scholarly journals Uri Zvi Grinberg: the politics of avant-garde. The Hebrew Zionist revolution - 1924–1929

1996 ◽  
Vol 17 (1-2) ◽  
pp. 24-60
Author(s):  
Judith Winther
Keyword(s):  
Political Ideology ◽  
Jewish History ◽  
Jewish People ◽  
Aesthetic Value ◽  
Avant Garde ◽  
New Man ◽  
Zionist Movement ◽  
History Of ◽  
The Individual ◽  
Radical Transformation

Uri Zvi Grinberg (1894–1981) lived at the crossroads of Jewish history, at a time when the Zionist movement was ambitiously caught in a process of bringing about a radical transformation aimed to alter the landscape and map of the history of the Jewish people and the individual, creating a new people and a new man. Of all Hebrew poets in the 20th century Uri Zvi Grinberg was the most politically committed. His political passion and struggle were at the very foundation of his poetry, profoundly imbued with the sense of his mission, rejecting violently an aesthetic value, a dwelling essence, detached from ideological interest and the messiness of history. He was drawn towards radical Zionist politics: active Hebrew messianism and messianic Hebraism. He understood Zionism as a secular messianic movement, trying to turn it into a political ideology, and trying to propose not only a program for a new understanding of Jewish history but also new guiding principles for Zionist activity.

Between Others and Brothers

2014 ◽  
Vol 46 (3) ◽  
pp. 585-588
Author(s):  
Michelle U. Campos
Keyword(s):  
Middle East ◽  
Eastern Europe ◽  
Education System ◽  
Jewish History ◽  
Arab World ◽  
Jewish People ◽  
The West ◽  
The Arts ◽  
History Of ◽  
Identity Based

Some fifteen years ago, the Israel Museum exhibition “To the East: Orientalism in the Arts in Israel” featured a photograph by the Israeli artist Meir Gal entitled “Nine Out of Four Hundred: The West and the Rest.” At the center of the photograph was Gal, holding the nine pages that dealt with the history of Jews in the Middle East in a textbook of Jewish history used in Israel's education system. As Gal viscerally argued, “these books helped establish a consciousness that the history of the Jewish people took place in Eastern Europe and that Mizrahim have no history worthy of remembering.” More damningly, he wrote that “the advent of Zionism and the establishment of the Israeli State drove a wedge between Mizrahim and their origins, and replaced their Jewish-Arab identity with a new Israeli identity based on European ideals as well as hatred of the Arab world.”

Polish History through the Eyes of Three Jewish Popular Historians

1998 ◽  
pp. 312-318
Author(s):  
Jerzy Tomaszewski
Keyword(s):  
Large Volume ◽  
Jewish History ◽  
Early Period ◽  
Jewish People ◽  
Tenth Century ◽  
The Other ◽  
Modern Times ◽  
Jewish Thought ◽  
Modern Jewish History ◽  
History Of

This chapter provides a comparison of Howard Sachar's book The Course of Modern Jewish History, which was first published in 1958, with two other general works on Jewish history. One is a large volume entitled A History of the Jewish People, edited by Haim Hillel Ben-Sasson, which was first published in Hebrew in 1969. The other is Robert M. Seltzer's Jewish People, Jewish Thought, which is more limited in size and scope and intended for a broad audience. The chapter considers only topics relating to Polish history, not those concerned with exclusively internal Jewish problems or the history of other nations. Nor will there be any general assessment of Sachar's book. Although Ben-Sasson's and Seltzer's works cover Jewish history from ancient to modern times, the story of the Jews in Poland is a relatively recent chapter in this history: it dates only from the creation of the Polish state in the tenth century. Both authors mention the early period of Polish history only briefly, beginning their real narratives of Polish Jewry with the detailed analysis of privileges granted to Jews by Polish kings in the thirteenth century.

Not Quite Exile, Not Quite Home

2021 ◽  
pp. 216-229
Author(s):  
Jane S. Gerber
Keyword(s):  
Social Integration ◽  
Jewish History ◽  
Jewish People ◽  
Biblical Exegesis ◽  
Hebrew Poetry ◽  
History Of ◽  
Cultural Traits ◽  
High Level

“Sepharad” was more than simply the Hebrew name for Iberia. Through much of Jewish history it denoted a set of Jewish cultural traits that included a high level of cultural and social integration, a sense of Jewish aristocracy and noble lineage, and unmatched creativity in Hebrew poetry, philosophy, science, mystical thought, rabbinic codification, and biblical exegesis. Spanish Jews lived under both Muslim and Christian rule, sometimes in harmony and mutual enrichment, but often under oppressive conditions of discrimination, forced conversion, and Inquisition. Their history of co-existence (convivencia) included uprootings as well as cultural flowering. The expulsion of 1492 did not spell the end of their deep bonds with Spain. Instead, Sephardim remained one of the main branches of the Jewish people.

