Calling into question prevailing notions about Orientalism, Yaron Peleg shows how the paradoxical mixture of exoticism and familiarity with which Jews related to Palestine at the beginning of the twentieth century shaped the legacy of Zionism. In Peleg's view, the tension between romancing the East and colonizing it inspired a revolutionary reform that radically changed Jewish thought during the Hebrew Revival that took place between 1900 and 1930. Orientalism and the Hebrew Imagination introduces a fresh voice to the contentious debate over the concept of Orientalism. Zionism has often been labeled a Western colonial movement that sought to displace and silence Palestinian Arabs. Based on his readings of key texts, Peleg asserts that early Zionists were inspired by Palestinian Arab culture, which in turn helped mold modern Jewish gender, identity, and culture. Peleg begins with the new ways in which the lands of the Bible are formulated as a modern "Orient" in David Frishman's Bamidbar. He continues by showing how in The Sons of Arabia, Moshe Smilansky laid the basis for the literary construction of the "New Jew," modeled after Palestinian Arabs. Peleg concludes with a discussion of L. A. Arielli's 1913 play Allah Karim! in which both the promise and the problems of the Land of Israel as "Orient" marked the end of Hebrew Orientalism as a viable cultural option.
With top billing at many film forums around the world, as well as a string of prestigious prizes, including consecutive nominations for the Best Foreign Film Oscar, Israeli films have become one of the most visible and promising cinemas in the first decade of the twenty-first century, an intriguing and vibrant site for the representation of Israeli realities. Yet two decades have passed since the last wide-ranging scholarly overview of Israeli cinema, creating a need for a new, state-of-the-art analysis of this exciting cinematic oeuvre. The first anthology of its kind in English, Israeli Cinema: Identities in Motion presents a collection of specially commissioned articles in which leading Israeli film scholars examine Israeli cinema as a prism that refracts collective Israeli identities through the medium and art of motion pictures. The contributors address several broad themes: the nation imagined on film; war, conflict, and trauma; gender, sexuality, and ethnicity; religion and Judaism; discourses of place in the age of globalism; filming the Palestinian Other; and new cinematic discourses. The authors' illuminating readings of Israeli films reveal that Israeli cinema offers rare visual and narrative insights into the complex national, social, and multicultural Israeli universe, transcending the partial and superficial images of this culture in world media.
Over the past two decades, profound changes in Israel opened its society to powerful outside forces and the dominance of global capitalism. As a result, the centrality of Zionism as an organizing ideology waned, prompting expressions of anxiety in Israel about the coming of a post-Zionist age. The fears about the end of Zionism were quelled, however, by the Palestinian uprising in 2000, which spurred at least a partial return to more traditional perceptions of homeland. Looking at Israeli literature of the late twentieth century, Yaron Peleg shows how a young, urban class of Israelis felt alienated from the Zionist values of their forebears, and how they adopted a form of escapist romanticism as a defiant response that replaced traditional nationalism. One of the first books in English to identify the end of the post-Zionist era through inspired readings of Hebrew literature and popular media, Israeli Culture between the Two Intifadas examines Israel's ambivalent relationship with Jewish nationalism at the end of the twentieth century.
As part of its effort to forge a new secular Jewish nation, the nascent Israeli state tried to limit Jewish religiosity. However, with the steady growth of the ultraorthodox community and the expansion of the settler community, Israeli society is becoming increasingly religious. Although the arrival of religious discourse in Israeli politics has long been noticed, its cultural development has rarely been addressed. Directed by God explores how the country’s popular media, principally film and television, reflect this transformation. In doing so, it examines the changing nature of Zionism and the place of Judaism within it. Once the purview of secular culture, Israel’s media initially promoted alternatives to traditional religious expression; however, using films such as Kadosh, Waltz with Bashir, and Eyes Wide Open, Yaron Peleg shows how Israel’s contemporary film and television programs have been shaped by new religious trends and how secular Israeli culture has processed and reflected on its religious heritage. He investigates how shifting cinematic visions of Jewish masculinity and gender track transformations in the nation’s religious discourse. Moving beyond the secular/religious divide, Directed by God explores changing film and television representations of different Jewish religious groups, assessing what these representations may mean for the future of Israeli society.
