![the Open Siddur Project [logo]](https://opensiddur.org/wp-content/uploads/2018/09/Open-Siddur-Project-Logo-2016.svg){kind=logo} the Open Siddur Project ✍︎ פְּרוֹיֶקְט הַסִּדּוּר הַפָּתוּחַ
a community-grown, libre Open Access archive of Jewish prayer and liturgical resources
This project is sustained through reciprocity for those sharing prayers and crafting their own prayerbooks.
Upload Work ✶ Donate ✶ Giftshop בסיעתא דשמיא |
שָּׁבוּעַ שֶׁל אַחְוָה לְאֻמִּית | National Brotherhood Week (in Israel), an adaptation of Tom Lehrer’s song by Isaac Gantwerk Mayer Contributor(s):A satirical look at contemporary Israeli civil society in Hebrew and English, as adapted from Tom Lehrer’s sardonic “National Brotherhood Week” (1965). . . . Contributor(s):“National Brotherhood Week” by Tom Lehrer was first released on his album “That Was The Year That Was” (1965). National Brotherhood Week in February was first established in the 1930s by the National Conference of Christians and Jews as a means of promoting the values of inter-religious tolerance and civic interdependence. The week gained federal support from President Franklin Roosevelt during World War Ⅱ as a means of combatting fascist and nativist objections to a vision of democracy built on the foundation of a multicultural civil society. By the time Tom Lehrer lampooned the civic commemoration in 1965, the McCarthyite oppressions of the Red Scare and Lavender Scare during the Cold War, the manufactured Vietnam War, lingering anti-Semitic prejudice and suspicion, the continued struggle for civil rights with its continued lynchings, the assassination of JFK and increasing political violence had all exposed National Brotherhood Week for many young adults as phony, a historical relic that had lost the import of any cultural imperative it might have once possessed. . . . בּרידער | “Brothers” – Y.L. Peretz’s Sardonic Rejoinder to Friedrich Schiller’s Paean to Universal Enlightenment, An die Freude (Ode to Joy) Contributor(s):Y.L. Peretz rejected cultural universalism, seeing the world as composed of different nations, each with its own character. Liptzin comments that “Every people is seen by him as a chosen people…”; he saw his role as a Jewish writer to express “Jewish ideals…grounded in Jewish tradition and Jewish history.” This is Peretz’s lampoon of the popularity of Friedrich Schiller’s idealistic paean made famous as the lyrics to the climax of Beethoven’s Ninth Symphony. . . . Contributor(s):“Prinzessin Sabbat” by Heinrich Heine, in Romanzero III: Hebraeische Melodien, (“Princess Shabbat,” in Romanzero III, Hebrew Melodies.), 1851 was translated into English by Margaret Armour (1860-1943), The Works of Heinrich Heine vol. 12: Romancero: Book III, Last Poems (1891). We have replaced “schalet” (unchanged in Armour’s translation) with cholent. . . . |
| |