Introduction

2001 ◽  
pp. 1-8
Author(s):  
Shmuel Feiner
Keyword(s):  
Jewish History ◽  
Jewish People ◽  
Historical Consciousness ◽  
The Past ◽  
Modern Age ◽  
Jewish Society ◽  
History Of ◽  
Practical Life ◽  
Eighteenth And Nineteenth Centuries ◽  
Modern Era

This chapter provides an overview of the Jewish Haskalah of the eighteenth and nineteenth centuries. The Jewish Haskalah is the first modern ideology in Jewish history, which appeared at the threshold of the modern era and was promulgated by the maskilim — the first Jews who were conscious of being modern, and who concluded that the modern age called for a comprehensive programme of change in both the cultural and the practical life of Jewish society. For years, historians of the Haskalah movement have almost completely ignored the attitude of the maskilim to history. However, the attraction felt by many maskilim to the biblical past of the Jewish people has not been overlooked by scholars. Nevertheless, new surveys of the history of Jewish historical writing and thought continue to minimize the contribution of the maskilim to this field, and repeat the claim that the Haskalah had but a vague sense of the importance of historical knowledge. This book explores a range of sources from the 100-year period of the Haskalah (1782–1881), which show not only that the maskilim displayed a great interest in history, but also that their attitude to the past was significant both for the Haskalah's ideology and for the development of Jewish historical consciousness.

Messianic Leadership in Jewish History: Movements and Personalities

2014 ◽  
pp. 291-318
Author(s):  
Marc Saperstein
Keyword(s):  
Jewish History ◽  
Jewish Life ◽  
Status Quo ◽  
Difficult Situation ◽  
Jewish Diaspora ◽  
The Status ◽  
History Of ◽  
Incipient Movement ◽  
The Individual

This chapter is a survey of the dynamics of messianic movements over a period of some two millennia. The most dramatic tests of leadership in the history of the Jewish diaspora have come when an individual presented himself as playing a central role in the process that would bring an end to the exile of the diaspora. The messianic figure — whether claiming to be the actual messiah from the line of David or a prophet or forerunner of the messiah — transcended the accepted categories by which authority has been asserted and expressed in post-biblical Jewish life. However, rooted in traditional texts and expectations, the ideology of the incipient movement may have been, for the individual at its core this claim was by its very nature a radical departure from the norms, a revolutionary challenge to the status quo. This placed the more traditional Jewish leadership, especially the rabbinic authorities, who were structurally bound to a conservative position in society, in a difficult situation.

Emptiness is Fullness

2019 ◽  
Vol 1 (1) ◽  
pp. 68-86 ◽  
Author(s):  
Chon A. Noriega
Keyword(s):  
The Unconscious ◽  
Avant Garde ◽  
Art Object ◽  
Abstract Expressionist ◽  
Object Based ◽  
History Of ◽  
And Performance ◽  
The Individual ◽  
Historical Moment ◽  
Made In

