Bridges: A Jewish Feminist Journal最新文献

英文中文

The Uses of Language 语言的使用

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/BRIDGES.16.1.133

Rita Falbel, Leah Zazulyer

引用次数: 0

Reversing the Gaze 反向凝视

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/BRIDGES.16.1.151

Ellen Cassedy, S. Heschel

引用次数: 1

Conversations Begin with Questions 对话从问题开始

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/bridges.16.1.8

J. Arcana, Lois Leveen

引用次数: 0

Legends and Legacies from Denver to Berlin 从丹佛到柏林的传奇与遗产

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/BRIDGES.16.1.143

Karen Margolis, R. Ruderman

143 Sunday, December 26, 2010 Dear Renée, What a happy coincidence that Clare Kinberg put us in touch with each other. To introduce myself: I was born in Zimbabwe to a family of conservative Jewish Baltic origin; spent my childhood in South Africa and London and studied mathematics before becoming a journalist and writer. I am a British citizen. Having lived in Berlin for nearly 30 years, I have often written about “being Jewish in Germany” and have also participated in several interviews, films etc. I am also actively involved in the anti-racist movement here and the fight against anti-Semitism. You can find work of mine on the net at my website: http://karenmargolis.wordpress.com/ Looking forward to hearing from you, and best wishes for the festive season,

2010年12月26日星期日亲爱的rensame:克莱尔·金伯格让我们联系上了，真是一个令人高兴的巧合。先自我介绍一下:我出生在津巴布韦的一个保守的波罗的海犹太人家庭;在成为记者和作家之前，我在南非和伦敦度过了童年，学习数学。我是英国公民。在柏林生活了近30年，我经常写关于“在德国做犹太人”的文章，也参加了一些采访和电影等。我还积极参与这里的反种族主义运动和反对反犹太主义的斗争。你可以在我的网站上找到我的工作:http://karenmargolis.wordpress.com/期待着你的消息，并祝节日快乐。

引用次数: 0

Forward and Backward: Jewish Lesbian Writers 前进与后退:犹太女同性恋作家

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/BRIDGES.16.1.228

E. Dykewomon, Jyl Lynn Felman

© 2011 bridges association ELANA: I’ve been a lesbian writer and activist for the last forty-some years. I’ve published seven books (novels, poetry, short stories), edited the journal Sinister Wisdom, taught, and worked for all kinds of lesbian, feminist, antiwar and anti-racist organizations. I’ve always been engaged with what lesbians are writing. I read Jyl’s book of stories, Hot Chicken Wings, when it came out, and reread her memoir, Cravings, last month. I’m pleased to be in conversation here. I published a number of poems in Bridges during the early ’90s, many of them while I was working on Beyond the Pale (a Jewish lesbian novel, set in Russia & NY, between 1860– 1912). One of the reasons I wrote Beyond the Pale was because I looked around and saw that so many of my generation’s activists were Jewish dykes, and I felt like we couldn’t have sprung full-grown from our moment in time—we must have had some kind of origin. Doing research, I found that Jewish women (who were often clearly what we would now call lesbians) have been activists for as long as any women have been able to move into public spheres. They made the way for us even when we couldn’t see whose tracks we were following in.

ELANA:在过去的四十多年里，我一直是一名女同性恋作家和活动家。我已经出版了七本书(小说、诗歌、短篇故事)，编辑了《邪恶的智慧》杂志，在各种女同性恋、女权主义者、反战和反种族主义组织任教并工作过。我一直在关注女同性恋写的东西。我读了Jyl的小说集《辣鸡翅》，上个月又重读了她的回忆录《渴望》。我很高兴能在这里和大家交谈。90年代初，我在《廊桥》中发表了一些诗歌，其中很多是在我创作《超越苍白》(一部犹太女同性恋小说，背景设定在1860年至1912年之间的俄罗斯和纽约)的时候。我写《苍白之外》的一个原因是，我环顾四周，发现我们这一代的许多激进分子都是犹太拉拉，我觉得我们不可能从我们那个时代完全成长起来——我们一定有某种起源。在做研究时，我发现犹太妇女(她们通常明显就是我们现在所说的女同性恋者)在任何妇女能够进入公共领域的时间里都是积极分子。他们为我们开路，即使我们看不清自己跟着谁的足迹。

