Aquesta tesi presenta l'edició i l'estudi filològic del còdex 122 de l'arxiu del Regne de Mallorca (ARM). El manuscrit és un llibre de comptes o pinqàs d'un jueu prestamista mallorquí de la segona meitat del segle XIV. Es tracta del registre personal d'aquest jueu on hi ha anotats préstecs realitzats majorment a cristians tot i que s'hi registren també préstecs a jueus i a moros. Consta de 137 folis dels quals 180 planes contenen alguna anotació. La llengua del manuscrit és el judeoàrab tot i que els noms de lloc, de persona, els mesos de l'any, mesures i algunes festivitats cristianes apareixen en català i part del lèxic en hebreu. Les dates de les anotacions corresponen al calendari gregorià i els préstecs registrats van des de l'any 1360 fins l'any 1391. Pel que fa a la paleografia l'escriptura emprada és la cursiva sefardí i hi apareixen afegitons de dos escrivans més. La tesi està dividida en dues seccions principals. La primera secció inclou: a) l'estudi i la descripció codicològica i paleogràfica del manuscrit, b) un estudi lingüístic de les tres llengües que hi apareixen (l'hebreu, el català i el judeoàrab), c) una anàlisi del contingut que inclou l'edició d'unes cèdules i un estudi dels préstecs, d) un apartat sobre la metrologia i e) un estudi de l'onomàstica. La segona secció conté l'edició facsímil del manuscrit, la transcripció paleogràfica, els índexs onomàstics i la bibliografia. En un estudi paral•lel al del manuscrit es publiquen unes cèdules en judeoàrab custodiades també a l'ARM i que són contractes d'obligació o de "comanda" de quatre dels préstecs anotats al còdex. El prestamista autor del manuscrit és el mateix, el jueu en Magalluf Mili i els notaris que van custodiar aquestes cèdules foren en Jordi Nadal i en Julià Font Cuberta. En el còdex hi apareixen préstecs realitzats sota la supervisió de 31 notaris cristians tot i que molts són realitzats en obligació al Veguer de la Cort, al Governador o en obligació a la ciutat on són duts a terme. Els prestamistes són 3, en Magalluf Mili, el rabí Se'adià Mili i la dona Havà. Aquests préstecs van ser realitzats a 28 poblacions mallorquines. Aquest treball de tesi presenta una relació de totes les operacions de préstec contingudes al manuscrit i un estudi comparatiu per poblacions. D'aquest es desprèn que més de tres quartes parts del total dels préstecs foren duts a terme a Ciutat de Mallorca on s'hi registren préstecs referents a cabassos de farina, préstecs realitzats a la Llotja del comerç i garanties. De les anotacions s'ha pogut deduir que l'interès que s'aplicava era variable i oscil•lava entre el 10 i el 20%. Pel que fa a l'estudi onomàstic es presenten les principals fonts documentals que havien servit fins ara de base per a l'estudi de l'antroponímia mallorquina del segle XIV i es remarca la importància que representa per aquesta disciplina del cabal d'antropònims aportat pel còdex 122. Un total de 768 noms de cristians, 19 moros i 81 jueus conformen una llista que es presenta als índexs onomàstics amb referències al número de foli on són registrats. El període que reflecteix el manuscrit, la segona meitat del segle XIV, va ser un temps de revoltes que va representar gairebé el final de la comunitat jueva de Mallorca. L'any 1391 van arribar a l'illa els avalots que s'havien estès a les jueries peninsulars. Durant aquests avalots habitants de la part forana de l'illa van arribar a la capital per tal d'alliberar-se dels contractes d'obligació. Van assaltar la jueria i van matar més de 300 jueus. La major part dels supervivents van ser forçats a batejar-se i acceptar el cristianisme. Els nous conversos van ser obligats a declarar davant del Governador i aquesta declaració s'ha conservat en els Pregons de 1391 de l'arxiu de l'antiga Cúria General de Mallorca. Entre les declaracions se'n troben dues que fan referència a l'autor del manuscrit, en Magalluf Mili. Segons aquestes declaracions se suposa que aquest va morir durant els avalots de 1391 deixant vídua a na Vitala, la seva esposa. / This thesis presents the editing and philological study of the codex 122 of the Archive of the Kingdom of Majorca (ARM). The manuscript is a book of accounts or pinqás written by a Jewish Majorcan moneylender in the second half of the fourteenth century. This is the personal record of this Jew where noted loans made mostly to Christians although there are also loans to Jews and Moors. It consists of 137 folios including 180 pages contain some annotation. The language of the manuscript is Judaeo-Arabic although place names, anthroponyms, months of the year, the measures and some Christian festivals are in Catalan and lexicon in Hebrew. The dates registered correspond to the Gregorian calendar and the loans are recorded between 1360 and 1391. In regard to paleography writing is the Sephardic Cursive script and there are additions of two more scribes. The thesis is divided into two main sections. The first section includes: a) the study of the manuscript including a codicological and paleographic description, b) a linguistic study of the three languages that appear (Hebrew, Catalan, and Judaeo-Arabic), c) a content analysis that includes the publication and study of some warranty documents of loans, d) a section on metrology and e) a study of onomastics. The second section contains the facsimile edition of the manuscript, a paleographic transcription, the name indexes and bibliography. Published here are some warranty documents of loans in Judaeo-Arabic that are contracts of obligation or "command" of 4 loans registered in the codex. The lender is the author of the manuscript itself, the Jewish Magalluf Milli. In the codex are registered loans made under the supervision of 31 Christian notaries although many are made in obligation to the Veguer of the Court, the Governor or in obligation to the city in wich they are made. Lenders are 3, Magalluf Milli, Rabbi Seadiah Milli and a woman named Khavah. Loans are made in 28 villages of Mallorca. In the comparative study of the loans it follows that more than 75% were made in the City of Mallorca. From the annotations is also clear that the interest was variable and ranged between 10 and 20%. The codex presents a rich onomastic resource, greatly expanding our knowledge of anthroponomy of the era. The thesis adds this source to the index available from previously documented material. A total of 768 Christians, 19 Muslims and 81 Jews make up a list displayed in the index of names.

