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.