scholarly journals The Woman’s Voice in Zionism: Disentangling Paula Winkler from Martin Buber

Religions ◽  
2018 ◽  
Vol 9 (12) ◽  
pp. 401
Author(s):  
Rose Stair
Keyword(s):  
Jewish Life ◽  
Jewish Woman ◽  
Martin Buber ◽  
Domestic Space ◽  
Private Sphere ◽  
Positive Role ◽  
Intellectual Community ◽  
Cultural Renewal ◽  
A Site ◽  
Careful Navigation

This article calls for a reassessment of the thought of Paula Winkler (1877–1958), paying renewed attention to her contributions to the cultural Zionist movement in her work on the domestic space as a site of Jewish cultural renewal. Criticizing the trend in modern Jewish scholarship of focusing on Winkler’s biography and her relationship with her husband Martin Buber at the expense of appreciating her innovations as a Zionist thinker, it proposes and demonstrates a close reading of her work as a corrective. Focusing on Winkler’s 1901 essays on Zionism and the Jewish woman, this article illustrates the important challenges Winkler leveled to Buber and the young Zionist intellectual community by awarding the Jewish woman and the private sphere an active and positive role in the Zionist transformation of Jewish life. It concludes that questions of Winkler’s identity are best approached through her own careful navigation of her liminal status in the Jewish and Zionist communities, and the way that she engages the perspective awarded to her as a woman and a non-Jew to formulate her arguments.

The Architecture of Shakespearean Comedy

2018 ◽  
pp. 341-357
Author(s):  
Anne M. Myers
Keyword(s):  
Social World ◽  
Domestic Space ◽  
Domestic Architecture ◽  
Marriage Plot ◽  
Life And Death ◽  
Much Ado About Nothing ◽  
Female Bodies ◽  
And Performance ◽  
A Site

This essay argues that Shakespearean comedies evoke and confound associations between female interiority and domestic space. Drawing on The Merry Wives of Windsor, Much Ado about Nothing, The Comedy of Errors, and The Taming of the Shrew, I show how characters expect access to domestic space to reveal incontrovertible truths about female bodies and minds. These assumptions, however, are foiled, as architecture is more often associated with confusion and obfuscation than with the acquisition of knowledge. Moreover, Shakespeare presents the domestic scene as a scene, a site for the mastery and performance of roles, rather than the expression of genuine human desires. In this way, the presentation of domestic architecture undercuts the conventions of the comic marriage plot. At the same time, though, these plays reveal that within the strictures of a particular social world, the successful domestic performance is a matter of life and death.

scholarly journals Wellington 2013 – «There’s no place like home»: The Anxiety of Mobility in the Works of Louise DeSalvo

altrelettere ◽  
2015 ◽  
Author(s):  
Bernadette Luciano
Keyword(s):  
Domestic Space ◽  
Italian American ◽  
Search For Self ◽  
Textual Space ◽  
Autobiographical Texts ◽  
A Site ◽  
The Relationship ◽  
Meaning Of Home ◽  
Geographical Space ◽  
Point Of Departure

The often conflicting emotions associated with home and the tension between mobility and fixity are at the heart of autobiographical works that map Italian American writer Louise DeSalvo’s transition from working class girl to privileged «intellectual nomad» (Bruno 2002, 404). The essay is framed around the theorizing of home as a geographical space and idea and its relationship to widespread and diverse forms of mobility. Migration, exile, transnationalism, tourism, and relocation create a mobile space for home not only as a site of origin, but as a destination and transit zone. Rosi Braidotti’s multiple figurations of mobility, both physical and metaphorical, are particularly useful in an analysis of DeSalvo’s autobiographical texts. This essay concentrates on two of her memoires: "Crazy in the Kitchen" (2004) and "On Moving" (2009). In these works DeSalvo interrogates the layers of meaning of home as well as the interaction between home and geographic and intellectual mobility. In "Crazy in the Kitchen", a work that highlights the interconnectedness between food-writing and life-writing in Italian American culture, the narrator’s search for self relies on the constant reinvention of geographical space, of domestic space, and of textual space. "On Moving" explores the condition of relocation or change of dwellings. Taking as a point of departure her own anxiety about changing homes, DeSalvo resorts to an examination of the relationship between mobility and home through the experiences of other writers and thinkers.

scholarly journals Encountering the 'ghetto'