Czech school's curriculum often omits Jewish music. Based on the proposal of concrete music classes, this thesis aims at evolving and enriching this topic. The thesis is divided into two parts. Theoretical part (chapters one and two) begins with description of Jewish culture, history, religion, habits and holidays, including Jewish languages and specifics between Ashkenazi and Sephardic Jews, and follows with description of Jewish music, comprising particular modes and religious and secular music. The objective of this part is to present necessary broader information about Jewish culture for proposed concrete classes. Practical part (third chapter) proposes five thematically divided music classes based on three-phase model. Each music class includes staves extracts and texts; sheet music is annexed. The objective of music classes, which are based on music activities and methods of critical thinking and emphasise creativity of students and cooperation among them, is to build key competences and evolve multicultural behaviour. Nonetheless, this thesis is not a dogmatic proposal of plan of music classes, but primary serves as a source of inspiration for use and further development of concrete musical activities at school. KEY WORDS Jewish culture, Jewish music, music education, three-phase model,...

Made available in DSpace on 2016-08-03T12:18:50Z (GMT). No. of bitstreams: 1 OZEIAS ROCHA JUNIOR - METODISTA_FINAL.pdf: 758088 bytes, checksum: 689930e6fc5a25337f24df135f97cf87 (MD5) Previous issue date: 2011-09-28 / Our research aims to determine the influence of Hellenistic meal in the customs of a Mediter-ranean Jewish community in the first century. We, then, a survey of contacts in the Jewish community in general had with the Greco-Roman both the diffusion and exchange of their values as in the spaces occupied by both cultures and their symbolic conceptions. Thus, we studied the influence of Greek meal in the writings of Luke and Acts. First, in exegetical reading of Luke 24.13-53, the disciples on the way to Emmaus, we see evidence that this narrative, especially in the scene of the table, the meal was marked by the inclusion of a foreigner. In a way, the constitution of the Lucan community points, especially regarding the meal for the formation of their identity. Then we find in the writings of Luke-Acts the conse-quences of contact. The material of Luke, both the Gospel and the Acts of the Apostles, presents narratives that focus on table therefore found that the act of Jesus was at table with unqualified persons, according to Jewish customs and the prospect of this material Lucan, shows the influence of Greek meal in the practice of Jewish followers of Jesus and that this practice was assimilated by this community in the early years of its formation. / Nossa pesquisa tem como meta verificar a influência da refeição helênica nos costumes de uma comunidade judaica do Mediterrâneo no primeiro século. Fizemos, então, um levantamento dos contatos em que a comunidade judaica, em geral, teve com a cultura greco-romana, tanto na difusão e troca de seus valores como nos espaços ocupados por ambas as culturas e suas concepções simbólicas. Em seguida, estudamos a influência da refeição grega nos escritos do Evangelho de Lucas e em Atos. Primeiramente, na leitura exegética de Lucas 24,13-53, os discípulos a caminho de Emmaús, percebemos nesta narrativa indícios de que, especialmente na cena da mesa, a refeição foi marcada pela inclusão de um estrangeiro. De certa forma, a constituição da comunidade lucana aponta, principalmente no que diz respeito a refeição, para a formação de sua identidade. Por fim, verificamos nos textos de Lucas-Atos as consequências desse contato. O material de Lucas, tanto o Evangelho quanto os Atos dos Apóstolos, apresenta narrativas que dão ênfase à mesa, portanto constatamos que o ato de Jesus estar à mesa com pessoas desqualificadas, segundo os costumes judaicos e na perspecti-va deste material lucano, mostra a influência da refeição grega na prática dos judeus seguidores de Jesus e que esta prática foi assimilada por essa comunidade nos primeiros anos de sua formação.

