Volume 3 (2014)

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Browsing Volume 3 (2014) by Subject "article"

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    Discovering The Holy Land's Historic Landscapes through Art: Peter Gluzberg, a Graduate of the Kharkiv Institute of Art and Design, in Israel
    (2014) Epstein, Alek D.
    His paintings, free of useless details and often quite small in size, seem to open windows on the walls, and once you look out such a window you will see all those fields and gardens, the Mediterranean sea and boats on its violent waves, the sky with rare clouds and almost all the colors of nature. You look at these paintings, and they carry you away and bring up the memories of the places we have been to and make you dream of the places that are yet to be discovered. Gluzberg not only paints but also works with many students, sharing his gift with them. Nine solo exhibitions of his art have been organized in nine towns of Israel, not to mention his participation in multiple collective exhibitions in various museums and galleries in Israel, Germany, Norway, France and other countries. Gluzberg’s art opens a door to the unique world of beauty and harmony, and that is a solid guarantee that his art will be appreciated and admired for years to come.
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    Hasidic Pilgrimage as a Cultural Performance: The Case of Contemporary Ukraine
    (2014) Marchenko, Alla
    In this article, principal attention is paid to the study of the Hasidic pilgrimage in contemporary Ukraine using the examples of two settlements, Uman and Medzhybizh.
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    Transformation of Poetical Lines of the Song at the Sea (Exod. 15:1-18, 21) in the Targum Onkelos
    (2014) Tsolin, Dmytro V.
    The translation technique of biblical poetry in the Targums has a unique character: on the one hand, it exhibits a tendency to imitate the original verse structure patterns; on the other hand, it possesses elements of original, distinctive poetical forms which have some resemblance to other poetic traditions of the period of Late Antiquity (e.g., Jewish liturgical poems and early Christian poetry in Syriac). In connection with this specificity a question arises: how does the targumic poetic paraphrase differ from its Hebrew original?
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    Transforming Ethical Behavior: The Musar Movement and the Care of the Self
    (2014) Blackmer, Corinne E.
    R. Israel ben Ze’ev Wolf Lipkin, better known as Israel Salanter (1810-1883), was born in Zhogory, Lithuania. He studied under the ethicist R. Yosef Zundel, whose teacher had been the Vilna Gaon. As a young man, Salanter observed that many Jews were punctilious in ritual but not in ethical observance - that “tradition” had become inertia and habit, routine and indifference, and mechanical performance and unself-consciousness. Regarding the Torah as the source of virtuous human relationships, he believed all the mitzvot were equally important. He found inspiration in the humble and ethical behavior of Zundel and the Vilna Gaon, and modeled himself after them. He became the principal founder and architect of the Musar Movement, which radiated from Lithuania, Poland, and Russia in the 19th century to much of the Ashkenazi Jewish world in the 20th.
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    Winged Image of the Divine: A Comparative Note on Catholic, Orthodox, and Jewish Art in Early Modern Ukraine
    (2014) Rodov, Ilia
    The issue of divine providence and protection became topical in mid-17th-century Ukrainian lands. The Greek Orthodox Ruthenians living in the epicenter of the encounter between the Catholic West, Christian Orthodox East, Protestant North, and Muslim South, sought religious and political allies. The struggle of the Ukrainian Cossacks against the Catholics entailed aggression towards their Jewish neighbors as well. When contemplating divine intervention in their destiny, the Ukrainians and Jews similarly transmitted their ideas through a visual model that represented - symbolically or figuratively - the celestial patron as if physically protecting the people under his outstretched limbs. The iconography was not newly invented, but adopted from the art of the two empires flanking the Ukrainian lands: the Holy Roman Empire of the Habsburgs and the Muscovite Tsardom. Jews and Christians derived this metaphor from the same biblical sources: Exod. 19:4, which recounts God’s protection of the exodus of the Israelites from Egypt, “I bear you on eagles’ wings, and brought you unto myself,” and Deut. 32:11, which allegorizes God’s providence as an image of the eagle who “stirs up her nest, flutters over her young, spreads abroad her wings, takes them, bears them on her wings.” Yet, in a departure from biblical discourse, both Christian and Jewish artists rendered the symbolic eagle as double-headed. Occasionally, Ukrainian artists also applied the symbolic protective wings to other divine figures. A comparison of the genesis and message of that imagery is the subject of this paper.