katalog-overlapping voices - Ritesinstitute

1 See my article in the book “merkaz veShulayim” (“Center and margins”) published by the mendel
Institute.
2 See my article in the book “merkaz uFeriferya” (“Center and Periphery”) published by The mendel
Institute.
3 See David Sorotzkin’s various articles dealing with reciprocal marking between jews and Christians
in Europe and the appearance that reciprocal definition among identity groups in jewry works also in
connection to self-definition in relation to processes in Christian society. In my opinion, it may be
said that the trend of assimilation he describes is also a form of self-disgust that was aided by rejection
of the other type of jew. See also the work of Aziza Kazoom, “Western Culture, Ethnic Labeling,
etc.”, “Sotsiologya Yisreelit” A (2) 1999; A. Raz Karkotzkin. “Teoria uViqoret” 4, 1993, 23-55, 5,
1994, 113-132; Sh. Hinski, “Eyes Wide Shut: Concerning the Acquired Albino Syndrome in the Field
of Israeli Art”, Teoria uViqoret 20, 2002.
4 G. Shalom ‘on Cogitations about jewish Wisdom’, in :Devarim beGo, Tel Aviv 1990, pp. 389-391.
5 Now see the book “Hafrada”.
6 I enlarge upon this in my paper ‘Place and Expanse: judaism and Israeliness’ (in the Scriptures).
7 Timna Rosenheimer documented this in her book “Home: Spaces, Dwellings, People, objects”, or
Yehuda 2001, matters first became known to me through this book.
8 Concerning the foundations of this vision of redemption, see Pedaya: ‘Changes in the Holy of Holies:
From the margins to the Center’, “mad’ei haYahadut 37”, 5757, pp. 53-110.
9 See also: Talia Rapaport, “Going Backwards about the ‘Dead Sea Project of Pinhas Cohen-Gan’
(1972-1984)”, (2) muzot 2, 1984, pp. 10-11.
10 In other terminology: the artist shaped and structured by class-related social contexts that does not
admit them and their analysis can reveal its location. This deals not necessarily or not only with the
content of the work, but rather its esthetic aspects that are prima facie devoid of a political nuance.
There is no intention of reading every artistic act in a solely social fashion.
11 orna oryan quotes miriam Sharon in her doctoral thesis (1980).
12 In her doctoral thesis, orna oryan insists that the jew is also perceived as bleeding.
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