2021 ◽  
Vol 32 (2) ◽  
pp. 3-19
Author(s):  
Christhard Hoffmann
Keyword(s):  
Jewish Life ◽  
Eastern European ◽  
Public Attention ◽  
East European ◽  
Eastern Front ◽  
The First World War ◽  
History Of ◽  
A Site ◽  
Direct Encounter ◽  
First World

In the history of Western perceptions of Jews and the ‘Jewish problem’, the First World War marks a period of change which was, among other things, influenced by the course of the war on the Eastern Front. The German occupation of large parts of Russian Poland in 1915 brought the difficult conditions of Eastern European Jewry closer to public attention in the West, not only in Central Europe, but also in neutral states. For the Scandinavian writers who travelled to occupied Poland in 1916 and 1917, the direct encounter with East European Jewry was a new and often disturbing experience. Their travelogues represent an illuminating and, so far, unused source for Scandinavian perceptions of Jews in Eastern Europe, focusing on the ‘ghetto’ as the physical embodiment of Eastern Jewish life. Analysing these accounts, the present article discusses the different depictions of Warsaw’s Jews thematically and identifies three interwoven perspectives of the ‘ghetto’: as a site of extreme poverty; as a foreign (‘oriental’) element in Europe; and as an archetype of Jewish life in general.

scholarly journals Doing It Together, The Gay Way: Queer Coupling in Marilyn Hacker’s Love, Death, and the Changing of the Seasons and Carl Phillips’s Cortège

2016 ◽  
pp. 106-121
Author(s):  
Jason Bryant
Keyword(s):  
Domestic Space ◽  
Sexual Relations ◽  
Same Sex ◽  
Same Sex Couples ◽  
The Subject ◽  
A Site

This article explores the poetry of Marilyn Hacker and Carl Phillips by drawing attention to the poems' representations of same-sex couples living in domestic space via two basic strategies. First, the article examines how Hacker's Love, Death, and the Changing of the Seasons dramatizes the performative work of "doing coupledom” as opposed to depicting same-sex lovers intent upon inclusion within the normative frame of marriage. The second approach the article takes is to examine the ways that Phillips's Cortège describes intimate, often unflattering, love narratives that reveal a queer sensitivity to the subject of joy/pain/desire, reflective of the degree to which queers are forced to meditate on such topics as why, how, and whom one can desire. Phillips seeks to describe a queer sensitivity, an alertness and aliveness to social and sexual relations implicit in many queer discourses on the subject of love. In their respective poetics, Love, Death and Cortège contemplate ordinary domestic space as a site of performative processing of partnered relationships, and they recommend queer living and loving practices sensitive to the complexities of joy/pain/desire.

Liberating Methodologies and Nakba Studies: Palestinian History and Memory from below as Sites of Lifelong Learning

2014 ◽  
Vol 13 (1) ◽  
pp. 25-69 ◽  
Author(s):  
Nur Masalha
Keyword(s):  
Lifelong Learning ◽  
Collective Identity ◽  
Social Memory ◽  
Trauma Studies ◽  
Positive Role ◽  
History And Memory ◽  
Marginalised Groups ◽  
Economic Elites ◽  
A Site

Historians too often construct frameworks and methodologies which obfuscate social, economic and political oppression. This article explores new historical methodologies that can represent oppressed and marginalised groups in Palestine. In particular the article focuses on the role of indigenous history and memory in critical learning and shaping individual and collective identity in Palestine. It further argues that Palestinian memories ‘from below’ since the Nakba have played a major positive role in the recovery from the traumatic catastrophe and the reconstruction of Palestinian identity. The article critiques the manipulation of collective memory by social, political and economic elites and top-down nationalist approaches. It argues that reconfigured popular memories can be liberating and empowering for embattled Palestinians. The article also calls for the establishment of an interdisciplinary subfield of Nakba Studies that would bring together historians, social memory and cultural theorists, postcolonial scholars and scholars of trauma studies with the aim of documenting and studying the embattled social memory of Palestine as a site of lifelong learning and empowerment.

A Work for the Jewish Soul of Warsaw, Old and New

2017 ◽  
Vol 27 ◽  
pp. 57-58
Author(s):  
Lukas Ligeti
Keyword(s):  
Jewish Community ◽  
Computer Technology ◽  
Jewish Life ◽  
Site Specific ◽  
Interactive Performance ◽  
History Of ◽  
Polish Jews ◽  
A Site ◽  
The City

In 2015, Lukas Ligeti created a site-specific, audience-interactive performance work while in residence at the Museum of the History of Polish Jews in Warsaw. Based on interviews with residents of Warsaw, the piece examined aural memories of Jewish life in the city, tracing the extermination and re-emergence of the Jewish community through speech and songs as well as creative musicians’ reimaginings of these memories, with computer technology as a mediator.

