scholarly journals Review: Catalog of the Gerald K. Stone Collection of Judaica: A Bibliographical Resource for Canadian Jewish Studies

2021 ◽  
Vol 32 ◽  
pp. 194-195
Author(s):  
Eddie Paul
Keyword(s):  
2020 ◽  
Vol 73 (4) ◽  
pp. 633-668
Author(s):  
Michael Nosonovsky ◽  
Dan Shapira ◽  
Daria Vasyutinsky-Shapira

AbstractDaniel Chwolson (1819–1911) made a huge impact upon the research of Hebrew epigraphy from the Crimea and Caucasus. Despite that, his role in the more-than-a-century-long controversy regarding Crimean Hebrew tomb inscriptions has not been well studied. Chwolson, at first, adopted Abraham Firkowicz’s forgeries, and then quickly realized his mistake; however, he could not back up. Th e criticism by both Abraham Harkavy and German Hebraists questioned Chwolson’s scholarly qualifications and integrity. Consequently, the interference of political pressure into the academic argument resulted in the prevailing of the scholarly flawed opinion. We revisit the interpretation of these findings by Russian, Jewish, Karaite and Georgian historians in the 19th and 20th centuries. During the Soviet period, Jewish Studies in the USSR were in neglect and nobody seriously studied the whole complex of the inscriptions from the South of Russia / the Soviet Union. The remnants of the scholarly community were hypnotized by Chwolson’s authority, who was the teacher of their teachers’ teachers. At the same time, Western scholars did not have access to these materials and/or lacked the understanding of the broader context, and thus a number of erroneous Chwolson’s conclusion have entered academic literature for decades.


1994 ◽  
Vol 15 (1-2) ◽  
pp. 94-99
Author(s):  
Anna Verschik

One can often hear the question: are there any Jews in Estonia at all? And if there are, is there any reason to speak about Estonian Jewry in the sense we speak about Polish, Lithuanian, Galatian Jewry? Indeed, Estonia has never been a “traditional” land of Jews: during the Russian rule it did not belong to the so-called pale of settlement. Estonia never met with the “Jewish question”, there was no ground either for everyday or for official antisemitism. The Department of Jewish studies in the University of Tartu was the first one of its kind in the Nordic countries. At that time it was not unusual that an Estonian understood some Yiddish, there are also examples of the students who studied seriously the language and the culture of Jews. Pent Nurmekund, a famous polyglot was one of them. Nurmekund had learned a number of Yiddish folksongs and later translated some of them into Estonian. The two songs we are going to speak about are “Toibn” and “Main fraint”. Nurmekund performed both a Yiddish and an Estonian version of the first song. Main fraint was recorded only in Yiddish, the Estonian translation was published in the literary periodical Looming.


2019 ◽  
Author(s):  
Adam Zachary Newton
Keyword(s):  

Author(s):  
Tina Frühauf

Abstract The miniseries Hotel Polan und seine Gäste tells the story of three generations of a Jewish family of hoteliers in Bohemia from 1908 to National Socialist persecution. Produced by GDR television in the early 1980s, the series was subsequently broadcast in other European countries and met with a mixed reception. Later on, scholars evaluated it as blatantly antisemitic and anti-Zionist. This essay seeks to re-evaluate these prerogatives by centring the analysis of the miniseries on a close reading of its music—a method not often used in Jewish studies, but a suitable lens through which to interrogate the employment of stereotypes, especially in film, and in light of textual sources from the Cold War era often being reflective of ideologies rather than facts. Employing critical theories of cultural studies and film music, it seeks to identify stereotypes and their dramatic placement and to analyse their operation. It asserts that story, image, and sound constitute both synchronous and asynchronous agents that perpetuate various stereotypes associated with Jews, thereby placing Hotel Polan in the liminal space of allosemitism. Constructed through difference from a perceived norm, Hotel Polan ultimately represents a space in which the egregious stereotype and the strategic employment of types meet. Its deployment of Jewish musical topics specifically shows that it is less their dramatic function that is of relevance, but the discourse that they have the power to enable.


Sign in / Sign up

Export Citation Format

Share Document