When introducing a collection of essays on Yiddish, Joseph Sherman asserted, among other things, that:
Although the Nazi Holocaust effectively destroyed Yiddish together with the Jews of Eastern Europe for whom it was a lingua franca, the Yiddish language, its literature and culture have proven remarkably resilient. Against all odds, Yiddish has survived to become a focus of serious intellectual, artistic and scholarly activity in the sixty-odd years that have passed since the end of World War II. From linguistic and literary research in the leading universities of the world to the dedicated creativity of contemporary novelists and poets in Israel and America, from the adaptation of Yiddish words and phrases to the uses of daily newspapers in English to the elevation of Yiddish as a new loshn koydesh by Hasidic sects, from the publication of new writing to the translation of its established canonical works into modern European languages, Yiddish is continually reminding the world of its vibrancy, relevance and importance as a marker of Jewish identity and survival. (Sherman 2004, 9)
Made in Yugoslavia: Studies in Popular Music