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In Imagining the Kibbutz, Ranen Omer-Sherman explores the literary
and cinematic representations of the socialist experiment that
became history's most successfully sustained communal enterprise.
Inspired in part by the kibbutz movement's recent commemoration of
its centennial, this study responds to a significant gap in
scholarship. Numerous sociological and economic studies have
appeared, but no book-length study has ever addressed the
tremendous range of critically imaginative portrayals of the
kibbutz. This diachronic study addresses novels, short fiction,
memoirs, and cinematic portrayals of the kibbutz by both kibbutz
"insiders" (including those born and raised there, as well as those
who joined the kibbutz as immigrants or migrants from the city) and
"outsiders." For these artists, the kibbutz is a crucial microcosm
for understanding Israeli values and identity. The central drama
explored in their works is the monumental tension between the
individual and the collective, between individual aspiration and
ideological rigor, between self-sacrifice and self-fulfillment.
Portraying kibbutz life honestly demands retaining at least two
oppositional things in mind at once-the absolute necessity of
euphoric dreaming and the mellowing inevitability of
disillusionment. As such, these artists' imaginative witnessing of
the fraught relation between the collective and the citizen-soldier
is the story of Israel itself.
Shofar publishes original, scholarly work and reviews a wide range
of recent books in Judaica. Founded in 1981, Shofar is a
peer-reviewed journal that is published triannually by Purdue
University Press on behalf of the University's Jewish Studies
Program. Shofar is also available through Project Muse/UPCC and
JSTOR.
The year 1978 marked Israel's entry into Lebanon, which led to the
long-term military occupation of non-sovereign territory and the
long, costly war in Lebanon. In the years that followed, many
Israelis found themselves alienated from the idea that their
country used force only when there was no alternative, and Israeli
society eventually underwent a dramatic change in attitude toward
militarisation and the infallibility of the IDF (Israel Defense
Forces). In Narratives of Dissent: War in Contemporary Israeli Arts
and Culture editors Rachel S. Harris and Ranen Omer-Sherman collect
nineteen essays that examine the impact of this cultural shift on
Israeli visual art, music, literature, poetry, film, theatre,
public broadcasting, and commemoration practices after 1978.
Divided into three thematic sections-Private and Public Spaces of
Commemoration and Mourning, Poetry and Prose, and Cinema and
Stage-this collection presents an exciting diversity of
experiences, cultural interests, and disciplinary perspectives.
From the earliest wartime writings of S. Yizhar to the global
phenomenon of films such as Beaufort, Waltz with Bashir, and
Lebanon, the Israeli artist's imaginative and critical engagement
with war and occupation has been informed by the catalysts of
mourning, pain, and loss, often accompanied by a biting sense of
irony. This book highlights many of the aesthetic narratives that
have wielded the most profound impact on Israeli culture in the
present day. These works address both incremental and radical
changes in individual and collective consciousness that have spread
through Israeli culture in response to the persistent affliction of
war. No other such volume exists in Hebrew or English. Students and
teachers of Israeli studies will appreciate Narratives of Dissent.
Contributors: Glenda Abramson, Galeet Dardashti, Michael Feige,
Esther Fuchs, Shiri Goren, Rachel S. Harris, Philip Hollander,
Adriana X. Jacobs, Ranen Omer-Sherman, Philip Metres, Yael Munk,
Yaron Peleg, Esther Raizen, Noa Roei, Adam Rovner, Liav Sade-Beck,
Ilana Szobel, Dan Urian, Tal Ben Zvi
Israel in Exile is a bold exploration of how the ancient desert of
Exodusand Numbers, as archetypal site of human liberation, forms a
templatefor modern political identities, radical scepticism, and
questioning ofofficial narratives of the nation that appear in the
works of contemporaryIsraeli authors including David Grossman,
Shulamith Hareven, andAmos Oz, as well as diasporic writers such as
Edmund Jabes andSimone Zelitch. In contrast to other ethnic and
national representations, Jewish writers since antiquity have not
constructed a neat antithesisbetween the desert and the city or
nation; rather, the desert becomes asymbol against which the values
of the city or nation can be tested, measured, and sometimes found
wantin
In Imagining the Kibbutz, Ranen Omer-Sherman explores the literary
and cinematic representations of the socialist experiment that
became history’s most successfully sustained communal enterprise.
Inspired in part by the kibbutz movement’s recent commemoration
of its centennial, this study responds to a significant gap in
scholarship. Numerous sociological and economic studies have
appeared, but no book-length study has ever addressed the
tremendous range of critically imaginative portrayals of the
kibbutz. This diachronic study addresses novels, short fiction,
memoirs, and cinematic portrayals of the kibbutz by both kibbutz
“insiders” (including those born and raised there, as well as
those who joined the kibbutz as immigrants or migrants from the
city) and “outsiders.” For these artists, the kibbutz is a
crucial microcosm for understanding Israeli values and identity.
The central drama explored in their works is the monumental tension
between the individual and the collective, between individual
aspiration and ideological rigor, between self-sacrifice and
self-fulfillment. Portraying kibbutz life honestly demands
retaining at least two oppositional things in mind at once—the
absolute necessity of euphoric dreaming and the mellowing
inevitability of disillusionment. As such, these artists’
imaginative witnessing of the fraught relation between the
collective and the citizen-soldier is the story of Israel itself.
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