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The Object of Jewish Literature
A history of modern Jewish literature that explores our enduring attachment to the book as an object With the rise of digital media, the "death of the book” has been widely discussed. But the physical object of the book persists. Here, through the lens of materiality and objects, Barbara E. Mann tells a history of modern Jewish literature, from novels and poetry to graphic novels and artists’ books. Bringing contemporary work on secularism and design in conversation with literary history, she offers a new and distinctive frame for understanding how literary genres emerge. The long twentieth century, a period of tremendous physical upheaval and geographic movement, witnessed the production of a multilingual canon of writing by Jewish authors. Literature’s objecthood is felt not only in the physical qualities of books—bindings, covers, typography, illustrations—but also through the ways in which materiality itself became a practical foundation for literary expression.
Possession and Dispossession
The book includes articles, documentation and a catalog of the Ethnographic Department of the Museum of the Contemporary. It is the fruit of a long-term project carried out at the Mamuta Art and Research Center and curated by the Sala-Manca Group. It contains articles by Yoram Bilu, Rachel Elior, Freddie Rokem and Diego Rotman on the Dybbuk; by Galit Hasan-Rokem and Daphna Ben-Shaul on Sukkot, and on the Eternal Sukkah project; by Shalom Sabar on electric Shabbat candles, and by Lea Mauas and Diego Rotman on different art projects. The book also includes documentation of artworks and a project by Itamar Mendes-Flohr, Yeshaiahu Rabinowtz, Ktura Manor, Hannan Abu Huseein, Reuven Zehavi, Sala-Manca, Samuel Rotman, Shira Borer, Nir Yahalom, Chen Cohen, Pessi Komar, Adi Kaplan, and Shahar Carmel, among others.
Irena's Vow
When Irena Gut witnessed a Nazi officer murder a baby and its mother in front of her eyes, she could do nothing. Then and there, she made a vow to God that if she ever had the opportunity to save a life, she would do it. But she did much more than that. When she was appointed the housekeeper for a German major, the highest-ranking German officer in Tarnopol, Poland, Irena saved thirteen lives by hiding twelve Jews in her employer’s basement, without his knowledge, for eight months. The thirteenth life she saved was a baby who was conceived in hiding. Now a major motion picture starring Sophie Nélisse, Irena’s Vow is one of the most remarkable, true stories of courage to come out of the Holocaust.
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Theater Directing
Polish-born director, writer, playwright, and scholar Braun (State U. of New York-Buffalo) sets down the approach to creative theatre directing that he teaches in his classes. It is based on the two premises that directing is an act of creating--of making something out of nothing--and that is also a craft that requires skills, techniques, methods, and tools to express the artistic energies and spiritual abundance of human life. After an introduction, he discusses shaping a theater style, creative text analysis, creating the human layer of the performance, performance space and time, action, mind and imagination, the director's practical preparations, implementing the project before rehearsals, creative rehearsals, and final rehearsals leading to the opening. The text is double spaced. Annotation copyrighted by Book News, Inc., Portland, OR.