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引用次数: 0

Translations Tel Aviv to Toronto 翻译特拉维夫到多伦多

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/bridges.16.1.51

Dara Barnat, Gili Haimovich

引用次数: 0

Letters on Uncertainty, Bewilderment and Faith 关于不确定、困惑和信仰的信

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/bridges.16.1.26

Kazim Ali, Rachel Tzvia Back

Hi Rachel, It was so beautiful to hear you describe my poems lying in your mind down between the sea and mountain—and thanks for including “Renunciation” in your class. I hope you will let me know how the students read it or hear it. “Thicket” and “Hunger” were both hard poems for me to write. I love the idea that Isaac did not know why he was going up the mountain, because the crux of the Ismail myth is that he knows and chooses to follow his father—the first suicide martyr! He says, “Do what you are commanded, father; you will find me among the faithful.” Alicia Ostriker has this terrifying read of the Abraham/Isaac myth: that Abraham has actually disobeyed God or betrayed his prophethood by agreeing to the sacrifice since Letters on Uncertainty, bewiLderment and Faith

嗨，瑞秋，听你描述我的诗躺在你的脑海里，在海和山之间，真是太美了——谢谢你把《弃绝》放在你的课上。我希望你能让我知道学生们是如何读或听它的。《丛林》和《饥饿》对我来说都是很难写的诗。我喜欢这个想法，以撒不知道他为什么要上山，因为伊斯梅尔神话的关键是他知道并选择跟随他的父亲——第一个自杀烈士!他说:“父啊，照我所吩咐你的去做吧;你会发现我是忠实的。”艾丽西亚·奥斯特里克对亚伯拉罕/以撒的神话有一个可怕的解读:亚伯拉罕实际上违背了上帝，或者背叛了他的先知身份，同意牺牲，因为《关于不确定性，困惑和信仰的信》

引用次数: 0

Why Write Poetry? 为什么要写诗?

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/bridges.16.1.16

Willa Schneberg, Frances Payne Adler

© 2011 bridges association Willa: I started writing poetry as a teenager as a way to express what I felt most deeply. I could be brutally honest about my thoughts and feelings. It wasn’t for others. Only later did I understand that poetry could be a vehicle for communication and social change. As a citizen of the world, I do believe I must bear witness to the immoral, to the unspeakable horror that humankind is capable of inflicting on the earth and itself. Poetry’s precise, musical, metaphor-infused language can get to that place beyond the illusion of the objective, to “true” words. My early poems were a way to soothe my unhappiness. Now I know that anything deeply felt or observed can become the genesis of a poem. When I feel fully engaged in my life, poems are more likely to come than when I am in despair. Adrienne Rich has talked about writing out of a “radical happiness.” She has said, “Real social transformation, real change has to come out of a love of life and a love of the world...” Of course, I don’t believe poetry alone can be a change agent, but it can incite the necessary conversation.

Willa:我从十几岁开始写诗，作为一种表达我最深切感受的方式。我可以毫不掩饰自己的想法和感受。不是为了别人。后来我才明白，诗歌可以成为交流和社会变革的工具。作为世界公民，我相信我必须见证人类对地球和自身施加的不道德和难以形容的恐怖。诗歌精确、悦耳、充满隐喻的语言可以超越客观的幻觉，达到“真实”的语言。我早期的诗是一种安抚我不快乐的方式。现在我知道，任何深刻的感受或观察都可以成为一首诗的起源。当我全身心投入生活时，诗歌比绝望时更容易涌现。艾德里安·里奇(Adrienne Rich)谈到了出于“彻底的快乐”而写作。她说过:“真正的社会转型，真正的变革必须来自于对生活的热爱和对世界的热爱……”当然，我不相信诗歌本身可以成为变革的推动者，但它可以激发必要的对话。

引用次数: 0

Poetry: Music, Patience and Form 诗歌:音乐、耐心和形式

Bridges: A Jewish Feminist Journal

Pub Date : 2011-04-01 DOI: 10.2979/BRIDGES.16.1.77

Sarah Antine, Terry Hauptman

Sarah: I started teaching creative writing based on Tanach [Hebrew scriptures: Torah, Prophets, Writings] to high school kids in an after school program, but it took years before I incorporated the process I taught them into my writing. At first, I thought poetry was coming from a different spiritual energy and Judaism would dry it up, especially the brand of Judaism I began to find myself more and more involved in. And yes, being in an Orthodox Jewish environment, before I was grounded in who I was, did stop the poetry. I tried to write but garble came out, words that couldn’t describe what I was feeling or communicate it to anyone. However, I still had the yearning to persevere in the writing. I entered an MFA program and eventually was able to write poems that connected my Judaism profoundly to my feelings. Bridges published a few of these poems, inclusing “The Ritual Bath.” As I wrote that poem, I discovered spiritual meaning out of difficult emotions I felt during the process of immersing in the mikvah.