Olhares brasileiros judaicos: A presença do judaísmo na arte brasileira contemporânea pretende mostrar vestígios da cultura judaica na arte brasileira contemporânea. Os imigrantes judeus que chegaram ao Brasil no século XX trouxeram consigo, em sua maioria, um pensamento liberal do judaísmo que influenciou a relação com as artes plásticas dentro do judaísmo europeu. O presente trabalho parte da hipótese de que a aproximação do judaísmo e artes plásticas também teve continuidade no Brasil, uma vez que os judeus imigrantes vindos de Europa e as gerações seguintes conseguiram integrar-se com sucesso na sociedade brasileira. A questão central, portanto, é saber em que formas e conteúdos essa influência cultural se articula. É apresentada a primeira geração de artistas judeus no Brasil, que forneceu impulsos importantes para o desenvolvimento da arte moderna, tendo como pano de fundo a evolução cultural e artística do judaísmo e sua compreensão emancipada da proibição bíblica de representação de imagens. Porém, exceto por Lasar Segall, encontram-se marcas judaicas na arte brasileira apenas na segunda metade do século XX. Através da obra de quatro artistas judeus brasileiros escolhidos, cuja análise não pretende ser absolutamente completa e representativa, na parte central desta tese são constatados elementos de cultura judaica na criação artística que se fazem notar tanto sob o aspecto formal e de conteúdo quanto em posições éticas, religiosas dos artistas. Dali resulta uma forma híbrida de cultura ou identidade brasileira e judaica: olhares brasileiros judaicos. Do ponto de vista da metodologia são significativos, além das entrevistas realizadas com os artistas, os tratados científicos sob arte judaica e artistas judeus, que possibilitam uma contextualização global. / Brazilian-Judeo Gazes: The presence of Judaism in contemporary Brazilian art attempts to identify vestiges of Hebrew culture in Brazilian contemporary art. Jewish immigrants to Brazil during the 20th century brought with them, largely, a liberal Jewish thinking which influenced the relationship of the plastic arts in European Judaism. This present work stems from the hypothesis that the approximation of Judaism and the plastic arts had continuity in Brazil, once the Jewish immigrants coming from Europe and subsequent generations were able to successfully integrate themselves into Brazilian society. The central question, therefore, is to know the forms and types of content this cultural influence articulated with. Within, we present the first generation of Jewish artists in Brazil who provided important impulses for the development of modern art, and which served as the underlying fabric for the Jewish cultural and artistry evolution with its emancipated understanding from the biblical prohibition on the representation of images. However, except for Lasar Segall, distinct Jewish hallmarks in Brazilian art make their appearance only at the second half of the 20-century. Through the work of four selected Brazilian-Judeo artists, whose analysis does not intend to be absolutely complete and representative, there is in the central part of this thesis, verifiable Jewish elements in the artistic creation which standout as much for their formal aspects and content as their ethical and religious positions of the artists. From there a hybrid form of the culture resulted or, Brazilian-Judeo identity: olhares brasileiros judaicos (Brazilian-Judeo Gazes). The methodological aspects of this study are significant, in addition to interviews conducted with the artists, there are scientific treatises about Jewish art and Jewish artists that allow for a global contextualization of the subject.

