursts of anti-Israel action: a visit by Habima was canceled in 2012, and in 2011 a concert given in London by the Israel Philharmonic Orchestra was disrupted by anti-Israel protests. Over the past 20 years, there have been a number of British plays attacking Israel. This led to a headline in a Jewish magazine: “British Theatre Has an Enemy and Its Name Is Israel.” While this is exaggerated, there have been instances of anti-Israel judgment in British plays such as Perdition, My Name Is Rachel Corrie, Alive from Palestine: Stories under the Occupation, and Seven Jewish Children: A Play for Gaza. Criticism of any national entity is legitimate if it is well reasoned. The question I ask in this chapter is whether three of these plays, My Name Is Rachel Corrie by Katharine Viner and Alan Rickman, Seven Jewish Children by Caryl Churchill, and David Hare’s Via Dolorosa present well-reasoned arguments or whether they can be classified as shrill anti-Israel agitprop. I also consider The Holy Rosenbergs, a play by the British Jewish playwright Ryan Craig, as representing a Jewish view of the Israel-Palestine conflict.
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  • 6
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 95-109
    Keywords: Roth, Philip. ; Roth, Philip. ; Roth, Philip. ; Foer, Jonathan Safran, ; American fiction Jewish authors ; History and criticism ; Jews, American, in literature ; Israelis in literature ; Masculinity in literature
    Abstract: This chapter considers the representation of Israel in Jewish American literature, specifically focusing on the ways in which Jewish American authors often invoke Israeli Jewish masculinity—aggressive, physical, cunning—as a mirror image of Jewish American masculinity—passive, intellectual, cautious. Looking at relevant works from Saul Bellow (Mr. Sammler’s Planet), Philip Roth (The Counterlife and Operation Shylock), and Jonathan Safran Foer (Here I Am), this chapter examines the various literary imaginings of Israeli culture in American literature. Israel functions as a point of comparison; as an alternate reality; as a projection of hopes and fears; and, most importantly, as a distinctive “other.” The Israeli “other” is almost more of a threat to the Jewish American male psyche than the all-American, non-Jewish man; while the latter’s position in the Christian American ruling class places him above the Jewish American man for reasons that are both inwardly and outwardly indelible (especially in these examples, all of which carry out the idea of the distinctly Jewish body/mind), the Israeli’s overt masculinity contradicts the Jewish American man’s conception of himself as weak (whether physically or spiritually) because of his Jewish identity. In other words, the figure of the Israeli man in Jewish American literature often forces the Jewish American male protagonist to confront the consequences of diasporic Jewish life and the possibilities, both aspirational and foreboding, that Israeli Jewish life evokes. In the case of Mr. Sammler’s Planet and Here I Am, both Sammler and Jacob are simultaneously in awe of and repulsed by the actions of their Israeli mirror-images, Eisen and Tamir. For Roth, Israel serves both as a site of Jewish American emasculation and, more importantly, as a confirmation of Jewish American moral superiority. Ultimately, in considering the diverging modes of Jewish masculinity depicted in representations of Israel/Israelis in American Jewish literature, this chapter explores how post-1967 Jewish American literature increasingly employs Israel as a lens through which to analyze, criticize, and magnify the complexities of American Jewish male identity.
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  • 7
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 176-195
    Keywords: Shani, Mor Criticism and interpretation ; Teʼaṭron "ʻInbal" ; Modern dance ; Folk dancing ; Jews, Yemeni Folklore ; Israel Ethnic relations
    Abstract: This chapter discusses “Three Suggestions for Dealing with Time” (2016–2020), a folklore-inspired contemporary dance trilogy created by Mor Shani for Inbal Dance Theater. Inbal was established in 1949 by Sara Levi-Tanai as a means to express the Yemenite cultural heritage through Western theatrical and choreographic forms. Although innovative in its integration of diverse cultural and artistic influences, Inbal was labeled as being representative of Yemenite ethnicity, expressing Mizrachi exoticism that did not conform to the collective image of “Israeliness” that promoted a new Hebrew-Ashkenazi-Zionist-secular-Sabra identity or body. Consequently, the company was marginalized in the Israeli dance field, and its controversial position highlighted the ongoing artistic and social tension between Yemenite and Israeli, ethnic and national, and exotic and innovative, art and folklore. Considering Inbal’s complex history, Shani’s dance trilogy unfolds as a choreographic practice of contemporizing the Yemenite ethnicity that has defined the company from its beginning. Through it, Shani explicitly comments on Inbal’s cultural-artistic identity and marginal position throughout the years while affirming Levi-Tanai’s legacy as a source of the company’s contemporaneity. Moreover, by expanding Levi-Tanai’s unique stylistic integration, Shani resonates with her agenda of cultural pluralism, thus realizing Inbal’s potential as a third space through which the “Inbalite” language is updated and included in the choreographic present.
