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Hebrew

Judith Hendel

Judith Hendel was born in Warsaw in 1925. In the same year her grandfather, Ezekiel Hendel, a descendant of Ezekiel Taub (d. 1856), the founder of the Kazimierz hasidic dynasty, sold his business and property in Warsaw and emigrated to Palestine together with his sons and daughters. He was one of the founders of Kefar Hasidim. Judith’s parents remained in Warsaw and joined the family in 1930, settling in the Nesher district of Haifa, where her father, Akiva, worked as a bus driver.

Hebrew Theater: Yishuv to the Present

From its beginnings early in the twentieth century, Hebrew theater was the province of men. With the exception of a few trailblazers such as Miriam Bernstein-Cohen, who translated and produced plays, it was not until the 1980s that women writers and directors began to work in the Israeli theater. Of all the theatrical professions, only actresses had truly been partners in the enterprise of reviving Hebrew culture. It is therefore appropriate to begin with several of the most important of these and to go on from there to playwrights and directors.

Hebrew Teachers Colleges in the United States

During the early waves of immigration to the United States, Sephardi and German Jews established full-time schools in large population centers. Rabbis, clergy and predominantly European-trained male teachers provided religious instruction in private-school settings, often sponsored by and housed in synagogues.

Hebrew Song, 1880-2000

“Hebrew song” is a general term for the field of music that combines Hebrew text with music; in other words, a lyric that is sung in the Hebrew language. (This classification does not include liturgical and paraliturgical song, although the latter is also sung in Hebrew.) The term “Hebrew song” generally encompasses both shirei [jwa_encyclopedia_glossary:309]Erez Israel[/jwa_encyclopedia_glossary] (songs of the Land of Israel) and “Israeli song,” both of which consist of Hebrew lyrics that are sung; however, the melodies in this case were composed in pre-State Palestine or, after 1948/9, in Israel.

Hebrew Drama: Representation of Women

Since its beginnings in the 1920s, Hebrew theater has been perceived by its audiences as a “high” cultural activity, and the topics it chooses to present have often prompted public controversy and debate. However, what has generally been ignored is the fact that prior to the 1980s there was an almost total absence of women-related topics and women’s voices in Hebrew theater.

Bela Ya’ari Hazan

Bela Hazan was born in December 1922 in the town of Rozyszcze in the Volhynia region into a family of eight children. Her father, David, who led the prayers in the local bet-[jwa_encyclopedia_glossary:357]midrash[/jwa_encyclopedia_glossary], died when she was six, leaving the burden of earning the family’s livelihood to her mother Esther, who owned a small grocery store. The mother sent all the children to a school of the Tarbut network, mainly so that they would gain fluency in the Hebrew language, which was spoken at home. After completing elementary school, Hazan was sent to the ORT vocational school in the city of Kowel, where she shared a room with a young woman from her hometown and supported herself by giving private Hebrew lessons.

Haskalah Literature: Portrayal of Women

To a large extent, the image of women in [jwa_encyclopedia_glossary:325]Haskalah[/jwa_encyclopedia_glossary] literature reflects the relationship between the sexes in Ashkenazi Jewish society. Authors, poets and playwrights who wrote in the spirit of the Haskalah movement were affected, in no small measure, by the prevailing attitude toward women in eighteenth and nineteenth-century European culture. But the female characters that they created, whether in Hebrew or Yiddish (the two languages of Haskalah literature), were not simply lifted “as is” from external literary models nor constructed in accordance with some ideological master plan borrowed directly from the European Enlightenment. Most of the extant works from the Haskalah period (it should be recalled that many manuscripts by [jwa_encyclopedia_glossary:352]maskilim[/jwa_encyclopedia_glossary] never saw print) were written by men.

Haskalah Attitudes Toward Women

For the men of intellect who burst upon Ashkenazic Jewish society in the eighteenth and nineteenth centuries, starting a cultural revolution of [jwa_encyclopedia_glossary:325]Haskalah[/jwa_encyclopedia_glossary] (enlightenment), the question of women’s status was the touchstone for the validity and consolidation of their innovative worldview. One of the outstanding proponents of the Haskalah was Judah Leib Gordon (1831–1892), who expressed the ambiguity of [jwa_encyclopedia_glossary:352]maskilim[/jwa_encyclopedia_glossary] toward the “woman question.” Beginning in the 1870s, women Hebrew readers in the Jewish Pale of Settlement in Russia and women students in various cities in Europe considered him one of the few people who showed special sensitivity and empathy with regard to the difficult lives of Jewish women.

Hasidism

Hasidism—a spiritual revival movement associated with the founding figure of Israel Ba’al Shem Tov (Besht, c. 1700–1760), which began in Poland in the second half of the eighteenth century and became a mass movement of Eastern European Jewry by the early decades of the nineteenth—has been celebrated as nothing less than a “feminist” revolution in early modern Judaism. The first to depict it in this light was Samuel Abba Horodezky (1871–1957) who, in his four-volume Hebrew history of Hasidism, first published in 1923, claimed that “the Jewish woman was given complete equality in the emotional, mystical, religious life of Beshtian Hasidism” (vol. 4, 68). Horodezky’s account underlies virtually every subsequent treatment of the subject, whether in the popular, belletristic and semi-scholarly literature on the history of Hasidism, or in such works, mostly apologetic and uncritical, as have set out to discover and catalogue the achievements of prominent women throughout pre-modern Judaism. Notably, until relatively recently, Hasidic scholarship has totally ignored the subject, implicitly dismissing it as either marginal or insufficiently documented to permit serious consideration.

Shulamith Hareven

Shulamith Hareven was born in Warsaw on February 14, 1930, the daughter of Abraham Ryftin (born Warsaw 1899, died Jerusalem 1995) and Natalia Wiener (born Warsaw 1903, died Jerusalem, 1996). Her father was a lawyer and her mother a teacher. Making her debut with a book of poems, Predatory Jerusalem (Hebrew, 1962), Hareven never tired of exploring new artistic avenues, publishing nineteen Hebrew books in a variety of genres, including suspense fiction (under an androgynous pseudonym), and children’s literature (recently inspired by her (five) grandchildren).

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How to cite this page

Jewish Women's Archive. "Hebrew." (Viewed on September 22, 2018) <https://jwa.org/topics/hebrew>.

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