The artwork of Raphael Montañez Ortiz (b. 1934) represents the broad sweep of new art forms since the 1950s, their imbrication with concurrent intellectual and social movements, and the productive tension between object-based and performance-based art. Starting out as an Abstract Expressionist painter in the late 1950s, Ortiz proceeded to participate in the development of several new modes: recycled film and music, mixed-media sculpture, installation, performance art, guerrilla theater, piano destruction concerts, and computer art. Yet despite his presence and impact, he remains missing from art history. This essay argues that Ortiz’s earliest destructions—recycled films made in 1957 and 1958—challenge the accepted history of US avant-garde film. These films were concurrent with Bruce Conner’s A MOVIE (1958), yet signaled an entirely different direction than the diagnostic and rational modernism of Conner and other avant-garde filmmakers. Ortiz turned to destruction, non-Western ritual, and the unconscious while also engaging film as an object rather than a text, bringing the medium into dialogue with the shifting status of the art object and the colonial underpinnings of modern art. The essay explores Ortiz’s intellectual and artistic development, not toward a psychological profile but rather as one element of a broader historical moment. The text moves between the experiential and the contextual, the individual and the societal, the art object and everything else outside the white cube, exploring the relations between them. In this way, telling the story of Ortiz also tells a constellation of simultaneous histories that overlap around his life. RESUMEN El arte de Raphael Montañez Ortiz (nacido en 1934 en Estados Unidos) representa el amplio abanico de nuevas formas de arte a partir de la década de 1950, su imbricación con movimientos intelectuales y sociales concurrentes, y la tensión productiva entre el arte basado en objetos y el arte basado en performance. Al comenzar como pintor expresionista abstracto a fines de la década de 1950, Ortiz participó en el desarrollo de nuevas formas: cine y música reciclados, escultura de medios mixtos, instalación, performance artístico, teatro de guerrillas, conciertos de destrucción de pianos y arte computacional. A pesar de la presencia e impacto de Ortiz en las artes, sigue siendo un artista poco visible en la historia. Este ensayo sostiene que las primeras destrucciones de Ortiz, las películas recicladas hechas en 1957 y 1958, ponen en cuestión la historia aceptada del cine de vanguardia de los Estados Unidos. Estas películas coinciden con A MOVIE (1958) de Bruce Conner, pero señalan una dirección completamente diferente a la del diagnóstico y el modernismo racional de Conner y otros cineastas de vanguardia. Ortiz recurre a la destrucción, los rituales no occidentales y el inconsciente, al tiempo que estudia el cine como un objeto en lugar de un texto, poniéndolo así en diálogo con el estado cambiante del objeto artístico y los fundamentos coloniales del arte moderno. El ensayo explora el desarrollo intelectual y artístico de Ortiz, no con el fin de realizar un perfil psicológico, sino como elemento de un momento histórico más amplio. El ensayo se mueve entre lo experiencial y lo contextual, lo individual y lo social, el objeto artístico y todo lo demás fuera del cubo blanco, explorando las relaciones entre ellos. De esta manera, contar la historia de Ortiz también es contar una constelación de historias simultáneas que se superponen alrededor de su vida. RESUMO A obra de Raphael Montañez Ortiz (n. 1934, Estados Unidos) representa a ampla variedade de novas formas de arte desde os anos 1950, sua imbricação com movimentos intelectuais e sociais simultâneos e a tensão produtiva entre arte baseada em objeto e performance. Começando como um pintor expressionista abstrato no final dos anos 1950, Ortiz participou do desenvolvimento de novas formas: cinema e música reciclados, escultura de mídia mista, instalação, performance, teatro de guerrilha, concertos de destruição de piano e arte computacional. Apesar da presença e do impacto de Ortiz nas artes, ele continua sendo um artista ausente da história. Este ensaio argumenta que as primeiras destruições de Ortiz, filmes reciclados feitos em 1957 e 1958, desafiam a história aceita do filme de vanguarda dos EUA. Esses filmes são concomitantes com A MOVIE (1958) de Bruce Conner, mas sinalizam uma direção totalmente diferente do diagnóstico e do modernismo racional de Conner e de outros cineastas de vanguarda. Ortiz recorre à destruição, ao ritual não-ocidental e ao inconsciente, ao mesmo tempo em que engaja o filme como um objeto em vez de um texto, colocando o filme em diálogo com o status cambiante do objeto de arte e os alicerces coloniais da arte moderna. O ensaio explora o desenvolvimento intelectual e artístico de Ortiz, não em relação a um perfil psicológico, mas sim como um elemento de um momento histórico mais amplo. O ensaio se move entre experiencial e contextual, individual e social, o objeto de arte e tudo o mais fora do cubo branco, explorando as relações entre eles. Desta forma, contar a história de Ortiz é também contar uma constelação de histórias simultâneas que se sobrepõem em torno de sua vida.

scholarly journals Analysis of cover designs of art books published in Turkey

2021 ◽  
Vol 17 (4) ◽  
pp. 1323-1337
Author(s):  
Bahar Soğukkuyu
Keyword(s):  
Publishing House ◽  
Descriptive Analysis ◽  
English Summary ◽  
Aesthetic Value ◽  
Design Elements ◽  
Turkish Literature ◽  
History Of ◽  
Publishing Group ◽  
Publishing Houses ◽  
The Individual