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  • 8
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 40-54
    Keywords: Art 20th century ; Jewish artists ; Art, Israeli History ; Art criticism ; Zionism and art ; Canon (Art)
    Abstract: This chapter investigates popular textual representations of the early Israeli art canon, positing its fictional character. By a literary analysis of Karl Schwarz’s Modern Jewish Art in Eretz Yisrael (1941) through a theoretical framework derived from Hayden White and Frank Kermode, I will draw distinctions between canon as history and canon as literature. Although common perspectives on the Israeli art canon have mostly dealt with the critical deconstruction of the power regimes dominating the art field, whether professional academic university departments or national-state institutions, my research points at the literary essence of the Israeli art canon. Viewing the canon through its textual representation enables me to delve into the writing and interpretation of art history, arguing for its narrative element and the literary components used by its authors. Indeed, I do not see writers of the canon as historians, but rather as poets. This move unveils the imaginative elements of the Israeli art canon, alluding also to the understanding that the consensus around certain artworks and artists may be an imagined consensus.
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  • 9
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 55-75
    Keywords: Comic books, strips, etc. History and criticism ; Comic books, strips, etc. History and criticism ; Comic books, strips, etc. History and criticism ; Tel Aviv-Yafo (Israel) In comics
    Abstract: Looking at various Israeli and international comics works from pre-independence proto-comics to current mainstream and alternative graphic narrative works, this chapter wishes to understand how the role of Tel Aviv as the “first Hebrew city” is visually manifested, and what, if at all, are the differences between the contributions of local and international artists to the collective memory of the city and to its visual representation. To achieve its goal, the chapter tracks and reviews depictions of Tel Aviv landmarks, architectural monuments, cityscapes, and urban-life scenes from various works, by various artists and in different genres, spread between the late 1930s to the late 2010s, in an attempt to understand what elements make the city of Tel Aviv so easily identifiable. Through this review, the chapter will demonstrate how the image of Tel Aviv is composed of depictions of its early days as a “garden city,” of its “White City” international (Bauhaus) style era, and of the modern metropolis that it has become, riddled with skyscrapers and towers. Special attention will be given to artists’ searching of personal or private spaces and how glocalization supported the changes in the city’s image over time. Finally, a separate section will consider the cultural, political, and visual tensions between the representations of Tel Aviv as the face of modern Jewish Israel and of Jaffa as its ancient Levantine past and the broader sociocultural contexts it brings forth in works of Israeli and international artists.
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  • 10
    Language: English
    Year of publication: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 145-158
    Keywords: Lanzmann, Claude ; Sontag, Susan, ; Pourquoi Israël (Motion picture) ; Promised lands (Motion picture) ; Documentary films History and criticism ; Jews Attitudes toward Israel ; Jewish motion picture producers and directors ; Israel In motion pictures
    Abstract: For Benedict Anderson, the nation is a social construction, an imagined community. And this is even more in the case of the foreigner, who carries an image of the country he is visiting that is imagined. In 1970, Roland Barthes published L’Empire des signes (The Empire of Signs), where he recounts Japan through a collection of “a certain number of features” that compose “a system,” an image that the foreigner (the gai-jin) has of the “Land of the Rising Sun.” This “imagined” image, which may be formed before even visiting a place, seldom reflects the reality on the ground. In the case of Israel, the image that diaspora Jews have of it is mostly a mental construct that reveals more about themselves and their aspirations than about Israel itself. In 1973, Claude Lanzmann traveled to Israel to film the country and to answer the question: Why Israel? Lanzmann finds the legitimacy of Israel in the stories of the people whom he talks with—these stories create Lanzmann’s imaged Israel: the Holocaust, the kibbutz, the Mizrachi aliyah, the Ultra-Orthodox, the settlers in Hebron, the memory of the Spartacus League in Germany … all these fragments of life, edited together, compose the Israel of Lanzmann, which coincides with the “reappropriation of violence” by the Jews. The reality of the Yom Kippur War, which broke out soon after the completion of the film, problematized the issue of violence for the young state. Following the war, Susan Sontag, another diasporic intellectual, arrived in Israel to construct her own image of the country. The Israel of Promised Lands is still shaking from the tragedy of the war: the filmed sequences of traumatized soldiers undergoing treatment or of the burned military vehicles abandoned in the middle of the desert reflect on the high costs of the Zionist project, signaling what would become a shift in the discourse about Israel taking place in the American Jewish community. From the post-Holocaust image generated by the survivor Lanzmann to the traumatized image of Sontag up to today’s representations, Israel stands as a mirror for the diaspora with which it can see itself.
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