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Last 7 Days Catalog Additions

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  • Jewish Museum Berlin  (127)
  • Hebrew  (110)
  • Spanish  (17)
  • 2020-2024  (34)
  • 2015-2019  (93)
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  • 1
    Book
    Book
    Yerûshalayim [Jerusalem] ; Tel Aviv ; Ramat Gan : Massadah Publishers
    Language: Hebrew
    Pages: 68 Seiten, [2] Blatt , Illustrationen
    Year of publication: 2019
    Keywords: Bibel. Makkabäer, 1.-2.
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  • 2
    Language: Hebrew
    Pages: [14] Blatt , Illustrationen
    Edition: Mahadurah mugbelet
    Year of publication: 2016
    Keywords: Bibel. Hoheslied ; Übersetzung ; Illustration
    Note: Jüdisches Erscheinungsjahr: 5776 , Exemplar 101/200
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  • 3
    Language: Hebrew
    Pages: 283 Seiten, [2] Blatt , Illustrationen
    Year of publication: 2016
    Keywords: Künstlerin ; Ausstellung
    Abstract: Ofra Zimbalista (1939–2014) was a unique presence on the Israeli art scene. She did not measure her success solely by the number of museum exhibitions she participated in, but rather by the placement of her sculptures in public spaces. Her works speak above all to the public at large rather than to art connoisseurs, and the public listened and related to them with love. There were also museum exhibitions, yet the sculptures impressed upon collective memory are those placed in the public sphere, in a range of local and international sites. Zimbalista's "troupe" numbers some 50 actors. The members of this troupe are all sculptures – women, men, and children of all ages. Some of them appear in many of the artist's performances, while others participate in only a few. The stage sets vary: closed spaces, old castles, shopping malls, playgrounds. Beyond the actual process of creating the sculptures, Zimbalista's greatness lies in their positioning on these changing stages to create choreographies in space. Her spatial thinking and the precise planning of each figure's position are consistent and unique to her works – both to her permanent installations and to her temporary displays. Zimbalista's highly perfected talent in creating installation was also given expression in the positioning of the sculptures in her studio in Ashdod, which is reconstructed in the current exhibition at the Open Museum in Tefen. This is how the orphaned sculptures remained in the studio in Ashdod following the artist's death. Zimbalista's sculptural installation Walking was positioned on a rocky expanse at the heart of the Tefen Industrial Park when the Open Museum was inaugurated in 1987, and has been accompanying us ever since. "These figures will continue to walk across the rocky terrain even after we are gone," Zimbalista said in 2006, when we reinstalled the bronze casts of the figures. And she was right. The figures that make up Walking continue to accompany us today. Ruthi Ofek Exhibition Curator
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  • 4
    Language: Hebrew
    Pages: 136, VIII Seiten
    Year of publication: 2016
    Series Statement: ha- 'Itonut ha-Yehudit be-Germanyah ha-Natsit : mekorot ve-mehkar = Jewish press in Nazi Germany : texts and research 3
    Series Statement: ha- 'Itonut ha-Yehudit be-Germanyah ha-Natsit
    Keywords: Geschichte 1933-1938 ; Sport ; Jüdische Presse ; Deutschland
    Note: English summary
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  • 5
    ISBN: 9789652173843
    Language: Hebrew
    Pages: 162 Seiten
    Year of publication: 2016
    Keywords: Mishkenot Sha'ananim ; Jerusalem
    Abstract: Mishkenot Sha'ananim and its immediate surroundings have long been one of Jerusalem's most familiar and best loved symbols. This book recounts the stories of Mishkenot Sha'ananim and Yemin Moshe in a systematic and comprehensive way, from the time of Moses Montefiore to their recent transformation into a unique center for culture, tourism, and the arts in the early twenty-first century. The complex and surprising story of their past is one of the most fascinating chapters in the history of Jerusalem's Jewish community in modern times, and reflects the history of the entire city: Hopes and disappointments, successes and difficulties, war and peace, social hardship, and a yearning for a better future. The book records the neighborhoods' history in chronological order and by subject matter: The image of Moses Montefiore and his work in Jerusalem, the establishment of the windmill and the Mishkenot Sha'ananim neighborhood, the founding of Yemin Moshe and its history up to and during the War of Independence, the neighborhoods at the time of the 'Municipal Defence Line' and their transformation in the years following the Six-Day War,the present character of the two neighborhoods and the institutaions active in them today. The final chapter examines how the two neighborhoods have been depicted in modern Hebrew art and literature, including poetry and prose, the visual arts, and official emblems. The book is richly and artistically illustrated and contains a compilation of almost two hundred incredibly varied images, either inspired by them or produced locally over the past one-and-a-half centuries: Historical photographs, early maps, engravings, drawings, and unique artistic depictions.
