Heilman indicates. Anyone who says something like that is an outlier.
Jerusalem: The Van Leer Institute, forthcoming. Shop Books. Retail Price:. Even after that, according to one synagogue official, roughly 30 people a day kept calling, begging for tickets. Error rating book. Jonathan Freed marked it as to-read Mar 26, The pervasive fear of frumkeit religiosity may surprise some, as the emotionalism Rubel finds transcends mere arguments 'between liberalism and traditional societal formations,' articulated not only by 'secularists who are afraid that the ultra-Orthodox are stealing their kids,' but by traditionalists who worry, 'even if your kitchen is kosher, it might not be kosher enough for your own children.
If Mr. In fact, it is quite an inclusive term.
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The central points in these chapters--that the rift between liberal and Orthodox Jews is seen most clearly in attitudes about the place of women in Judaism and that American Jews are famously liberal and tolerant, except when it comes to ultra-Orthodox Jews--are fair and well taken. She also correctly notes the irony inherent in modern Orthodox and liberal frustration over the rightward trend in Judaism, when so many liberal Jews choose to fund Orthodox institutions and so many modern Orthodox day schools employ teachers with ultra-Orthodox leanings.
Overall this is a lucid, well-written, and clearly argued book, one that is blissfully free of the critical jargon of so many works of literary criticism.
abateromud.tk: Doubting the Devout: The Ultra-Orthodox in the Jewish American Imagination (Religion and American Culture) (): Nora L Rubel. Editorial Reviews. Review. A lucid, well-written, and clearly argued book, (Wendy Zierler abateromud.tk: Doubting the Devout: The Ultra-Orthodox in the Jewish American Imagination (Religion and American Culture) eBook: Nora L Rubel.
In large measure, however, this is because it is not a work of literary criticism. The scholarly methodology at work here comes from the fields of comparative American religious studies, sociology, and history.
These are interesting and valuable sources. That said, as a study of literary representation, this book would have been considerably enriched by a deeper grounding in Jewish literary studies. Rubel writes about Ragen and Yakin in terms of the gothic captivity narrative, but offers little to no literary or feminist critical background on the female gothic genre despite the plethora of available material.
Perhaps most significant, the book lacks a certain sensitivity to the multifarious meanings of literary texts. In general, Rubel reads these novels and stories in a univalent way, mining them for quotations that capture antagonism toward Orthodox Jews, without noting the many ambivalences in the text, the sense of mystery, shifting identity, and the opening up of possibility that characterize good fiction. When it came to the fringe members of his own faith, Mel could remain calm and rational; he could not respect differences, but sped past, silently screaming.