The semi-military role Sarah carved for herself in the underground, her activity and her voluntary death made her an icon and a model of a new “Hebrew” femininity, a model especially cultivated within the so-called civic sector of the Jewish Yishuv in Palestine (defined as distinct from the socialist labor sector, dominant throughout the period before the late 1970s).
Renowned for her remarkable skills as a reference librarian, Dina Abramowicz built an impressive library collection at the YIVO Institute for Jewish Research, where she worked since 1947. Her scholarship and expertise, praised by readers and writers alike, were celebrated by both library and cultural achievement awards.
Women faculty members in the higher education system in Israel share with their sisters in other Western developed countries characteristics regarding proportions, promotions, and positions. They constitute a small minority of the total tenure-track faculty, with somewhat larger minorities in the humanities and social sciences, and very small minorities in the physical sciences and engineering.
Adato enlisted in the IDF in 1973 and in due course served successively as commander of the two central Women’s Corps training bases (1994–1997), commander of the Women Teacher-Soldiers unit, and commander of the women in Nahal, where she directed the assistance given to immigrants from Ethiopia and the USSR. In 1997, she was promoted to the position of head of the Women’s Corps as a brigadier general at a time when the corps was in the process of being radically reorganized.
Anouk Aimée is perhaps best known for her remarkable presence as an icon of cool, sophisticated beauty in more than seventy films across seven decades, including such classics as Alexandre Astruc’s Le Rideau Cramoisi (The Crimson Curtain, 1952), Federico Fellini’s La Dolce Vita (1960) and 8 1/2 (1963), Jacques Demy’s Lola (1963), André Delvaux’s Un Soir, un Train (One Evening, One Train, 1968), George Cukor’s Justine (1969), Bernardo Bertolucci’s Tragedy of a Ridiculous Man (1981), Robert Altman’s Prêt à Porter (Ready to Wear, 1994) and, most unforgettably, Claude Lelouch’s Un Homme et une femme (A Man and a Woman, 1966)
Chava Alberstein is a singer-songwriter (both lyricist and composer) who by the end of 2004 had recorded over fifty albums, not including singles and song collections.
She was the only woman among the early members of the Mosad, which smuggled Jews out of Europe and into Palestine in an attempt to circumvent the aliyah restrictions of the British Mandatory authorities. Late in World War II Aliav-Klüger was among the first representatives of the Yishuv to meet with Holocaust survivors on European soil and come to the aid of the she’erit ha-pletah (surviving remnant). In early 1949 Aliav-Klüger returned to Israel and, like many of her Mosad comrades, joined the Zim national shipping company. In 1974 she was selected as Woman of the Year by the National Council Of Jewish Women in the United States in honor of the release of her book, The Last Escape, describing her activities with the Mosad le-Aliyah Bet between 1938 and 1941 (published originally in English and translated into Hebrew).
During her term of office, Almog stressed the importance of appropriate training for new recruits and established the base at Julis for absorbing them. The number of annual officer courses was increased, a training course for women officers in the Operational Branch was established, new occupations, such as airborne doctors, were opened for women officers and institutional posts increased.
Passionate, principled, provocative, and above all path breaking, Shulamit Aloni has left a greater imprint on Israeli political life and public discourse than any woman to come of age after Israel’s independence.
Altman, who represented the Ha-Shomer ha-Za’ir movement in the underground correspondence, was a symbol and a legend among the members of her movement in Palestine—a symbol that was quickly forgotten.
Women have played an important part in the American Jewish Congress (AJCongress) since the organization was first established after World War I.
Noted both in Israel and abroad, Ziva Amishai-Maisels is a researcher of modern art, both Jewish and non-Jewish.
Established in 1925 to create vocational schools for religious girls in Palestine, AMIT, an American-based religious Zionist organization, has helped shape the educational and social welfare landscape in the State of Israel for eight decades.
The particular insights of Jewish women writers and their intimate dilemmas of contemporary life throw light on how society and family have changed for this new generation of writers. The novels attract a larger readership than anyone could have predicted.
One of the many strengths of Anissimov’s works lies in their outspoken presentation of the sexual and emotional relationship between the sexes from the point of view of the woman. In this respect, Anissimov’s works are intriguing complements to the American Jewish novel of the 1960s and 1970s.
This bibliography concentrates on books, chapters in anthologies, and periodical articles on the collective history of American Jewish women and archival resources on individuals and women’s organizations.
Mia Arbatova (née Hirshwald) was one of the leading pioneers of classical ballet in Israel.
A justice on Israel’s Supreme Court since May 2004, Edna Arbel was born in Jerusalem on June 22, 1944.
Like the biographies of other figures prominent at the time of the establishment of the state of Israel, that of Shoshana Arbeli-Almozlino parallels the history of Zionism and the founding of the state, from her childhood in a traditional Iraqi family and membership in the Zionist underground in Iraq, through her immigration to Palestine and the founding of Kibbutz Neve Or, to her term as a member of the Knesset and her services as Israel’s Minister of Health.
The mass-immigration from Europe after 1933 brought many architects, amongst whom were a number of women.
A political theorist with a flair for grand historical generalization, Hannah Arendt exhibited the conceptual brio of a cultivated intellectual, the conscientious learning of a German-trained scholar, and the undaunted spirit of an exile who had confronted some of the worst horrors of European tyranny.
Fear of Jewish white slavery, the sexual traffic in immigrant Jewish refugee women, often conducted by Jewish men, was a topic that preoccupied Jewish communities in Europe and immigrant communities in North and South America from the 1880s until the outbreak of World War II.
Under Arnon’s direction the Kibbutz Contemporary Dance Company toured throughout Israel, the United States, Europe and the Far East. In 1996 she became the director emerita of the Kibbutz Dance Company.
It is now generally considered that while men and women shared the same fate and their daily existence in the internment and concentration camps was more or less similar, differences between the sexes did exist. Such differences are reflected in the works of art produced in the camps.
A number of studies from the mid-1980s onward have demonstrated the impact of the Holocaust on visual art, in particular for artists who themselves experienced the agony of the Holocaust, but also among their contemporaries. These artists portrayed the Holocaust’s atrocities and responded to the horrific trauma through various forms of expression. Now, more than sixty years after the Holocaust, it is apparent that its impact has carried over into the works of so-called “second generation” artists as well.