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  • 6
    Language: Hebrew
    Pages: 37 Seiten , Illustrationen
    Year of publication: 2015
    Series Statement: Israel Museum Catalogue = Katalog 632
    Series Statement: Israel Museum Catalogue
    Parallel Title: Erscheint auch als Druck-Ausgabe [Moritz Spitzer ; Franziska Baruch ; Henri Friedöaender ; edited by Ada Wardi ; [research and exhibition in collaboration with Goethe-Institut, The German Literature Archive, Marbach, Germany] New types - Three pioneers of Hebrew graphic design
    Keywords: Schriftkunst ; Typografie ; Ausstellung
    Abstract: Moshe Spitzer, Franzisca Baruch, and Henri Friedlaender studied and worked in pre-World War II Germany before immigrating to Israel, where they continued to be active for decades. Their works include the emblem of the City of Jerusalem, the Hadassah typeface, and books published by Tarshish. The exhibition explores the work processes of each one of these groundbreaking designers and presents a selection of their key works. Organized in collaboration with the German Literature Archive, Marbach, and with the support of the Goethe Institute. Research assistance granted by the Franz Rosenzweig Minerva Research Center for German-Jewish Literature and Cultural History at the Hebrew University
    Abstract: Typografische und buchgestalterische Arbeiten von Moshe Spitzer, Franzisca Baruch und Henri Friedlaender In einer Design- und Typografie-Ausstellung zeigt das Israel-Museum in Jerusalem Arbeiten von Franzisca Baruch, Henri Friedlaender und Moshe Spitzer, drei jüdischen Grafikdesignern und Typografen, die ihre Ausbildung in Deutschland erhielten und dort während der 1920er und 1930er erfolgreich arbeiteten. Nach ihrer Emigration aus dem nationalsozialistischen Deutschland setzten sie ihre Arbeit unter völlig anderen Bedingungen in einem neuen Umfeld fort und spielten eine entscheidende Rolle für die Schaffung und Ausdifferenzierung moderner hebräischer Schriften und Drucktypen sowie für die Gestaltung von Büchern und Emblemen im Palästina der Mandatszeit und später in Israel. Die Ausstellung befragt die kulturellen und ästhetischen europäischen Traditionen, die in den Arbeiten von Baruch, Friedlaender und Spitzer sichtbar werden, und zeigt die Entwicklung ihres Schaffens in Israel, wo sie die Formensprache des jungen Staates entscheidend prägten. In Zusammenarbeit mit dem Deutschen Literaturarchiv Marbach und dem Franz Rosenzweig Minerva Forschungszentrum der Hebräischen Universität Jerusalem. Gefördert vom Goethe-Institut.
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  • 7
    Language: Hebrew
    Pages: 287 Seiten , Illustrationen
    Year of publication: 2015
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  • 8
    Language: Hebrew
    Pages: 208 Seiten , Illustrationen
    Year of publication: 2016
    Series Statement: Kedem Bet Mekhirot Pumbiyot Yerushalayim 49,2
    Series Statement: Kedem Bet Mekhirot Pumbiyot Yerushalayim
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  • 9
    Book
    Book
    Stuttgart : Uni-Taschenbücher
    ISBN: 9783825246785 , 3825246787
    Language: Hebrew
    Pages: 200 Seiten , 21.5 cm x 15 cm
    Year of publication: 2016
    Series Statement: UTB 4678
    Series Statement: UTB
    Keywords: Tanach
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  • 10
    Journal/Serial
    Journal/Serial
    Berlin ; Paris : Maison de la culture yiddish - Bibliothèque Medem ; 1.2016 -
    Language: Hebrew
    Year of publication: 1
    Dates of Publication: 1.2016 -
    Abstract: Mikan Ve’eylakh, a journal published in Berlin, is an intellectual and literary platform for contemporary diasporic Hebrew. Diaspora, from the Greek dia– (“throughout”) and sperein (“to sow”), is the dispersion of people across geographic areas analogous to the fertile dispersion of seeds. Unlike galut (Hebrew for “exile”), diaspora is not necessarily the result of a traumatic uprooting or expulsion. Furthermore, diaspora does not have to imply a single point of origin or a geographic center. A diasporic condition is one in which people, while in different locales with their own cultural and political particularities, share a common sense of identities and a network of communication and empathy across vast distances. This sense of diaspora is at the heart of this project. It aims to reach out to the ‘four corners of the word’ in which Hebrew exists, while at the same time marking the special place of Berlin in the history of modern Hebrew cultural production. The Hebrew expression mikan ve’eylakh can be translated both as “from now on” and as “from here and beyond,” conveying both a temporal and spatial connection. Accordingly, the journal assumes a diasporic position based on doikeyt (Yiddish for ‘here-ness’) coupled with translocalism, rather than a cosmopolitanism or globalism. By anchoring the project to the specific location of Berlin, the journal seeks to renew Hebrew intellectual and literary activity not only in the place where it was brutally destroyed, but also where it flourished for hundreds of years. Berlin was the birthplace of the Jewish Enlightenment (haskolo) in the 18th century and of Judaic Studies (Wissenschaft des Judentums) in the 19th century, two of the most important streams in modern Jewish thought. This place also played a major role in the history of modern Hebrew press and literature, from the publication of the first Hebrew journal in the 1750’s (Mendelssohn’s Qohelet musar, “Preacher of Morals”), through a centuries-long tradition of Hebrew printing reaching its golden age in the 1920’s and to the foundation of Brit ivrit olamit (“World Hebrew Union”) in 1931 by Simon Rawidowicz. Now, seventy years after Hebrew intellectual activity in Berlin and most of Europe has been shattered by National Socialism, Mikan Ve’eylakh contributes to the renewal of this tradition. Producing the journal in actual print, rather than publishing it online, reflects the wish to revive Berlin’s tradition of Hebrew printing and to create once again Hebrew letters as a material, tangible object precisely in the place from which they have been forcefully erased.
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