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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 ...
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 ...
Yiddish, [a] historically Judeo-German, [11] [b] is a West Germanic language historically spoken by Ashkenazi Jews.It originated in 9th-century [12]: 2 Central Europe, and provided the nascent Ashkenazi community with a vernacular based on High German fused with many elements taken from Hebrew (notably Mishnaic) and to some extent Aramaic.
“My Grandmother’s Tkhine: Immigrant Jewish Women’s Lives, Identities and Prayers in Early Twentieth-Century America.” Nashim: A Journal of Jewish Women’s Studies & Gender Issues 31.1 (2017): 146–168. Web. Tarnor, Norman. A Book of Jewish Women’s Prayers : Translations from the Yiddish / Selected and with Commentary by Norman Tarnor.
Myers cross dressed to portray Richman, the host of a talk show "Coffee Talk" in recurring skits on SNL, who embodied extreme caricatures of Jewish women, including her use of Jewish phrases, such as verklempt and over-the-top passion for the real life performer Barbra Streisand. [119] 1992: Sara Goode, Gorgeous Teitelbaum, Pfeni Rosensweig ...
Grossman claimed that three factors affected how Jewish women were perceived by society: "the biblical and Talmudic heritage; the situation in the non-Jewish society within which the Jews lived and functioned; and the economic status of the Jews, including the woman's role in supporting the family."
She also studied Chassidic music, Yiddish folk songs, and Jewish songs in different languages. [5] Her interest in Jewish culture was sparked by an interfaith visit to Auschwitz. [1] Her musical projects include Jewish Polesye, [6] Li-La-Lo (based on the Yiddish-language cabarets of Poland called kleynkunst and Tel Aviv [7]), and Jewish Tango. [5]
Leah Horowitz was passionately concerned with the religious place and role of Jewish women and she was keenly aware of her own anomalous status as a learned woman. She addressed these issues explicitly in the Hebrew introduction to her tkhinne, and by implication in the Aramaic piyyut and the Yiddish paraphrase.