Pub Date : 2020-03-25DOI: 10.1093/obo/9780199840731-0196
Michal Ben-Horin
Literature and music have a long entwined history. Since antiquity, music and poetry (a crystalized form of “literature” or the “poetic”) have been regarded as “twin sisters,” constituting a productive source of creation and inspiration. In the Romantic era (especially German Romanticism) this affinity reached one of its peaks, as demonstrated in the emergence of symbiotic musical-poetic forms and modes of aesthetic expression. From the perspective of cultural history, however, the scope of this relationship is even wider and can be traced back to the overlap between language and music. The compatibility of music and poetry has produced a range of scholarship elaborated in various traditions of knowledge and research disciplines, including semiotics, poetics, aesthetics, musicology, cultural studies, and critical theory. It is well known that sound is a central component of both musical and verbal sign systems. What happens to this sound, however, when we read a story? Moreover, whereas the connection between sounds and poems seems obvious, as shown in the field of research called prosody, which explores various phenomena such as rhythm and alliteration, metric and intonation, the connection between sounds and prose fiction is less obvious. This article focuses on a body of works—theoretical, methodological, and textual—dedicated to the exploration of literature and music relationships in general, in order to understand the relationship between Hebrew literature (including poetry, but mainly prose fiction) and music in particular. Compared to other national literatures such as French, English, and above all German, the scholarly study of Hebrew literature and music is relatively young. Central domains of this study are the employment of sound and acoustic components (i.e., prosody), the incorporation of musical intertexts (i.e., texts that are connected to the realm of music, such as musical terminology, descriptions of music playing, allusions to musical repertoire and themes), and the shaping of analogies between musical forms and narrative structures (i.e., the sonata form or the counterpoint). Hebrew literature also has a history, of course, from the Bible and other ancient texts, to medieval Hebrew poetry, and up to modern Hebrew and contemporary Israeli literature. Viewing these poetic traditions through the specific lens of language/literature and music relationships, an emerging field of study dealing with representations of music in modern Hebrew and Israeli prose fiction will be discussed, alongside scholarship on the relationship between Hebrew poetry and music.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780199840731-0193
Don Seeman
Rabbi Abraham Isaac Ha-Cohen Kook (b. 1865–d. 1935) is considered one of the most important modern Jewish thinkers and shaper of some of the most significant trends in Religious Zionism. He was the first Ashkenazi chief rabbi of Mandatory Palestine and the founder of the institutional state rabbinate, as well as an influential yeshiva known as Mercaz Ha-Rav. Rabbi Kook was known for the breadth and depth of his scholarship across all the branches of traditional Jewish scholarship, including law, philosophy, and Kabbalah as well as his appreciation for contemporary science and non-Jewish philosophy. Witnessing the disaffection or rebellion of Jewish youth from tradition, particularly among the Zionist pioneers in the Land of Israel, he devoted himself with special fervor to the attempted reconciliation of modernity with Orthodox Judaism. To this end, he developed a series of dialectical responses that often seemed to accord spiritual dignity to the characteristic features of modern consciousness—such as burgeoning nationalism and evolutionary historicism—while simultaneously subordinating them to his understanding of Jewish theological imperatives. Though he aroused suspicion and controversy among both secularists and traditionalists, Rabbi Kook was often able to gain their respect and serve as a rare bridge between their communities. Ultimately, his thought contributed to the rise of a distinctively Zionist Religious community dedicated to traditional learning and observance as well as commitment to the Zionist state building project. Though Rabbi Kook himself died in 1935, before either the Holocaust or the establishment of the State of Israel, his thinking remains a vibrant source of inspiration and controversy to this day, and is the subject of voluminous secondary literature. Rabbi Kook’s primary writings included many letters and essays published during his lifetime, but some of his most famous and influential works are the result of significant editing by various disciples, some of which took place posthumously. For a variety of reasons, R. Kook’s original notebooks were not available to scholars until the last few decades, and are now gradually leading to revisions in our understanding of his creative legacy. Despite the intellectual and political vicissitudes of classical “religious Zionism” associated with his name, popular and scholarly interest in R. Kook has only burgeoned in recent years through a spate of academic research, publication of new, more accessible Hebrew versions, and translations primarily into English. His views on prophecy, Jewish law, state building, ethics, and metaphysics remain both provocative and generative today.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780199840731-0194
