ToC: Israel Studies 17.1 (2012)

Articles
Between Rehovot and Tehran—Gideon Hadary’s Secret Diplomacy

pp. 1-23 | DOI: 10.1353/is.2012.0008

Uri Bialer

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A Belated Inclusion: Jewish Volunteers in the Spanish Civil War and Their Place in the Israeli National Narrative

pp. 24-49 | DOI: 10.1353/is.2012.0010

Raanan Rein

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The Question of Palestine Before the International Community, 1924: A Methodological Inquiry into the Charge of "Bias"

pp. 50-77 | DOI: 10.1353/is.2012.0001

Jonathan Gribetz

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Contested Indigeneity: The Development of an Indigenous Discourse on the Bedouin of the Negev, Israel

pp. 78-104 | DOI: 10.1353/is.2012.0003

Seth J. Frantzman, Havatzelet Yahel, Ruth Kark

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The Modesty Campaigns of Rabbi Amram Blau and the Neturei Karta Movement, 1938-1974

pp. 105-129 | DOI: 10.1353/is.2012.0005

Motti Inbari

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Between Negation and Engagement: America’s Changing Image in the Israeli Novel

pp. 130-156 | DOI: 10.1353/is.2012.0006

Matthew M. Silver

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From Hebrew Folksong to Israeli Song: Language and Style in Naomi Shemer’s Lyrics

pp. 157-179 | DOI: 10.1353/is.2012.0007

Yael Reshef

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Reviews
British Pan-Arab Policy, 1915-1922: A Critical Appraisal (review)

pp. 180-183 | DOI: 10.1353/is.2012.0009

James Renton

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Culture Change in a Bedouin Tribe; The ‘Arab al-Hgerât, Lower Galilee, A.D. 1790-1977 (review)

pp. 184-185 | DOI: 10.1353/is.2012.0000

Gideon Kressel

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Contributors
Contributors

pp. 186-188 | DOI: 10.1353/is.2012.0002

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Cite: Loeffler, The Invention of Israeli Music

Loeffler, James. "Do Zionists Read Music from Right to Left? Abraham Tsvi Idelsohn and the Invention of Israeli Music," Jewish Quarterly Review 100,3 (2010): 385-416.

URL: http://muse.jhu.edu/journals/jewish_quarterly_review/summary/v100/100.3.loeffler.html

Abstract:

Music is widely recognized as a central component of Israeli national identity, yet the putative Jewishness of Israeli music remains a subject of enduring cultural controversy and ideological confusion. I argue in this article that the roots of Israeli music’s distinctive national character can be traced to the pre-World War I activities of Abraham Tsvi Idelsohn, the pioneering Zionist scholar and ideological progenitor of a revolutionary new concept of Hebrew music. In his early writings, Idelsohn called repeatedly for a rejection of Diasporic Jewish music and the recovery of an authentic ancient Hebrew music for the reborn nation in its homeland. However, his two most influential early publishing projects, a songbook for Jewish schools and massive compendium of liturgical and folk melodies, reveal a more complicated cluster of attitudes towards European music, Diaspora Jewish culture, and the Arab Middle East. Analyzing Idelsohn’s aesthetics, I discuss his different strategies for reconciling ideological purity alongside cultural cosmopolitanism in Hebrew national culture. I conclude that Idelsohn’s aesthetic categories relied strongly on the semantic power of language to determine music’s cultural meaning. This move allowed Idelsohn to link his model of a new Hebrew national music to the very European (and European Jewish) culture he ostensibly rejected. I close by discussing how Idelsohn’s legacy exposes a deeper continuity in Israeli culture that cuts across the perceived ruptures of 1917 and 1948 to link the early Zionist idea of "Negation of the Exile" to contemporary concerns about Israeliness, music, and national identity.

Keywords:

Aesthetics, Cultural nationalism, Cultural politics, Cultural Zionism, Hebrew culture, Jewish music, Diaspora, Idelsohn, Israeli culture, Israeli music, Musicology, Ottoman Palestine, Orientalism

Cite: Dardashti, Jewish Iraqi Musicians in Israel

Dardashti, Galeet. “The Buena Vista Baghdad Club. Negotiating Local, National, and Global Representations of Jewish Iraqi Musicians in Israel,” in Jewish Topographies. Visions of Space, Traditions of Place (Brauch, Julia, Anna Lipphardt, and Alexandra Nocke, eds.; Aldershot, UK / Burlington, Vt.: Ashgate, 2008) 309 ff.

Lecture: Seroussi, Popular Music and National Culture in Israel

3pm · Friday, May 7, 2010
UCLA Schoenberg Music Building, room 1230
The Mickey Katz Chair in Jewish Music at UCLA presents

Popular Music and National Culture in Israel

Edwin Seroussi (Hebrew University of Jerusalem)

Sponsored by the UCLA Herb Alpert School of Music

Cosponsored by the UCLA Center for Jewish Studies

For additional information, please visit www.schoolofmusic.ucla.edu

or contact Cheri Quinto at cheriquinto@arts.ucla.edu

Cite: Hip Hop and the Reclaiming of Masculinity in Jerusalem’s Shu’afat Refugee Camp

Greenberg, Ela. "’The King of the Streets’: Hip Hop and the Reclaiming of Masculinity in Jerusalem’s Shu’afat Refugee Camp." Middle East Journal of Culture and Communication 2,2 (2009): 231-250.

Abstract and (restricted) online access here.

Full Table of contents for this MEJCC  issue can be found here: https://israbib.wordpress.com/2010/01/06/mejcc22/

Keywords: Israeli-Palestinian conflict, Jerusalem: Palestinians, Gender,  Music, Palestine: Culture, refugees, occupation.