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Hebrew Poetry of the Middle Ages and the Renaissance (review)

Hebrew Poetry of the Middle Ages and the Renaissance (review) SHOFAR Palestinians may come as a shocking surprise, even for those who keep up with the daily news. In addition to the' strictly political issues, Pogrebin also reflects upon various cultural phenomena which helped form her self-identity, most specifically the movies. She correctly identifies prevailing stereotypes and bemoans the limited images available for identification. But here, as elsewhere, her personal responses substitute for a thoroughgoing analysis. Her thumbnail sketch of the representation of Jewish women as presented by Hollywood is selective and incomplete. Although Pogrebin's experience in the movie theater may be familiar to many readers, it is only one possible response out of a multitude, and certainly the self-image we develop as Jewish women is happily more complex than what was provided by Hollywood. But this is to quibble. Pogrebin ends her book with a reaffirmation of the difficult and often frustrating process of dialogue. It is not a perfect process. Pogrebin's book, consciously or unconsciously, is an extension of this methodology and thus serves to open up rather than to summarize issues. In this respect it provides a valuable function at this moment in history. Patricia Brett Erens Department ofCommunication Arts & Science Rosary College Hebrew http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Shofar: An Interdisciplinary Journal of Jewish Studies Purdue University Press

Hebrew Poetry of the Middle Ages and the Renaissance (review)

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Publisher
Purdue University Press
Copyright
Copyright © Purdue University.
ISSN
1534-5165
Publisher site
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Abstract

SHOFAR Palestinians may come as a shocking surprise, even for those who keep up with the daily news. In addition to the' strictly political issues, Pogrebin also reflects upon various cultural phenomena which helped form her self-identity, most specifically the movies. She correctly identifies prevailing stereotypes and bemoans the limited images available for identification. But here, as elsewhere, her personal responses substitute for a thoroughgoing analysis. Her thumbnail sketch of the representation of Jewish women as presented by Hollywood is selective and incomplete. Although Pogrebin's experience in the movie theater may be familiar to many readers, it is only one possible response out of a multitude, and certainly the self-image we develop as Jewish women is happily more complex than what was provided by Hollywood. But this is to quibble. Pogrebin ends her book with a reaffirmation of the difficult and often frustrating process of dialogue. It is not a perfect process. Pogrebin's book, consciously or unconsciously, is an extension of this methodology and thus serves to open up rather than to summarize issues. In this respect it provides a valuable function at this moment in history. Patricia Brett Erens Department ofCommunication Arts & Science Rosary College Hebrew

Journal

Shofar: An Interdisciplinary Journal of Jewish Studies – Purdue University Press

Published: Oct 3, 1992

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