Amidst the growing forums of kinky Jews, orthodox drag queens, and Jewish geisha girls, we find today's sexy Jewess in a host of reflexive plays with sexed-up self-display. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. But why does "sexy" work to update tropes of the Jewish woman? And how does sex link to humor in order for this update to work? Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

Publisher Description

“More than a national treasure, he’s a secret weapon. If we had had Gilbert Gottfried in World War II, Hitler would have given up in 1942.” —Stephen King In the early 1970s, as our nation’s youth railed against every conceivable societal norm, a funny-looking teenage Jew started turning up at open mike nights in various New York City comedy clubs. Surprisingly, he didn’t suck. That funny-looking teenage Jew is now the even funnier-looking middle-aged comedian Gilbert Gottfried, who despite his transparent shortcomings has managed to carve out a hardly-respectable career—and a reputation for shock and awe unrivaled outside the Bush administration. With this scathingly funny book of rants and musings, Gottfried sullies an entirely new medium with his dysfunctional worldview. Hilarious highlights include: Gut-wrenching stories from his bizarre childhood A list of celebrities Gilbert would like to have sex with A somewhat shorter list of celebrities who would like to have sex with Gilbert An even shorter list of Gilbert’s comely co-stars who have been forced to have sex with him on-screen Side-splitting tales of the worst gigs he’s ever performed Incredibly awkward encounters with famous people from Gilbert’s years as a celebrity (of sorts), including Harrison Ford, Kiefer Sutherland, Hugh Hefner and one wildly offensive exchange with Marlee Matlin that left the actress speechless Signature takes on timeless jokes, presented in a clip ‘n’ save format so humorless readers can commit them to memory or tear them from the book’s spine and carry them around in their wallets to amuse their friends The story behind Gilbert’s infamous retelling of the classic “Aristocrats” routine that defined the most recent phase of his career And much more!

Examines the works of key Jewish American authors to explore how the concept of identity is put to work by identity-based literary study.

The last thing zaftig middle-aged journalist, Rhoda Ginsburg, expects when she signs up for JDate is to fall for a vampire. But when she meets drop-dead gorgeous Sheldon, a Hasidic vampire, she falls hard. She rationalizes that he may not be alive, but at least he's Jewish. Desperate to save the life of her terminally ill mother, Rhoda comes up with the crackpot idea of getting Sheldon to turn her and her little old Jewish lady friends into vampires. Who knew that they would "go rogue" and start preying on the young? Erica Manfred's wry humor is the perfect match for the sexy-vampire genre in this novel about the emotional intricacies of dating a hot Jewish guy who is a card-carrying member of the undead. Delicious!" -Nancy Peske, coauthor of the bestselling Cinematherapy series "Bloodaholics! Only Erica could think of this. Clever, clever, clever."- -Avigayil Lansmann, contributor to The Meta Arts Magazine. With wild irreverent humor this book turns upside down and sideways all the vampire clichés and stock images. Jewish vampires keeping kosher, old lady vampires on the prowl. Above all, it's fun! -Rachel Pollack, author of World Fantasy Award winner Godmother Night www.interviewwithajewishvampire.com

V.I:Aach-Apocalyptic lit.--V.2: Apocrypha-Benash--V.3:Bencemero-Chazanuth--V.4:Chazars-Dreyfus--V.5: Dreyfus-Brisac-Goat--V.6: God-Istria--V.7:Italy-Leon--V.8:Leon-Moravia--V.9:Morawczyk-Philippson--V.10:Philippson-Samoscz--V.11:Samson-Talmid--V.12: Talmud-Zweifel.

Jewish choreographers have not only been vital contributors to American modern and postmodern dance, but they have also played a critical and unacknowledged role in American Jewish culture. This book delineates this rich history, demonstrating how, over the twentieth century, dance enabled American Jews to grapple with identity, difference, cultural belonging, and pride.

The tale of friendship between two people, one Israeli and one Palestinian, that symbolizes the hope for peace in the Middle East. “Makes an incredibly complicated topic comprehensible.”--School Library Journal In 1967, a twenty-five-year-old refugee named Bashir Khairi traveled from the Palestinian hill town of Ramallah to Ramla, Israel, with a goal: to see the beloved stone house with the lemon tree in its backyard that he and his family had been forced to leave nineteen years earlier. When he arrived, he was greeted by one of its new residents: Dalia Eshkenazi Landau, a nineteen-year-old Israeli college student whose family had fled Europe following the Holocaust. She had lived in that house since she was eleven months old. On the stoop of this shared house, Dalia and Bashir began a surprising friendship, forged in the aftermath of war and later tested as political tensions ran high and Israelis and Palestinians each asserted their own right to live on this land. Adapted from the award-winning adult book and based on Sandy Tolan's extensive research and reporting, The Lemon Tree is a deeply personal story of two people seeking hope, transformation, and home.

Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow illustrates the ways in which Sokolow's choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s-1960s in the United States, Mexico, and Israel. Drawing upon extensive archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow's statements for workers' rights, anti-racism, and the human condition through her choreography for social change alongside her dancing and teaching for Martha Graham. Tracing a catalog of dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies the Negro Cultural Committee, New York State Committee for the Communist Party, Federal Theatre Project, Nuevo Grupo Mexicano de Cl sicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow's work in conjunction with developments in ethnic definitions, diaspora, and nationalism in the US, Mexico, and Israel.

Presenting for the first time Akim Volynsky's (1861-1926) pre-balletic writings on Leonardo da Vinci, Fyodor Dostoevsky, Otto Weininger, and on such illustrious personalities as Zinaida Gippius, Ida Rubinstein, and Lou Andreas-Salome, And Then Came Dance provides new insight into the origins of Volynsky's life-altering journey to become Russia's foremost ballet critic. A man for whom the realm of art was largely female in form and whose all-encompassing image of woman constituted the crux of his aesthetic contemplation that crossed over into the personal and libidinal, Volynsky looks ahead to another Petersburg-bred high priest of classical dance, George Balanchine. With an undeniable proclivity toward ballet's female component, Volynsky's dance writings, illuminated by examples of his earlier gendered criticism, invite speculation on how truly ground-breaking and forward-looking this critic is.