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  • 1
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 95-109
    Schlagwort(e): 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
    Kurzfassung: 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.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 2
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 161-175
    Schlagwort(e): Rechter, Zeev, ; Weinstein, Gal, Criticism and interpretation ; Biennale di Venezia. ; Architecture, Israeli ; Art, Israeli ; Nation-building
    Kurzfassung: 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.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 3
    Artikel
    Artikel
    In:  Imagined Israel(s) (2023) 110-128
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 110-128
    Schlagwort(e): Keren, Tali, ; Installations (Art) ; Jewish women artists ; Israelis ; Ideology in art ; United States Relations ; Israel Relations
    Kurzfassung: 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.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 4
    Artikel
    Artikel
    In:  Imagined Israel(s) (2023) 231-256
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 231-256
    Schlagwort(e): Zadok, Tamir, ; Jarrar, Khaled, ; Art, Israeli ; Art, Palestinian Arab ; Imaginary histories ; Art Political aspects
    Kurzfassung: This chapter deals with parafictional works created by Israeli and Palestinian artists, specifically Tamir Zadok’s Gaza Canal (2010), a satirical video presenting an alternative history in which the Gaza Strip was separated from Israel by a canal, and Khaled Jarrar’s State of Palestine (2011–), a project that includes the design and distribution of a passport stamp and postal stamp for Palestine. Flowing through social media and bureaucratic infrastructures, these creations were experienced as real events rather than artworks: once uploaded online, Gaza Canal was perceived as a political proposal, and Jarrar’s stamps were officially printed by various postal services. The chapter wishes to unpack the works’ complex mimicking of aesthetic procedures and national symbols while considering them as Deleuzian simulacrums based on inherent difference and as destabilizing the entire notion of the model and the copy. In this sense, the works challenge political binaries and national identities. Moreover, their unique aesthetic representation, in which their ontological status as real or fictive shifts according to their spectators’ perceptions, reshapes prevalent political pre- and misconceptions of Israel and Palestine, and the relations of difference and resemblance between the two nations.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 5
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 19-39
    Schlagwort(e): Hebrew language Alphabet ; Religious aspects ; Judaism ; Hebrew language Revival ; Graphic design (Typography) ; Hebrew type History ; Hebrew type ; Type and type-founding Digital techniques ; National characteristics, Israeli
    Kurzfassung: This chapter covers the main story of Hebrew typography, while looking at the different stages of development, as a visual representation of the Jewish people, Zionism, and, finally, the State of Israel. Initially, the Hebrew type was meant for printing religious texts. The standard was set by great European printers, such as the Soncino family, Daniel Bomberg, and Guillaume Le Bé. These early typefaces established a spiritual Jewish textual image in print that was mostly produced by non-Jewish designers, who were not fully acquainted with the language. Secular and humanistic visuality came about with the creation of Frank-Rühl. Cantor and designer Rafael Frank based his design on tradition but managed to free it from its deep religious roots. A liberation of Hebrew typography followed, with two separate trends. Grotesque designs brought the visual representation of Hebrew up to speed with that of Latin languages. At the same time, meticulous designs revived old Hebrew lettering to be seen as apropos for the twentieth century. With the establishment of the State of Israel, type design became even more original and unique, highlighting a new and fresh look for the young state. Typefaces such as David and Hatzvi rely on the past but make a strong statement of rejuvenation and growth. These initial Israeli designs led to the development of a wide range of typographies and endless visual possibilities, especially with the introduction of computers in the 1980s. Today, leading Israeli designers are creating Hebrew versions for multilingual international typefaces, thereby establishing a new visual voice for Israel throughout the world.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 6
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 40-54
    Schlagwort(e): Art 20th century ; Jewish artists ; Art, Israeli History ; Art criticism ; Zionism and art ; Canon (Art)
    Kurzfassung: 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.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 7
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 196-203
    Schlagwort(e): Āl Aḥmad, Jalāl Travel ; Intellectuals History 20th century ; Holocaust, Jewish (1939-1945) Commemoration ; Israel History 1956-1967
    Kurzfassung: 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.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 8
    Artikel
    Artikel
    In:  Imagined Israel(s) (2023) 79-94
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 79-94
    Schlagwort(e): Theater History 21st century ; American drama History and criticism ; Jews, American Attitudes toward Israel ; Holocaust, Jewish (1939-1945), in literature ; Arab-Israeli conflict Literature and the conflict ; Israel In literature
    Kurzfassung: Many liberal Jewish Americans wrestle with their apparently competing value systems; without the personal experience of the Holocaust, many do not identify with the need for Israel as a refuge. This “new” Jewish American, according to Andrea Most, has adopted a liberal Protestant ethos and loosened communal bonds that tied them together with other Jews. Many young, liberal American Jews, with incomplete knowledge of the history or politics of Israel and an identity filtered through progressive American ideals, are becoming disenchanted with the Jewish state. This chapter examines contemporary plays performed on American stages and how they shape and reshape Jewish Americans’ relationships with Israel. The plays are explored through their substance and the dialogue that emerges through their performance. There is a particular focus on generational divides in attachment to Israel, such as between a father who witnessed the horrors of Dachau and a son who asserts that the Holocaust is marketed and exploited to garner support for Israel in If I Forget. It then examines how the “theater of the real” influences reality, in the case of My Name Is Rachel Corrie, and sparks significant media controversy. The controversy generated by Seven Jewish Children includes damning reviews and two complementary plays in dialogue, Seven Palestinian Children and The 8th Jewish Child. Three of the plays discussed in this chapter had canceled performances, which caused a backlash against censorship. Finally, this chapter examines how the guilt and shame of Israeli Jews are portrayed and how they deal with questions of obligation and moral perplexity.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 9
    Artikel
    Artikel
    In:  Imagined Israel(s) (2023) 129-144
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 129-144
    Schlagwort(e): 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
    Kurzfassung: 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.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 10
    Sprache: Englisch
    Erscheinungsjahr: 2023
    Titel der Quelle: Imagined Israel(s)
    Angaben zur Quelle: (2023) 176-195
    Schlagwort(e): Shani, Mor Criticism and interpretation ; Teʼaṭron "ʻInbal" ; Modern dance ; Folk dancing ; Jews, Yemeni Folklore ; Israel Ethnic relations
    Kurzfassung: 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.
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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