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In North American and other diaspora Jewish communities, the use of "shiksa" reflects more social complexities than merely being a mild insult to non-Jewish women. A woman can only be a shiksa if she is perceived as such by Jewish people, usually Jewish men, making the term difficult to define; the Los Angeles Review of Books suggested there ...
She introduced Jewish topics and writers, such as Sholem Aleichem, to her teaching program. She translated into English works by Isaac Bashevis Singer (who always wrote in Yiddish). One slightly unexpected product of her work with Singer was her essay, "The Many Faces of Eve: Women, Yiddish, and Isaac Bashevis Singer" (1982). [7]
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 ...
Relocating to Warsaw in 1933, she was a frequent contributor to the leading Yiddish and Polish newspapers and literary journals of the day. [1] She wrote on "Polish and Yiddish literature, education, psychology, folklore, art, linguistics and theater", and paid special attention to Yiddish and Polish women writers and authors. [1]
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 ...
A commentary written for women on the weekly parashot by Rabbi Jacob ben Isaac Ashkenazi in 1616, the Tseno Ureno (צאנה וראינה), remains a ubiquitous book in Yiddish homes to this day. Women wrote old Yiddish literature infrequently, but several collections of tkhines (personal prayers which are not part of liturgy) were written by ...
[c] The term "Yiddish", short for "Yidish-Taitsh" ('Jewish German'), did not become the most frequently used designation in the literature until the 18th century. In the late 19th and into the 20th century, the language was more commonly called "Jewish", especially in non-Jewish contexts, but "Yiddish" is again the most common designation today.
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.