The action of thinking, which is human-specific, forms the basis of art since yesterday. The individual and the communities not only relieve their vital activities, but also produce products that carry aesthetic value by utilizing the power of sensory and intellectual expression, and use them, keep them, transfer them to future generations, and they are the result of their spiritual meaning beyond their existing constitution. Analyzing the art works, movements, periods and artists in relation to different disciplines such as history, sociology, philosophy, mythology, explaining the concepts of art are some of the purposes of writing the art books. In this study, the current cover designs of books related to the history of art in Turkish literature, will be examined descriptively in accordance with the visual design elements. Research, 21 publishing houses in Turkey (Alfa Publishing, Ayrıntı Publishing, Boyut Publishing Group, Can Publications, Domingo Publishing House, Dost Bookstore, HayalPerest Books, İş Bankası Publications, Janus Publishing, Kabalcı Publisher, Koç University Publications, Literatür Publishing, PEGEM A Publishing, Remzi Bookstore, Say Publications, Sel Publishing, Tekhne Publications, Ütopya Publications, Yapı Kredi Publications, Yeditepe Publishing House, YEM Publication) are limited to published art books. In this study, while performing descriptive analysis of art books cover designs published in Turkey, the importance of the form in reflecting the content has been tried to be revealed. ​Extended English summary is in the end of Full Text PDF (TURKISH) file.   Özet İnsana özgü bir nitelik olan düşünme eylemi, dünden bugüne sanatın temelini oluşturur. Bireyin ve toplulukların sadece yaşamsal faaliyetlerini gidermekle yetinmeyip duyusal ve düşünsel ifade gücünden faydalanarak estetik değer taşıyan ürünler ortaya çıkarmaları ve bu eserleri kullanmaları, saklamaları, gelecekteki nesillere aktarmaları, üretilen esere var olan somutluğunun ötesinde manevi anlam yüklemelerinin sonucudur.  Sanat eserlerinin, akımlarının, dönemlerinin ve sanatçıların tarih, sosyoloji, felsefe, mitoloji gibi farklı disiplinlerle ilişkilendirilerek analiz edilmesi, sanat kavramlarının açıklanması sanat kitaplarının yazılmasındaki amaçlardan birkaçıdır. Bu çalışmada, güncel Türkiye literatüründe yer alan sanatın tarihine ilişkin kitapların kapak tasarımları, görsel tasarım unsurları doğrultusunda betimsel incelenecektir. Araştırma, Türkiye’deki 21 yayınevinde (Alfa Yayınları, Ayrıntı Yayınları, Boyut Yayın Grubu, Can Yayınları, Domingo Yayinevi, Dost Kitabevi, HayalPerest Kitap, İş Bankası Yayınları, Janus Yayıncılık, Kabalcı Yayınevi, Koç Üniversitesi Yayınları, Literatür Yayıncılık, PEGEM A Yayıncılık, Remzi Kitabevi, Say Yayınları, Sel Yayıncılık, Tekhne Yayınları, Ütopya Yayınevi, Yapı Kredi Yayınları, Yeditepe Yayınevi, YEM Yayın) basılan sanat kitapları ile sınırlıdır. Çalışmada, Türkiye'de yayınlanan sanat kitaplarının kapak tasarımlarının betimsel analizi gerçekleştirilirken, biçimin içeriği yansıtmadaki önemi ortaya konulmaya çalışılmıştır.

Book Reviews

2013 ◽  
Vol 51 (1) ◽  
pp. 215-218
Keyword(s):  
Jewish History ◽  
Demographic History ◽  
Jewish People ◽  
Economic Research ◽  
Massachusetts Institute Of Technology ◽  
Open Questions ◽  
The People ◽  
History Of ◽  
Institute Of Technology