Rachel Rojanski
Forverts (the Jewish Daily Forward or The Forward) was a Yiddish-language newspaper based in New York City that appeared as a daily for eighty-six years. It was the largest and most influential Jewish newspaper in the world, the most widely read socialist daily in the United States, and the foreign language newspaper with the largest distribution in the United States. Launched on 22 April 1897, Forverts was founded by a group of Yiddish-speaking members of the Socialist Labor Party (SLP). Abraham Cahan (b. 1860–d. 1951) was appointed its first editor. He left after a few months but returned in 1902 to lead the paper for some forty-eight years, until his death. Although Forverts was a Socialist paper, its readership encompassed the broad masses of eastern European Jewish immigrants in early-20th-century America, regardless of their political orientation. As many scholars have argued, Forverts played an important role in the Americanization of its readers, providing them with useful information about their new country and helping them integrate into American life. But it was an immigrant paper in a much deeper sense, too. By adapting ideological ideas and cultural trends from eastern Europe to the American reality, Forverts became instrumental in developing a new kind of secular Jewish identity. Its editorial policy was to preserve a socialist and nonreligious tone, to use simple Yiddish, to publish a range of articles—some more serious, others light—and to serve as a platform for both high-quality and popular literature (shund). As a result, Forverts contributed a great deal to the development of Yiddish literature, and many great Yiddish writers, including Isaac Bashevis Singer, published in its pages. The paper’s advice column—“a bintl brief” (a bundle of letters)—was especially popular. It regularly printed readers’ questions about important aspects of everyday life together with the editor’s responses reflecting his views on Jewish society and family life in America. No less important was the women’s page, which encouraged women to participate in the job market alongside their family roles. On the political front, Forverts supported the labor movement, participated in Jewish political debates during World War I, and fought immigration restrictions. In its early days, the paper featured anti-Zionist views, though this changed after the Balfour Declaration (1917) and Cahan’s trip to Palestine (1925). Demographic changes following immigration restrictions in the 1920s caused a gradual decline in its distribution. The paper continued as a daily until 1983, when it became a weekly. In 1990 an English-language weekly joined the Yiddish newspaper. Since early 2019, both the Yiddish and the English editions are entirely digital.
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Pub Date : 2020-02-26DOI: 10.1093/obo/9780199840731-0195
Judah M. Cohen
Song leader, composer, and liturgist Debbie Friedman (also Deborah Lynn Friedman, b. 1951–d. 2011) played a significant role in liberal American Jewish music circles over a career that began in the late 1960s, and ended with her premature death from pneumonia on 9 January 2011. Born in Utica, New York, Friedman grew up in St. Paul, Minnesota, where she premiered her service Sing Unto God in 1972 with the choir from her alma mater, Highland Park High School. In the era just before American Jewish seminaries accepted women into cantorial training programs, Friedman parlayed her work with youth groups and summer camps into broader professional opportunities. A season at the Olin-Sang-Ruby Union Institute, a Reform Jewish summer camp in Wisconsin, led to an artist-in-residence position at Chicago Sinai congregation (1972–1977). From there she moved on to positions as a youth group leader at Houston’s Congregation Beth Israel (1978–1984); cantor/soloist at The New Reform Congregation in southern California’s San Fernando Valley (1984–1987); and co-leader of monthly healing services on New York City’s Upper West Side in the 1990s and 2000s. In addition to an active concertizing career, Friedman recorded twenty-two albums, many of which comprised complete, multipart, religious rituals created in collaboration with progressive religious organizations. Although Friedman’s music has become ubiquitous in liberal Jewish settings around the world, scholarship has proceeded slowly due to ambivalence about Friedman’s lack of formal Jewish music training, perceptions of her “outsider” status related to Jewish institutional life, and concerns that the more popular style of her music symbolized spiritual shallowness—matters made more complicated by Friedman’s own repeated claims that she could not read sheet music. Even when New York’s Hebrew Union College School of Sacred Music hired Friedman to instruct its cantorial students in 2007, and when the school itself officially took Friedman’s name just after her death, due to a sizeable anonymous donation in her memory, concerns about her role as a representative of Jewish musical tradition persisted. Thus, most research on Friedman tends to focus on historical and social issues, while struggling to address her music on its own terms. The entries in this article consequently include a significant number of primary and journalistic sources useful for future scholarship.
