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Keywords = American-Jewish poetry

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20 pages, 318 KiB  
Article
Commemorating the Nameless Wives of the Bible: Midrashic Poems by Contemporary American-Jewish Women
by Anat Koplowitz-Breier
Religions 2020, 11(7), 365; https://doi.org/10.3390/rel11070365 - 17 Jul 2020
Cited by 1 | Viewed by 3476
Abstract
A proper name individualizes a person, the lack of it making him or her less noticeable. This insight is apt in regard to the nameless women in the Hebrew Bible, a resolutely androcentric work. As Judaism traditionally barred women from studying, many Jewish [...] Read more.
A proper name individualizes a person, the lack of it making him or her less noticeable. This insight is apt in regard to the nameless women in the Hebrew Bible, a resolutely androcentric work. As Judaism traditionally barred women from studying, many Jewish feminists have sought access to the Jewish canon. Much of American-Jewish women’s poetry can thus be viewed as belonging to the midrashic-poetry tradition, attempting to vivify the biblical women by “revisioning” the Bible. This article examines two nameless wives who, although barely noted in the biblical text, play a significant role in their husbands’ stories—Mrs. Noah and Mrs. Job. Although numerous exegetes have noted them across history, few have delved into their emotions and characters. Exploration of the way in which contemporary Jewish-American poets treat these women and connect them to their own world(s) is thus of great interest to both modern and biblical scholars. Herein I focus on five poets: Elaine Rose Glickman (“Parashat Noach”), Barbara D. Holender (“Noah’s Wife,” and “Job’s Wife”), Oriana Ivy (“Mrs. Noah,” and “Job’s Wife”), Shirley Kaufman (“Job’s Wife”), and Sherri Waas Shunfenthal (“Noah’s Wife Speaks,” “The Animals are our Friends,” “Time,” and “Arc of Peace”). Full article
15 pages, 253 KiB  
Article
Déjà Vu: Shirley Kaufman’s Poetry on Biblical Women
by Anat Koplowitz-Breier
Religions 2019, 10(9), 493; https://doi.org/10.3390/rel10090493 - 21 Aug 2019
Cited by 2 | Viewed by 3537
Abstract
This article explores Shirley Kaufman’s reading of the Bible as an elaboration on/of its feminine characters via three devices: (a) Dramatic monologues, in which the woman speaks for herself (“Rebecca” and “Leah”); (b) description of specific scenes that gives us a glimpse into [...] Read more.
This article explores Shirley Kaufman’s reading of the Bible as an elaboration on/of its feminine characters via three devices: (a) Dramatic monologues, in which the woman speaks for herself (“Rebecca” and “Leah”); (b) description of specific scenes that gives us a glimpse into the character’s point of view (“His Wife”, “Michal”, “Abishag”, “The Wife of Moses”, “Yael”, and “Job’s Wife”); and (c) interweaving of the biblical context into contemporary reality (“Déjà Vu” and “The Death of Rachel”). Fleshing these figures out, Kaufman portrays the biblical women through contemporary lenses as a way of “coming to terms with the past” and the historical exclusion of “women’s bodies” from Jewish tradition, thereby giving them a voice and “afterlife”. Her treatment of the biblical texts can thus be viewed as belonging to the new midrashic-poetry tradition by Jewish-American women that has emerged as part of the Jewish feminist wave. Herein, Kaufman follows Adrienne Rich and Alicia Ostriker’s “re-visioning” of the Bible and in particularly its women, empowering them by making use of her/their own words. Full article
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