Shulamit Reinharz

In her interesting chapter, Felister Nyaera Nkangi broadens the focus from arguments about female genital mutilation as a harmful cultural practice to examine how to create social change, that is, how to persuade all the relevant actors to abandon the practice, a custom so ingrained in people's lives that, she reports, "97% of Kenyan Abagusii amputate girls' genitalia." How do you go from 97% to 0%?

"100 Jewish Brides: Stories from Around the World collects stories of Jewish weddings in 84 countries from across the globe and throughout history. These stories are reflections of the way people understand Jewish marriage ceremonies-with their joys, strains, and variations. The stories cover ethnically, geographically, and historically diverse contributions, highlighting the similarities and differences of marriage celebrations across the Jewish diaspora, covering subjects from courtship and betrothal to the Ketubah and the ceremony itself. 100 Jewish Brides offers a glimpse into the stories that brides tell about their weddings and how they placed their weddings within the larger narrative of their lives. It represents a chance to learn how Jewish life was and is actually lived around the world by hearing about women's activities and listening to their voices"-- "100 Jewish Brides: Stories from Around the World collects stories of Jewish weddings in 84 countries from across the globe and throughout history. These stories are reflections of the way people understand Jewish marriage ceremonies-with their joys, strains, and variations.The stories cover ethnically, geographically, and historically diverse contributions, highlighting the similarities and differences of marriage celebrations across the Jewish diaspora, covering subjects from courtship and betrothal to the Ketubah and the ceremony itself.100 Jewish Brides offers a glimpse into the stories that brides tell about their weddings and how they placed their weddings within the larger narrative of their lives. It represents a chance to learn how Jewish life was and is actually lived around the world by hearing about women's activities and listening to their voices"-- Includes bibliographical references and index

This chapter has several parts: Social Memory of Genocide as a Jewish Responsibility; Genocide as a Continuing Phenomenon; Genocide as an Area of Research; Genocide Stage Theory; Three Innovations for Genocide Stage Theory; Augmenting Stanton’s 10 Stages; and a brief Conclusion. Religious texts and annual holidays within Jewish life reinforce the importance of remembering Jewish history. The Holocaust is the focus of much, but not all, of this memory work. Remembering the Holocaust assiduously, however, has not prevented the occurrence of numerous genocides since the end of World War II. Genocide analyst, Gregory Stanton’s stage theory describes how genocide unfolds. This chapter augments his model with three additional ideas: silencing dissent, forming alliances, and apologizing publicly.

This book concerns the music and musical practices of a select group of Jewish singer-songwriters in the United States, who consider themselves and their music to be feminist and Jewish. Because of this and for practical reasons, the purpose of this book is not to provide hard representative data about each feminist Jewish singer-songwriter in the United States. Rather, it seeks to impart their and my understanding of and reflections on the flavor of the interrelationships of some singer-songwriters who collectively constituted the feminist Jewish music scene in the United States between the 1960s and the 2000s, and a

I am writing to give you an idea, Hillary, for salvaging your connection with young women so that you can win the primaries in the many states ahead of you. But first, an anecdote that foreshadowed this controversy between the feminist generations. In September 2015, the Hadassah-Brandeis Institute invited Letty Cottin Pogrebin to have a public conversation with Anita Hill, who, as you know, is a distinguished university professor at Brandeis. The audience included fabulous women in their 60’s and up, and terrific women of college age. By the time the conversation was over, the older women of the second feminist wave were astonished and the younger women of the third wave were insulted. Little did I realize that this event would portend the future and the primary elections.

“LOVE,” “MARRIAGE,” AND “FAMILY,” are fluid concepts.¹ Legal, economic, social, and religious attitudes vary significantly in different times and places, and discrete societies construct divergent normative gender roles, sexual interactions, and family arrangements. Many today regard the 1950s affection-based Western nuclear family as the “conventional” model of family life, but social scientists have argued for decades that the companionate marriage based on emotional satisfaction and romantic love was itself a significant departure from earlier historical formulations.² Today, that nuclear model has declined, and concepts of marriage have undergone “a transition from the companionate marriage to what we might call the

The HBI (Hadassah-Brandeis Institute) Series on Jewish Women is pleased to present this volume, edited and with an Introduction by the HBI co-director, Sylvia Barack Fishman. The Introduction and thirteen essays that comprise Love, Marriage and Jewish Families are fascinating and illustrate the continuous morphing of family forms among generations and contexts. Take for example the 1960s Broadway musical, “Fiddler on the Roof,” which reworks Sholom Aleichem’s depiction of the changing Jewish family in the Russian Pale of Settlement in the early twentieth century. Golde, the play’s middle-aged wife and mother, responds to her husband’s question, “Do you Love Me?”