萨拉:我开始在课外活动中教高中生基于塔纳赫(希伯来圣经:摩西五经、先知书和著作)的创意写作，不过我花了好几年的时间才把我教他们的过程融入到我的写作中。起初，我认为诗歌来自一种不同的精神能量，犹太教会使它干涸，尤其是我开始发现自己越来越多地参与犹太教的品牌。是的，在正统的犹太环境中，在我还没有认清自己之前，我确实停止了诗歌创作。我试着去写，但却写不出来，这些文字无法描述我的感受，也无法与任何人交流。但是，我仍然有坚持写作的渴望。我进入了MFA课程，并最终能够写诗，将我的犹太教与我的感情深刻地联系起来。布里奇斯发表了其中几首诗，包括《仪式浴》。当我写这首诗的时候，我从沉浸在成年礼的过程中所感受到的困难情绪中发现了精神意义。

引用次数: 0

Houseplants 室内植物

Bridges: A Jewish Feminist Journal

Pub Date : 2011-01-06 DOI: 10.2979/bri.2010.15.2.94

Marcia Slatkin

© 2010 bridges association My mother, concave with age, grabs my wrist as I enter the foyer. “Good!” she whispers, lips pursed so as to enunciate clearly. “And you’re not even late. You used to drive your father crazy with lateness, remember? I thought he’d get sick with worry. But now, thank God, you’re here. Are you hungry?” I pat my stomach, pushing it out to prove I’m full. My mother, small eyes deeply set and very bright, nods. “I asked you to care for these plants,” she says, “because, of all of my children, you’re the one who loves to grow things. And these are old, you’ll see, from way before your father’s last heart attack, may he rest in peace.” “But Sam says he’ll water them,” I remind her. “You don’t have to give them up.” Slapping the air with the palm of her hand, my mother shakes her head. “Sam’s busy. What, he’s gonna travel an hour on the train and an hour back to water plants? I’m going to Florida, I don’t want to worry about them—or him. Help me.” “Sure.” I take off my coat. When my mother hugs me, I feel the Vaseline on her face. “I’m dry, and it takes away the lines,” she explains when I touch the oil now on my cheek. “Besides, it’s very cheap.” Indeed, my mother’s head looks like a large slippery flower on a gnarled stalk. “I don’t know if they’re doing very well,” she admits as we walk to the guest room. At first glance the plants look OK: decent color, upright stance. But then I see how lanky they are, and how anorexic their stems. One rubber plant is staked, as it hasn’t the strength to stand on its own. A six-foot aluminum plant supported by sticks is producing a leaf every two or three inches. And the philodendron, perhaps seven-trellised-feet tall, is at its base as thin as a string. Houseplants

©2010桥梁协会当我进入门厅时，我年迈的母亲抓住了我的手腕。“好!她低声说，噘起嘴唇以便清晰地表达。“你甚至都没有迟到。你以前总是迟到，快把你爸爸逼疯了，记得吗?我以为他会因为担心而生病。但现在，感谢上帝，你来了。你饿吗?”我拍了拍肚子，把它推出来证明我吃饱了。妈妈的小眼睛深陷，非常明亮，她点了点头。“我让你照顾这些植物，”她说，“因为在我所有的孩子中，你是最喜欢种菜的。这些都是旧的，你会看到，在你父亲最后一次心脏病发作之前，愿他安息。“但是萨姆说他会给它们浇水的，”我提醒她。“你不必放弃它们。”妈妈用手掌拍了拍空气，摇了摇头。“山姆的忙。怎么，他要坐一个小时的火车再花一个小时回来给植物浇水吗?我要去佛罗里达，我不想担心他们，也不想担心他。帮助我。”“当然。”我脱下外套。当妈妈拥抱我的时候，我能感觉到她脸上的凡士林。当我摸到脸颊上的油时，她解释说:“我很干，它可以去除皱纹。”“而且，它很便宜。”的确，我母亲的头看起来就像一朵长在多节茎上的光滑的大花。“我不知道他们做得好不好，”我们走向客房时，她承认。乍一看，这些植物看起来不错:颜色不错，直立。但后来我看到它们有多瘦，它们的茎有多瘦。一株橡胶树被绑在木桩上，因为它本身没有力量站立。一株由树枝支撑的6英尺高的铝制植物每2到3英寸长一片叶子。而那株大概有七格尺高的菩提树，其根部细得像根绳子。室内植物

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引用次数: 2

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