Yiddish Language and Literature Commons^™

Stages Of Belonging: The Yiddish Art Theatre’S Search For Its Home In New York City, 1918-1934, Octavia Chudnow

Lawrence University Honors Projects

In the first decades of the twentieth century, the main form of entertainment for the Jewish immigrant community was shund (trash) theater: popular and commercial theater. Although many immigrants enjoyed this kind of entertainment, playwrights, artists, and intellectuals critiqued its place in immigrants’ lives, especially since shund revealed the process of assimilation and was considered low-brow art. In 1918, Maurice Schwartz opened the Yiddish Art Theatre to create high-brow art for Jewish audiences. In my essay, I focus on the company’s history between 1918 and 1934, on the theater’s move from downtown to Midtown and back to the Lower East …

Apocalypse Of Hannah, Maksim Astashinskiy

Faculty Papers and Publications

Alexander Sperber edited the fifteenth-century Ms. Or. 2210, which is the basis of this text. See: “Or 2210,” British Library, Digitised Manuscripts, accessed January 4, 2022, https://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Or_2210. Also, see: Alexander Sperber, The Bible in Aramaic. Volume II: The Former Prophets according to Targum Jonathan (Leiden: Brill, 1959), 96–98; H. Barnstein, “A Noteworthy Targum MS. in the British Museum,” The Jewish Quarterly Review 11, no. 1 (1898), 167–171, https://www.jstor.org/stable/pdf/1450407.pdf.

A Rabbinic Exegesis Of Halleluyah's Etymology, Maksim Astashinskiy

Faculty Papers and Publications

Pointed text is from Mishnah Pesachim, Open Mishnah, Sefaria: A Living Library of Jewish Texts Online, accessed April 19, 2019, https://www.sefaria.org/texts/Mishnah; or, see A Passover Haggadah, As commented upon by Elie Wiesel (New York: Simon & Schuster, 1993), 69–70.

The Aramaic text is from: “Talmud Bavli,” in The William Davidson Talmud, The William Davidson Digital Edition of the Koren Noé Talmud (Jerusalem: Koren Publishers), Sefaria: A Living Library of Jewish Texts Online, 117a, accessed April 10, 2019, https://www.sefaria.org/texts/Talmud.

“Das Muttermal” - “The Birthmark” - “דער מוטער־צײכן”, Kristin K. Mlay-Kuhns

Vernacular: New Connections in Language, Literature, & Culture

“Das Muttermal / The Birthmark / דער מוטער־צײכן” is a trilingual work of transcreative poetry that stages translation as a method of mourning, cultural memory, and feminist inheritance. Composed first in German and then translated into English and Yiddish, the poem explores the catastrophic rupture of maternal loss and the slow transformation of trauma into understanding. The central metaphor of the birthmark—Muttermal, the “mother-mark”—figures the maternal body as both wound and connective tissue, binding ancestors and descendants through a physical trace that persists across generations, geographies, and languages. Formally, the project demonstrates how translation unveils the layered meanings embedded in …

Codenames For Language Courses, Jeffrey Nolan Mcculley, Chloe Bennett

UTA Libraries Staff Publications - Archive

In this lesson, students deepen their proficiency in the target language by designing and implementing a foreign-language edition of the game Codenames. Drawing on their understanding of vocabulary, semantics, and cultural nuance, students adapt game components and rules to account for language-specific challenges such as word ambiguity, cognates, homophones, and idiomatic meaning. Through collaborative gameplay, students actively apply linguistic knowledge in a communicative, problem-solving context that emphasizes precision and strategic language use. The lesson promotes critical thinking, intercultural competence, and authentic language practice while reinforcing vocabulary acquisition and comprehension in an engaging, student-centered format.