The maternal roles of Hanna Rovina
Familial-national imagination in the Yishuv during WWII
Bibliographic Data
| ID | 12535155 |
|---|---|
| Authors | Shelly Zer-Zion (0000-0001-6536-5930, Department of Theater, The University of Haifa, Haifa, Israel, corresponding author) |
| Year | 2020 |
| Volume | 38 |
| Issue | 1 |
| Pages | 173-189 |
| Publication date | 2020-01-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The Journal of Israeli History (JOURNAL) |
| Journal identifiers | ISSN: 1353-1042 • E-ISSN: 1744-0548 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/13531042.2020.1812020 |
| OpenAlex | W3081894573 |
| Language | EN |
| Citations received | 1 |
| References cited | 11 |
During the years of WWII, when Hanna Rovina was in her fifties, her cultural image as “the mother of the nation” coalesced in the Yishuv. This article explores this public image, while looking at two of her successful dramatic roles of that time, the title roles in Jacob Gordin’s Mirele Efros, Karel Čapek’s The Mother and an exemplary performance that she gave in Italy for the soldiers of the Jewish Brigade. These performances reveal how Rovina’s maternal image constructed the her as an ephemeral site of both intimate familial and ethnic national memory. The Jewish nation conceived of itself as a big family, with a specific, Eastern European collective biography and a clear center symbolized by the mother
Ancient history · Archaeology · Art history · Biography · Collective memory · Ethnic group · First world war · Genealogy · Judaism · Karel · Political science · Sociology · World War II · Anthropology · Balkans: History, Politics, Society · Central European Literary Studies · Gender Studies · History · Law · Memory, Trauma, and Commemoration
| Citations per year | 0.33 |
|---|---|
| Citation span | 2023 - 2023 (1) |
| Highly cited | No |