Yair Lipshitz
Biographic Data
| ID | 6488300 |
|---|---|
| NAME | Yair Lipshitz |
| GIVEN NAMES | Yair |
| FAMILY NAME | Lipshitz |
| SIGNATURE | LIPSHITZ Y |
| AFFILIATIONS | Tel Aviv University |
| ORCID | 0000-0003-2339-4084 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Goldfaden's Shulamis and Modern Performance of Mishnaic Ritual
Goldfadens Shulamis and Modern Performance of Mishnaic Ritual
‘Why Were Our Yemenite Brothers Insulted?’
The article traces the production and reception of Love as Strong as Death, a dramatization of the Song of Songs that was performed in Mandatory Palestine in the years 1940–42 by a group of Yemenite Jewish actors. We argue that the tensions between the actors’ amateur status and their image as embodying a long-lost Biblical heritage were emblematic of the inherent contradictions within the hegemonic Ashkenazi Zionist discourse and the Orientalist…
The messianic temporality of theatre in I. L. Peretz’s At Night in the Old Marketplace
Theatre, as an art form that unfolds through time and moulds temporal experience, engages with its surrounding culture’s temporal imagination, the ways in which society conceives time, its movement, structures, and meaning. I. L. Peretz’s enigmatic and avant-garde Yiddish drama, At Night in the Old Marketplace, utilizes this potential of the theatre to tackle the question of messianic time and the ways in which it can be realized on the stage. By…
‘This Is a Historical Israeli Play’
This article traces the reception of Oscar Wilde's play Salomé in Israeli theatre by focusing on the engagement of two artists – writer and translator Pinchas Sadeh and theatre director Ofira Henig – with the play at two different periods. In Salomé , Wilde utilizes his perception of Judaism, as well as the Song of Songs, for the creation of a theatrical space in which spectatorship and ownership are subverted and displaced. At the same time, iro…
No prominent works on this page.
‘This Is a Historical Israeli Play’
This article traces the reception of Oscar Wilde's play Salomé in Israeli theatre by focusing on the engagement of two artists – writer and translator Pinchas Sadeh and theatre director Ofira Henig – with the play at two different periods. In Salomé , Wilde utilizes his perception of Judaism, as well as the Song of Songs, for the creation of a theatrical space in which spectatorship and ownership are subverted and displaced. At the same time, iro…
The messianic temporality of theatre in I. L. Peretz’s At Night in the Old Marketplace
Theatre, as an art form that unfolds through time and moulds temporal experience, engages with its surrounding culture’s temporal imagination, the ways in which society conceives time, its movement, structures, and meaning. I. L. Peretz’s enigmatic and avant-garde Yiddish drama, At Night in the Old Marketplace, utilizes this potential of the theatre to tackle the question of messianic time and the ways in which it can be realized on the stage. By…
Goldfaden's Shulamis and Modern Performance of Mishnaic Ritual
Goldfadens Shulamis and Modern Performance of Mishnaic Ritual
‘Why Were Our Yemenite Brothers Insulted?’
The article traces the production and reception of Love as Strong as Death, a dramatization of the Song of Songs that was performed in Mandatory Palestine in the years 1940–42 by a group of Yemenite Jewish actors. We argue that the tensions between the actors’ amateur status and their image as embodying a long-lost Biblical heritage were emblematic of the inherent contradictions within the hegemonic Ashkenazi Zionist discourse and the Orientalist…
Art (3 works) · History (3 works) · Aesthetics (2 works) · Jewish and Middle Eastern Studies (2 works) · Judaism (2 works) · Literature (2 works) · Philosophy (2 works) · Sociology (2 works) · Ancient history (1 work) · Cinema and Media Studies (1 work)