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Author: Samuel Barnai

1 The Early Postwar Years Jewish life during the early postwar years in Lithuania can be divided into several stages. The first began just after the liberation of the country from Nazi occupation, and lasted until 1948. This period was a time of the revival of the Jewish community, the

In: The History of Jews in Lithuania

even liberal, republic of individuals, which emphasized the centrality of the individual and his right to conduct his life according to his own interpretation of the terms of religion and tradition. This dramatic new move was best expressed by the phrase “Be a Jew at home and a Man outside”, formulated

In: The History of Jews in Lithuania
Author: Bruce Thompson

the street paintings of Ernst Ludwig Kirchner, the most famous of which, Der Potsdamer Platz (1914) is set in the milieu of the Wertheim store. Simmel’s famous essays “The Metropolis and Mental Life” and “The Stranger” provide the interpretive keys to Kirchner’s representation of a street life that

In: IMAGES
Author: Matthew Baigell

entertaining ghetto scenes, as in the paintings of Jerome Myers and George Luks rather than those showing this particular underside of immigrant life. As a result, sweatshop scenes were left to journalist photogra- phers such as Jacob Riis and left-wing artists such as William Gropper whose works evolved from

In: IMAGES
Author: Eugeny Kotlyar

centuries of living the Russian Jewish way of life and held on the eve of the dramatic transformation of the country into a new society—the future Soviet Union. The book’s pictures clearly bore out its didactic approach and introduced the reader to the Jewish artistic tradition, which had by that time taken

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In: IMAGES

in the United States, Remember and Save archivists (who call themselves activists) are volunteer workers, including the Executive Director. A feeling of urgency motivates these activist-archivists, reflected in the remarks posted on the website of Remember and Save: “Time is running out. Many

In: IMAGES

portraits play a role in the construction of the collective memory of a Hasidic master and promote speci fi c modes of visu- alization. Finally, the social life of pictures—their production, distribution, collection, and the long shadow they cast over future representation—o ff ers insight into the various

In: IMAGES

with the professional art establishment or not. They argued that Israeli art served a special function within American life and that American Jews had a unique mission to fulfi ll as champions of Israeli art. American Jewish Impresarios of Israeli Art As organizers and observers of the fi rst

In: IMAGES
Author: Jonathan Bordo

). Finally, W.G. Sebald has made ruins and the quest for redemption in ruins, the topic of his literary life work. His last work is a genealogy of the ruins of German cities. Toward the end of that work, Sebald cautions his (German) readers with the following reminder: The majority of Germans today know, or

In: IMAGES

society. Moreover, as Rivera declared in a much-cited quote: “My Jewishness is the dominant element in my life. From this has come my sympathy with the downtrodden masses which motivates all my work.” 17 By implicitly invoking the notion, widespread at the time, that to be a Jew was to be a revolutionary

In: IMAGES