Peter Temin of Massachusetts Institute of Technology reviews,“The Chosen Few: How Education Shaped Jewish History, 70-1492“ by Maristella Botticini and Zvi Eckstein. The Econlit abstract of this book begins: “Explores the economic and demographic history of the Jewish people between the years 70-1492. Discusses 70 CE-1492—how many Jews there were, and where and how they lived; whether the Jews were a persecuted minority; the people of the Book, 200 BCE-200 CE; the economics of Hebrew literacy in a world of farmers; Jews in the Talmud era, 200-650—the chosen few; the move from farmers to merchants, 750-1150; educated wandering Jews, 800-1250; segregation or choice—from merchants to moneylenders, 1000-1500; the Mongol shock—whether Judaism can survive when trade and urban economies collapse; and 1492 to today—open questions. Botticini is Professor of Economics and Director and Fellow of the Innocenzo Gasparini Institute for Economic Research at Bocconi University. Eckstein is Mario Henrique Simonson Chair in Labor Economics at Tel Aviv University and Professor and Dean of the School of Economics at IDC Herzliya. Bibliography; index”

1492 to Today

2012 ◽  
Author(s):  
Maristella Botticini ◽  
Zvi Eckstein
Keyword(s):  
Cultural Values ◽  
Human Behavior ◽  
Economic History ◽  
Jewish History ◽  
Jewish People ◽  
Social Scientists ◽  
History Of ◽  
Long Term Impact ◽  
High Skill

This concluding chapter highlights some puzzles that punctuate Jewish history, from the mass expulsion of the Jews from the Iberian Peninsula in 1492–97 to today. A growing number of scholars have been studying the long-term impact of institutions by illustrating that some contemporary economic patterns have been influenced by institutions that emerged centuries ago. This book contributes to this literature by showing that the transition of the Jews from farming into high-skill occupations has also been the outcome of the availability of contract-enforcement institutions shaped by the unique features of the Jewish religion. Meanwhile, social scientists have always been fascinated by the study of religion and by the influence religious values and norms may have on human behavior. Ultimately, the cultural values and social norms that Judaism fostered two millennia ago shaped the demographic and economic history of the Jewish people through today.

scholarly journals We in Russian Poetry: From Avant-Garde to the Newest Political Agenda

2019 ◽  
Vol 37 (2) ◽  
pp. 378-391
Author(s):  
K. M. Korchagin
Keyword(s):  
Organized Labor ◽  
Political Agenda ◽  
Shared Experience ◽  
Political Poetry ◽  
Avant Garde ◽  
The People ◽  
Russian Poetry ◽  
History Of ◽  
Collective Subjectivity ◽  
The Individual

The paper regards the specific use of pronoun WE in Russian poetry of the last century. This use is related to the deep immersion of a number of poets in the Marxian intellectual project. These poets may share its values (like Eduard Bagritskiy, Boris Slutskiy or, later, Kirill Medvedev) or distance themselves from it (like Viktor Krivulin or, in part, Oksana Vasyakina). In both cases, they exploit Marxian conceptual language and comprehend the poetic subjectivity through the prism of its agenda. For instance, Eduard Bagritskiy in his poetry created a specific WE uniting a tragic feeling of postrevolutionary epoch with enthusiastic impulse for searching the new world. This WE had to associate all the people of the new epoch who can share the importance and urgency of the current governmental construction. In his Problèmes de linguistique générale, Émile Benveniste distinguished two kinds of WE: “inclusive”, which attaches YOU to ME, and “exclusive”, which does THEY to ME. In early Soviet political poetry, there were two significant variants of the first Benvenistian WE, quite opposite to each other. The first one is a WE of (bolsheviks’) party referred to a close circle of individuals: in this case, YOU re-codes as multiplied ME which obtains a quite abstract nature released from the elements of the individual experience. This conception echoes Aleksandr Bogdanov’s study of the collective subjectivity developed in “empiriomonism” theory, which was a doctrine on the collective individual who constitutes himor herself through a kind of shared experience and the organized labor. The Proletkult’s poets led by Bogdanov himself developed the most straightforward interpretation of empiriomonism, although the later Soviet pre-WWII poetry was more delicate with this conception. Eduard Bagritskiy and some his contemporaries found a new basis for the collective experience: not in the organized labor but in the dramatic history of the recent past. Almost a century later, in the political poetry of 2010s, one finds similar trends. After “post-conceptualist” poetry of Kirill Medvedev, Anton Ochirov, and Roman Osminkin, a new generation enters the stage in the late 2010s. These new poets have partially returned to the Bogdanovian conception of the collective subjectivity. While creating a new collective subjectivity, they combine fragments from the WE of shared experience (although it is experience of loss instead of that of labor) and that of the party: they are ready to include every individual in the circle of the WE but tend to defend its borders from the external aggression (like in Oksana Vasyakina’s poems).

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