In Identity, Place, and Subversion in Contemporary Mizrahi Cinema in Israel , Yaron Shemer presents the most comprehensive and systematic study to date of Mizrahi (Oriental-Jewish or Arab-Jewish) films produced in Israel in the last several decades. Through an analysis of dozens of films the book illustrates how narratives, characters, and space have been employed to give expression to Mizrahi ethnic identity and to situate the Mizrahi within the broader context of the Israeli societal fabric. The struggle over identity and the effort to redraw ethnic boundaries have taken place against the backdrop of a long-standing Zionist view of the Mizrahi as an inferior other whose “Levantine” culture posed a threat to the Western-oriented Zionist enterprise. In its examination of the nature and dynamics of Mizrahi cinema (defined by subject-matter), the book engages the sensitive topic of Mizrahi ethnicity head-on, confronting the conventional notion of Israeli society as a melting pot and the widespread dismissal of ethnic divisions in the country. Shemer explores the continuous marginalization of the Mizrahi in contemporary Israeli cinema and the challenge some Mizrahi films offer to the subjugation of this ethnic group. He also studies the role cultural policies and institutional power in Israel have played in shaping Mizrahi cinema and the creation of a Mizrahi niche in cinema. In a broader sense, this pioneering work is a probing exploration of Israeli culture and society through the prism of film and cinematic expression. It sheds light on the play of ethnicity, class, gender, and religion in contemporary Israel, and on the heated debates surrounding Zionist ideology and identity politics. By charting a new territory of academic inquiry grounded in an interdisciplinary theoretical framework, the study contributes to the formation of “Mizrahi Cinema” as a recognized and vibrant scholarly field.
This monograph argues that Roman bathhouses were laboratories in which Jews interacted with Graeco-Roman culture. It tells the story of the Jews who frequented them, documenting their pleasures, anxieties, and concerns, and reconstructing their thoughts, feelings, and beliefs about the activities that took place there. The chapters of the book are arranged as an invitation to follow the ancient Jew as he or she engages the bath, and highlights details small and large about what Jews knew about the place, but even more so, about what they felt about it. Were they intimidated by the nudity that prevailed there or by the sculptures that adorned the place? How did Jewish law configure the bath? What were the Jewish social norms that developed there? Exploring these questions enhances and complicates our understanding of ancient Judaism and its encounter with the dominant way of life around it. Jewish engagement with and perceptions of the bathhouse are documented in numerous sources: inscriptions on stone, documents written on papyri, and most of all, in hundreds of references in the Jewish literature of the time. These stories, laws, and regulations, written in Greek, Aramaic, and Hebrew, reflect every aspect of Jewish life in the ancient Mediterranean. In this monograph, Yaron Eliav brings all of these sources together for the first time"--
Over the past two decades, profound changes in Israel opened its society to powerful outside forces and the dominance of global capitalism. As a result, the centrality of Zionism as an organizing ideology waned, prompting expressions of anxiety in Israel about the coming of a post-Zionist age. The fears about the end of Zionism were quelled, however, by the Palestinian uprising in 2000, which spurred at least a partial return to more traditional perceptions of homeland. Looking at Israeli literature of the late twentieth century, Yaron Peleg shows how a young, urban class of Israelis felt alienated from the Zionist values of their forebears, and how they adopted a form of escapist romanticism as a defiant response that replaced traditional nationalism. One of the first books in English to identify the end of the post-Zionist era through inspired readings of Hebrew literature and popular media, Israeli Culture between the Two Intifadas examines Israel's ambivalent relationship with Jewish nationalism at the end of the twentieth century.
Calling into question prevailing notions about Orientalism, Yaron Peleg shows how the paradoxical mixture of exoticism and familiarity with which Jews related to Palestine at the beginning of the twentieth century shaped the legacy of Zionism. In Peleg's view, the tension between romancing the East and colonizing it inspired a revolutionary reform that radically changed Jewish thought during the Hebrew Revival that took place between 1900 and 1930. Orientalism and the Hebrew Imagination introduces a fresh voice to the contentious debate over the concept of Orientalism. Zionism has often been labeled a Western colonial movement that sought to displace and silence Palestinian Arabs. Based on his readings of key texts, Peleg asserts that early Zionists were inspired by Palestinian Arab culture, which in turn helped mold modern Jewish gender, identity, and culture. Peleg begins with the new ways in which the lands of the Bible are formulated as a modern "Orient" in David Frishman's Bamidbar. He continues by showing how in The Sons of Arabia, Moshe Smilansky laid the basis for the literary construction of the "New Jew," modeled after Palestinian Arabs. Peleg concludes with a discussion of L. A. Arielli's 1913 play Allah Karim! in which both the promise and the problems of the Land of Israel as "Orient" marked the end of Hebrew Orientalism as a viable cultural option.
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