Mary as Mediator

2020 ◽  
pp. 75-94
Author(s):  
Amy Peeler
Keyword(s):  
New Testament ◽  
Social Issues ◽  
Social Role ◽  
Jewish Woman ◽  
The Social ◽  
A Site ◽  
Common Action

Theological identity, for many, provides a powerful social role. These distinct theological locations proscribe very different places from which to think about the particular woman named Mary, the mother of Jesus. Her story has been a site of great conflict, but this chapter argues it can also provide a mediated space where various theological identities can meet, converse, and act on the social issues informed by her particularities as a poor, pregnant, Jewish woman. This chapter takes up two of the most contested theological questions about her story, her sinlessness and her ministry. New Testament exegesis supports the conclusion that the text allows for different doctrinal decisions on these issues, but prohibits any stance that would so distance her from others so that her calls for justice are ignored in favour of continued oppression against the marginalized. Instead, her story invites honest conversation and common action.

‘Guess Who’s Coming to Dinner?’

Moreana ◽  
2008 ◽  
Vol 45 (Number 175) (3) ◽  
pp. 87-105
Author(s):  
Elizabeth Human
Keyword(s):  
Family Life ◽  
Domestic Space ◽  
First Person ◽  
Self Presentation ◽  
Theological Debate ◽  
A Site

This paper argues that More, in his Dialogue Concerning Heresies, establishes his domestic space as a site of political and religious discussion, and in doing so inescapably complicates its claim to privacy. More’s choice of dialogue form certainly facilitates readerly access, but in so doing it also subjects the author to the risks involved in textual self-presentation. By cloaking theological debate in first-person narrative, More juxtaposes the investigation of heresy with his own family life. The Dialogue is punctuated by and indeed structured around communal meals; all but the second book end with a call for supper, and by the last few lines of the text, the religious and the domestic are thoroughly intermingled.

Humility, Autonomy, and Birth as a Site of Politics

2015 ◽  
Vol 11 (03) ◽  
pp. 522-549
Author(s):  
Sara Rushing
Keyword(s):  
Political Theory ◽  
Political Thought ◽  
The Body ◽  
Private Sphere ◽  
Cultural Institution ◽  
A Site

Western political thought, from the classical Greek era to our own time, is notorious for its relegation of bodily and family matters to the private sphere. Contemporary feminist and critical political theorists have taken measures to counter this impulse. Yet even as these discourses acknowledge the centrality of the body, vulnerability, and relationality for social and political theory, they continue to functionally disavow giving birth as an important cultural institution in which to engage political and ethical questions.

The Culture of the Provincetown Players

1978 ◽  
Vol 12 (3) ◽  
pp. 291-310
Author(s):  
Arnold Goldman
Keyword(s):  
Industrial Society ◽  
Intellectual Community ◽  
The Public ◽  
Cultural Renewal ◽  
Artistic Activity ◽  
The Social ◽  
The First World War ◽  
Literary Intellectuals ◽  
Usable Past ◽  
Provincetown Players

In the first decades of this century, American movements for social reform included a programme, somewhat belated perhaps, for cultural renewal. Disaffected from their society, lamenting a split between the nation's commercial-industrial genius, so visibly institutionalized, and its creative cultural talent, so individual and so isolated, analysts like Van Wyck Brooks undertook to search for what he entitled “ a usable past.” The phrase implied, however, that much or even most of that past, as commonly understood, was unusable: a witness to the split, or, in relation to the literary culture itself, a congeries of intellectual and artistic activity passive in the presence of social change, oblivious to its realities, merely acquiescent in relation to the institutions of a developing modern industrial society. Culture in America, Brooks and his allies felt, had no institutions. Without them the seeds of genius would not germinate, for there was no nurturing process, no method of transmission.When “ progressive ” literary intellectuals sifted the past for its neglected, potentially alternative, tradition, they rightly did not think to look back to any earlier American dramatist for inspiration, much less to a “ usable ” dramatic tradition. Yet when the whole Progressive attempt to reformulate the social and cultural basis of American life faltered and foundered in the years of the First World War, a modest theatrical venture undertaken just as the wider movements suffered their first setbacks preserved something of Progressive social vision — focussed it, prompted it, and passed it on as a legacy to later artists and to the intellectual community, and to the public.

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