A dissertação Sukot e Purim Festividades na Educação Infantil: um encontro da infância e da cultura judaica localiza-se na área de conhecimento da Cultura Judaica que corresponde a um segmento do currículo da Educação Infantil das escolas judaicas de São Paulo. O objetivo desta pesquisa é compreender como as crianças integram a cultura judaica em seus processos de aprendizagem. A pesquisa teve como ponto de partida o estudo sobre o desenvolvimento do pensamento infantil e a concepção de infância, que alicerçam os Referenciais Curriculares do Brasil e de Israel, os quais compõem os currículos das escolas judaicas do Brasil. Para tal, resgata a concepção de infância no decorrer dos séculos XIX e XX, e descreve os primórdios do estabelecimento da educação infantil relacionado às diversas influências políticas, econômicas, culturais e ideológicas de cada momento histórico. O estudo do desenvolvimento infantil tem como referência os estudos de Jean Piaget e a compreensão do desenvolvimento da linguagem segundo Vygotsky. A segunda parte do trabalho teve como foco o estudo das festividades Sukot e Purim, elementos da cultura judaica, que foram escolhidos pela sua diversidade de símbolos e costumes e pelo seu aspecto lúdico. Na última etapa foi realizada a coleta de dados com grupos de crianças, de um ano e quatro meses a cinco anos, em uma escola judaica de São Paulo. A análise dos dados baseou-se no repertório expresso pelas crianças que, após a tabulação, evidenciou o conhecimento e a compreensão acerca das festividades, de cada grupo. / The dissertation Sukot and Purim Festivities in Childrens Education: a gathering of infancy and the Jewish Culture, corresponds to a parcel of the Childrens Education curriculum in the Jewish schools of the city of Sao Paulo. The purpose of the research is to understand how children integrate the Jewish Culture in their learning process. The research started with the analysis of childrens thinking process development and the concept of infancy that work as references for Israel and Brazils Curriculum conception and constitute the Jewish Schools curriculum in Brazil. In order to do this, the thesis retrieves the concept of infancy during the XIX and XX centuries and describes the beginning of childrens education under the influence of politics, economy and culture in different historical moments. Jean Piagets studies and the comprehension of language development according to Vygotsky were the theoretical references for the study of childrens development. The second part of the thesis focuses on the study of Sukot and Purim festivities, which are Jewish Culture elements and were chosen due to their symbols and traditions diversity and their playful aspect. The last part the thesis shows the data collection among children between the age of sixteen months and five years, in a Jewish School located in the city of Sao Paulo. The analysis of the data was based on childrens comments. The analysis of the data showed the knowledge and comprehension of the festivities in the different groups.

This thesis, Cultural life in Terezin ghetto through the eyes of witnesses, is focused on cultural activities of Terezin prisoners with emphasis on sports, theatre and music. In the initial phase of the thesis I focus on the town of Terezin, from its foundation through the transformation into the ghetto up until its liquidation in 1945. Then follows the core work - Terezin culture. Individual subchapters are gradually dedicated to sports, music, theater and children's artwork as well. The goal of the thesis is an effort to transfer all the acquired findings into the ghetto environment, which should also be the core work of the thesis. I have gathered the necessary information on this issue from the Malach visual history archive, which is a source contatining several tens of thousands eyewitness accounts given by the surviving victims. In my thesis I am trying to connect information gathered from professional literature with the information gathered from the Malach archive. The whole thesis should provide a complete view of the cultural activities in Terezin while taking experiences and memories of the survivors into account.

