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"It is a remarkably interesting idea to present the pageant of the world as it unfolded before the yes of the same man during two thousand years. Also, to keep him a young man instead of a doddering gray-beard. It is like reading a series of entrancing short stories with the added interest of logical sequence. Your erudition is amazing, and it is presented in a manner that lures one on and on, as well as inducing the pleasant belief that one is learning something really worth while." -- Gertrude Atherton

Amidst the growing forums of kinky Jews, orthodox drag queens, and Jewish geisha girls, we find today's sexy Jewess in a host of reflexive plays with sexed-up self-display. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. But why does "sexy" work to update tropes of the Jewish woman? And how does sex link to humor in order for this update to work? Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

"It is a remarkably interesting idea to present the pageant of the world as it unfolded before the yes of the same man during two thousand years. Also, to keep him a young man instead of a doddering gray-beard. It is like reading a series of entrancing short stories with the added interest of logical sequence. Your erudition is amazing, and it is presented in a manner that lures one on and on, as well as inducing the pleasant belief that one is learning something really worth while." -- Gertrude Atherton

The Middle Ages Series. xi, 325 pp., 12 figs. Hardcover with pictorial boards. Unread, as new. New list price: $79.95.

Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Stored New Pristine Condition Sanitized Then Wrapped; Book

The Jews of South Wales focuses on the Jewish communities in Cardiff, Swansea, and the South Wales valleys in the nineteenth and twentieth centuries, examining their everyday lives as well as more dramatic and sensational events, such as the Tredegar Riots in 1911 and the Jewess Abduction Case of 1867. A new introduction by Paul O’Leary considers scholarship published since the book's first publication and also discusses the polarized views about the Tredegar Riots of 1911: Were the riots the result of anti-Semitism, or was South Wales a philo-Semitic place, where the Welsh and Jewish communities had much in common?

Life story of Edith Hahn, Jewess in Vienna in 1938.

What does the "Jew" stand for in modern culture? The conscious or unconscious, often hysterical repetition of myths and exaggerations, and the repertory of cliches, fantasies and phobias surrounding the stereotypes of the Jew and the Jewess, have meant that they are figures frequently represented both in the world of literature and art and in the industries of popular culture. Taking particular instances of the portrayal of the Jew in fiction, painting and prints, in film, caricature, pamphlets, medical journals, propaganda and architecture - in works by authors and artists as different as Dickens, Lautrec, Proust, Sargent, Joyce and Sartre - this book demonstrates how representations of the Jew are embodied in some of the best-known cultural products, situated "in the text" itself, not behind or beyond it. In specially-written essays by cultural historians and critics, including Julia Kristeva, Marshall Berman and Sander Gilman, this book explores the complex and sometimes contradictory ways in which Jewish identity was conceived and expressed in modern European and American culture.

Presents the life of Edith Stein while going behind the well known labels--Jewess, philosopher, Carmelite nun, martyr of Auschwitz--to reveal the inner struggles of a truly inspirational person. Draws on her writings on prayer, some of which are not yet available in English.

This is the story of one woman, Lola Lieber, a Hungarian-Polish Jewess who survived and has chosen during her lifetime to tell the story of the ordeals of her survival and the strength of her faith and courage against all odds. It is also the memoir of a marriage that was a true working partnership as well as a marital bond of extraordinary depth. With her husband, Mechel, beside her, Lola defied authority, confronted the devil Eichmann in person, never giving up her faith in God and her belief that she and Mechel would be together at the end. The title of this book comes from a comment Mechel made at a bittersweet time in their lives. His words: There will be a world after this, thankfully, would turn out to be true.You are about to embark on a journey that begins in Hungary, in the town of Munkach, goes forward into Krynica and on into Krakow, Niepolomice, the Bochnia Ghetto, Kosice, Budapest, Debrecen, Bucharest and finally Munich. It is an adventure of harrowing events and many close calls. It is, in the end, the story of the survival of a woman who will go on in her life to help repair the lost tapestry of Jewish life and to become a mother, grandmother, great-grandmother, as well as an accomplished artist.

The status of women in the ancient Judaism of the Hebrew Bible and Rabbinic texts has long been a contested issue. What does being a Jewess entail in antiquity? Men in ancient Jewish culture are defined primarily by what duties they are expected to perform, the course of action that they take. The Jewess, in contrast, is bound by stricture.Writing on the formation and transformation of the ideology of female Jewishness in the ancient world, Zlotnick places her treatment in a broad, comparative, Mediterranean context, bringing in parallels from Greek and Roman sources. Drawing on episodes from the Hebrew Bible and on Midrashic, Mishnaic, and Talmudic texts, she pays particular attention to the ways in which they attempt to determine the boundaries of communal affiliation through real and perceived differences between Israelites, or Jews, on one hand and non-Israelites, or Gentiles, on the other.Women are often associated in the sources with the forbidden, and foreign women are endowed with a curious freedom of action and choice that is hardly ever shared by their Jewish counterparts. Delilah, for instance, is one of the most autonomous women in the Bible, appearing without patronymic or family ties. She also brings disaster. Dinah, the Jewess, by contrast, becomes an agent of self-destruction when she goes out to mingle with gentile female friends. In ancient Judaism the lessons of such tales were applied as rules to sustain membership in the family, the clan, and the community.While Zlotnick's central project is to untangle the challenges of sex, gender, and the formation of national identity in antiquity, her book is also a remarkable study of intertextual relations within the Jewish literary tradition.

Janette Oke has dreamed for years of retelling a story in a biblical time frame from a female protagonist's perspective, and Davis Bunn is elated to be working with her again on this sweeping saga of the dramatic events surrounding the birth of Christianity...and the very personal story of Leah, a young Jewess of mixed heritage trapped in a vortex of competing political agendas and private trauma. Caught up in the maelstrom following the death of an obscure rabbi in the Roman backwater of first-century Palestine, Leah finds herself also engulfed in her own turmoil--facing the prospect of an arranged marriage to a Roman soldier, Alban, who seems to care for nothing but his own ambitions. Head of the garrison near Galilee, he has been assigned by Palestine's governor to ferret out the truth behind rumors of a political execution gone awry. Leah's mistress, the governor's wife, secretly commissions Leah also to discover what really has become of this man whose death--and missing body--is causing such furor. This epic drama is threaded with the tale of an unlikely romance and framed with dangers and betrayals from unexpected sources. At its core, The Centurion's Wife unfolds the testing of loyalties--between two young people whose inner searchings they cannot express, between their irreconcilable heritages, and ultimately between their humanity and the Divine they yearn to encounter.