歌曲领袖、作曲家和礼仪家黛比·弗里德曼(又名黛博拉·林恩·弗里德曼)，生于1951-d。她的职业生涯始于20世纪60年代末，在美国自由派犹太音乐界发挥了重要作用，并于2011年1月9日因肺炎过早去世。弗里德曼出生于纽约尤蒂卡，在明尼苏达州圣保罗长大。1972年，她在母校高地公园高中的唱诗班首次演唱了《向上帝歌唱》。在美国犹太神学院接受女性参加唱诗班培训项目之前，弗里德曼利用她在青年团体和夏令营的工作，获得了更广泛的职业机会。在威斯康星州的一个犹太改革夏令营——奥林-桑-鲁比联合学院(Olin-Sang-Ruby Union Institute)的一个季节里，他在芝加哥西奈教会(Chicago Sinai congregation)担任驻院艺术家(1972-1977)。1978-1984年，她在休斯敦贝斯以色列教会担任青年团体领袖;1984-1987年在南加州圣费尔南多谷的新改革教会担任唱诗班/独奏家;在20世纪90年代和21世纪初，她是纽约市上西区每月康复服务的联合负责人。除了积极的音乐会生涯外，弗里德曼还录制了22张专辑，其中许多包括与进步的宗教组织合作创作的完整的，多部分的宗教仪式。尽管弗里德曼的音乐在世界各地的自由犹太人环境中无处不在，但由于弗里德曼缺乏正式的犹太音乐训练，她的“局外人”身份与犹太制度生活有关，以及担心她的音乐更流行的风格象征着精神上的肤浅，弗里德曼自己反复声称她看不懂乐谱，事情变得更加复杂，学术研究进展缓慢。2007年，纽约希伯来联合学院神圣音乐学院聘请弗里德曼指导其唱诗班学生，在弗里德曼去世后不久，由于一笔数额可观的匿名捐款，学校正式以弗里德曼的名字命名，但人们对她作为犹太音乐传统代表角色的担忧依然存在。因此，大多数关于弗里德曼的研究都倾向于关注历史和社会问题，而努力以自己的方式来解决她的音乐。因此，本文中的条目包括对未来奖学金有用的大量主要和新闻来源。
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Pub Date : 2020-01-15DOI: 10.1093/obo/9780199840731-0192
Isaac L. Bleaman
Linguistic studies of Yiddish span several centuries and incorporate a wide range of research questions and methodologies, from philological analyses of Old Yiddish texts to generative approaches to particular grammatical constructions. The historical development of the language has undoubtedly been, and continues to be, the most hotly debated research topic in Yiddish linguistics. However, other productive areas of inquiry have included structural analysis (e.g., syntax, semantics, and phonology), dialectology and other fields of sociolinguistics (e.g., language contact and interspeaker variation), and, increasingly, computational approaches (e.g., the construction and use of linguistic corpora). Historically, Yiddish linguists have often played a major role in language planning efforts, including the production of style manuals, dictionaries, and textbooks—so much so that “Yiddish linguist” has often been understood as synonymous with “Yiddish standardizer.” However, the primary focus of this bibliography is descriptive linguistic research. (Information on standard Yiddish reference works, which can be unparalleled sources of linguistic data and a useful starting point for new research projects, can be found in the more general Oxford Bibliographies article “Yiddish.”) The works included here represent a curated sample, rather than an exhaustive list, of publications and research tools in the various subfields of Yiddish linguistics. (See Bibliographies for more comprehensive references.) Due to the centrality of language in research on the history, literature, and folk culture of Ashkenazic Jews, this bibliography is likely to be useful not only to linguists, but also to researchers in related disciplines within Yiddish and Jewish studies.
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Pub Date : 2019-12-31DOI: 10.36019/9780813550749-003
{"title":"Introduction: To What May This Be Likened?","authors":"","doi":"10.36019/9780813550749-003","DOIUrl":"https://doi.org/10.36019/9780813550749-003","url":null,"abstract":"","PeriodicalId":41057,"journal":{"name":"Nordisk Judaistik-Scandinavian Jewish Studies","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75955761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.36019/9780813562933-006
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