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In the early 1980s, Hellerstein wrote an essay analyzing the history and purpose of Yiddish women writing, titled "A Question of Tradition: Women Poets in Yiddish." [4] Expanding on her essay, Hellerstein released a full-length monograph on the topic in 2014, titled A Question of Tradition: Women Poets in Yiddish, 1586-1987. That same year, the ...
Shiksa (Yiddish: שיקסע, romanized: shikse) is an often disparaging [1] term for a gentile [a] woman or girl. The word, which is of Yiddish origin, has moved into English usage and some Hebrew usage (as well as Polish and German), mostly in North American Jewish culture.
Rosenfarb continued to write in Yiddish. She published three volumes of poetry between 1947 and 1965. In 1972, she published what is considered to be her masterpiece, Der boim fun lebn (דער בוים פֿון לעבן), a three-volume novel detailing her experiences in the Łódź Ghetto, which appeared in English translation as The Tree of Life.
In Mexico, Yiddish was spoken among the Ashkenazi Jewish population and Yiddish poet Isaac Berliner wrote about the life of Mexican Jews. Isaac Berliner's Yiddishism was a way for the Ashkenazi Jews in Mexico to build a secular culture in a Mexico skeptical of religion. [79] Yiddish became a marker of Ashkenazi ethnic identity in Mexico. [80]
Beck has published a number of essays and books on Judaism. She came to wider prominence in 1982 with her book, Nice Jewish Girls: A Lesbian Anthology, a compilation of poems, essays, reminiscences and short stories, [2] believed to be the first published collection of works by lesbian Jewish women in the United States.
The word, derived from Yiddish, has been used historically (and often disparagingly) to describe a usually blond, non-Jewish woman who tempts an otherwise God-fearing man to stray from his ...
The Tz'enah Ur'enah (Hebrew: צְאֶנָה וּרְאֶינָה Ṣʼenā urʼenā "Go forth and see"; Yiddish pronunciation: [ˌʦɛnəˈʁɛnə]; Hebrew pronunciation: [ʦeˈʔena uʁˈʔena]), also spelt Tsene-rene and Tseno Ureno, sometimes called the Women's Bible, is a Yiddish-language prose work whose structure parallels the weekly Torah portions and Haftarahs used in Jewish prayer ...
Richard Elman commented on these themes in a review of Blinken's work in the 1980s, writing in The New York Times that in the community of Yiddish authors who wrote for the largely female literary audience of Yiddish fiction, Blinken "was one of the few who chose to show with empathy the woman's point of view in the act of love or sin". [3]