A Little Golden Book edition of the story of Hanukkah--a great holiday read-aloud for the whole family! It's Hanukkah time! Preschoolers will learn all about how people celebrate Hanukkah--from eating latkes, spinning dreidels, and lighting the menorah. And they'll also learn why they celebrate--from the destruction of the Temple, the bravery of the Maccabees, and the miracle of that little bit of oil that lasted for eight nights. Filled with colorful illustrations and simple, yet informative text, this Little Golden Book is perfect for reading again and again. Share it with your family this Hanukkah!
Beginning pianists will take delight in playing these favorite Hebrew melodies. Each has the Hebrew lyrics, a short explanation about the history or significance of the piece, and an optional duet accompaniment. Titles: * Chanukah * My Dreidel * Dayeinu * Haman, a Wicked Man * Hatikvah (The Hope) * Ose Shalom and more.
David and Renee Karp have provided a late elementary/intermediate collection that features the best-known Hebrew songs. Titles are grouped by category (Chanukah, Passover, Purim, Folk, Liturgical), with easy-to-read explanations of each. This is a practical, functional book for those who know the songs, and a valuable resource for others who want to become familiar with songs of the Jewish heritage. Lyrics and guitar chord symbols are included.
New perspectives on Anglo-Jewish history via the poetry and song of Yiddish-speaking immigrants in London from 1884 to 1914. Archive material from the London Yiddish press, songbooks, and satirical writing offers a window into an untold cultural life of the Yiddish East End. Whitechapel Noise: Jewish Immigrant Life in Yiddish Song and Verse, London 1884–1914 by Vivi Lachs positions London’s Yiddish popular culture in historical perspective within Anglo-Jewish history, English socialist aesthetics, and music-hall culture, and shows its relationship to the transnational Yiddish-speaking world. Layers of cultural references in the Yiddish texts are closely analyzed and quoted to draw out the complex yet intimate histories they contain, offering new perspectives on Anglo-Jewish historiography in three main areas: politics, sex, and religion. The acculturation of Jewish immigrants to English life is an important part of the development of their social culture, as well as to the history of London. In part one of the book, Lachs presents an overview of daily immigrant life in London, its relationship to the Anglo-Jewish establishment, and the development of a popular Yiddish theatre and press, establishing a context from which these popular texts came. The author then analyzes the poems and songs, revealing the hidden social histories of the people writing and performing them. For example, how Morris Winchevsky’s London poetry shows various attempts to engage the Jewish immigrant worker in specific London activism and political debate. Lachs explores how themes of marriage, relationships, and sexual exploitation appear regularly in music-hall songs, alluding to the changing nature of sexual roles in the immigrant London community influenced by the cultural mores of their new location. On the theme of religion, Lachs examines how ideas from Jewish texts and practice were used and manipulated by the socialist poets to advance ideas about class, equality, and revolution; and satirical writings offer glimpses into how the practice of religion and growing secularization was changing immigrants’ daily lives in the encounter with modernity. The detailed and nuanced analysis found in Whitechapel Noiseoffers a new reading of Anglo-Jewish, London, and immigrant history. It is a must-read for Jewish and Anglo-Jewish historians and those interested in Yiddish, London, and migration studies.
This collection of 34 songs and dances presents a cross-section of some of the best known Hebrew music, ranging from liturgical and folk (including three Yiddish songs) to the festive holidays and the High Holidays. Carefully researched for accuracy and authenticity, the music is grouped by categories (such as Chanukah, folk, liturgical, Passover, Yiddish, and wedding), each with historical information included. With lyrics, translations, guitar chords, and a pronunciation guide. Federation Festivals 2011-2013 selection.
(Willis). A piano series for the early beginner combining rote and note approach. The melodies are written with careful thought and are kept as simple as possible, yet they are refreshingly delightful. All the music lies within the grasp of the child's small hands.
This book is a collection of letters from a religious Jew in Israel to a Christian friend in Barcelona on life as an Orthodox Jew. Equal parts lighthearted and insightful, it's a thorough and entertaining introduction to the basic concepts of Judaism.
Why is the Jewish New Year designated on the Jewish calendar as the first day of the seventh month, and not of the first month? Why do women cover their eyes when reciting the blessing over the Sabbath candles? How did the Seder originate? Does the Book of Esther, read on Purim, mirror any real historical events? Long considered a classic, The Jewish Festivals provides a rich and charming account of the origins, development, and symbolism of the Jewish holidays, and of the diverse rituals, prayers, ceremonial objects, and special foods that have been used throughout history and around the world to celebrate them. Drawing upon a wealth of knowledge of Jewish folkways and customs, Hayyim Schauss shows how these holidays evolved in meaning and importance, depending on the contemporary needs of those who observed them. Written with passion and warmth, this book will infuse your own experience of the holidays with extra meaning and delight.
From its inception at the time of the Enlightenment until the mid-twentieth century, the historical-critical method constituted the dominant paradigm in Old Testament studies. In this magisterial overview, Niels Peter Lemche surveys the development of the historical-critical method and the way it changed the scholarly perception of the Old Testament. In part 1 he describes the rise and influence of historical-critical approaches, while in part 2 he traces their decline and fall. Then, in part 3, he discusses the identity of the authors of the Old Testament, based on the content of the literature they wrote, demonstrating that the collapse of history does not preclude critical study. Part 4 investigates the theological consequences of this collapse and surveys Old Testament and biblical theology in its various manifestations in the twentieth century. An appendix includes a history of Palestine from the Stone Age to modern times, constructed without recourse to the Old Testament.
