Yiddish


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The premise of the book is that Yiddish schools used children's magazines as agents of socialization (if not indoctrination) for children and their parents alike, which was a clever (if not somewhat sinister) method of helping Jewish immigrants adapt to American life while maintaining their affinities for Yiddish language, secular Jewish culture, and radical leftist politics.
The preservation and expansion of Yiddish and its literary canon was at the centre of the forging of left culture.
Articles by prominent individuals within secular Yiddish cultural circles, including Reuven Breinen, Shmuel Niger, Chaim Shoys, and Chaim Zhitlovsky, directly accompanied many of the translation excerpts, especially during the first six weeks of its appearance.
In addition to many photographs of Yiddish theater stars, we find reproductions of posters, programs, scenes from shows, sheet music, set designs, costumes, and costume designs.
The book's broadly conceived bibliographical section is its greatest strength, offering a detailed chronological catalog of all Basel prints with significant Yiddish content (397-402) and facsimiles of extant title pages of that corpus (402-445); the extensive research bibliography is unfortunately restricted largely to German-language scholarship, includes not a single scholarly title written in Yiddish or Hebrew, and so routinely garbles Anglophone entries that many may be difficult to find.
The story of YIVO, as this book's subtitle suggests, really encompasses the "history of the Yiddish nation.
The connection between virtue and authenticity is key in their perception of their own Yiddish.
One of the difficulties in discussing Yiddish culture is the fact that, unlike national cultures, Yiddish speakers have no geographical space inscribed on the map.
Special screening of recently restored 1938 Polish musical comedy, regarded as one of the "crown jewels of Yiddish cinema.
A shared passion for the Yiddish language and folklore brought her together with Joseph, a fellow Yiddish student whom she married in 1949.
Everyone has a binder of source material with notes scribbled in the margins: half a dozen different versions of the play in partial translation; memoirs of Yiddish actors who once performed in it; historical documents about the real-life Uriel Acosta; philosophical treatises and Rabbinic responsa; material from Yiddish-theatre histories; selections from other Yiddish dramas, poetry, short stories and novels.
Whispered, shouted, flung across the room, muttered and sighed, Yiddish established an emotional landscape against which English felt purposeful, utilitarian.
Scholars of Yiddish literature, Jewish culture, and the Slavic world explore Yiddish poets and poetry in the Soviet Union during its first three decades.
Yiddish is widely recognised as being an endangered language (1) and is one of thousands of minority languages that are in decline as their speakers turn to more common and prevailing vernaculars such as English (Dalby 2003: ix).
Yiddish has shifted from a Jewish immigrant language to a Jewish heritage and ethnic language within the rubric of Canadian multiculturalism.