89 7. RESUMÉ The thesis is focused on the life of Jewish community in Prague, on the background of post-Holocaust and post-communist Europe. In the first part, the reader is introduced into the historical and sociological views on Jewish identity, with an emphasis on Central Europe and Prague in particular. The main part of the thesis is divided in separate chapters, each dedicated to one of the contemporary Jewish congregations in Prague. A special attention is given to the Jewish Community of Prague (Kehila Prag, or ŽOP). The other congregations analyzed in the thesis are Chabad Prague (part of Hasidic movement Chabad Lubavitch), Bejt Simcha and Jewish Liberal Union (both liberal/progressive), Bejt Praha and Masorti Prague (both conservative). Since the current situation of the communities has been poorly covered in relevant literature, our main sources of knowledge have been the internet pages of individual congregations, legal documents (statutes, articles of association), and periodicals issued by some of the communities. The question "Who is a Jew" is central in searching for the Jewish identities. The answers vary across the congregations (according to their nature - orthodox, conservative, liberal), with ŽOP being the most problematic. The orthodox Kehila Prag has founded its membership policies on...

The project was influenced by several factors, the most significant being the water element, which is very important for Judaism and primarily symbolizes ritual purification. The concept divides the area in the axis of Nešverova Street, making an orthogonal block, further separated according to the functions, and public area under which a part of the underground parking is located. The block consists of the synagogue, museum, restaurant and administrative building of the Jewish community with a library. From the architectural standpoint, the project was significantly influenced by the stained glass window of the burned former synagogue, which was, in more modern spirit, imprinted into the museum’s facade. This window becomes a dominant element of the facade, because it pervades all three floors, so the rest of the building is not divided and for lighting of the exhibition areas skylights and artificial light are used. Significance of this concept is intensified by the fact that the visitor is dragged inside, right to the front of the synagogue, to which a ramp leads. There is an importance of the mentioned water element in the design of the synagogue. The whole concept is approached organically and was inspired by a drop of water falling down on the surface. The synagogue literally grows from a body of water which surrounds it and creates a crystalline element. The idea is amplified by the water wall which runs from the passageway all around the synagogue. Part of the administrative building and the restaurant are designed in more simple style, but the idea of arch is reflected in the moulding, which was designed intentionally with reference to the surrounding buildings. The rest of the site served as a small park and this function has been maintained. A significant element in this part of the site is Theresian gate, which remained from the 18th century fortification. The park was supplemented by an artificial bank, which covers the entrance to underground parking a

Diploma thesis theme is design of a new synagogue in the city of Trutnov on a memorial site of the original unpreserved synagogue. Part of the construction program is the creation of a complex used by the Jewish religious community and its members, containing a building for the Jewish community (administrative and educational use), kosher restaurants with use for the general public, and the Museum of Jewish Culture. The aim of the design is to create a set of buildings functioning as a whole respecting the natural landmark of the surroundings and the historical significance referring to the past. The new synagogue is designed as the dominant feature of the whole complex in the place of the original Jewish prayer house and emphasizes the monumentality of the place connected with nature. Other facilities are located in front of the synagogue and create a new public space for locals but also visitors to the city from a wide area not only for spiritual use but also for cultural, social, and recreational.

This master thesis is focused on problematics of biblical themes in works of the Jewish artists on the territory of The Russian Empire at the turn of the 19th-20th centuries. The introduction of the work deals with socio-political and cultural conditions of the Jewish community, which lived in the pre-revolutionary Imperial Russia. The following part, on the basis of archive materials, remained daily press, periodic press and memoirs, presents two important cultural centres: Jewish Societies for the Encouragement of Arts in Saint-Petersburg and in Moscow, notably their significant support for development of the Jewish arts in Russian culture of that time. The main, third part of the research presents the creative activity of the most prominent representatives of the Jewish art scene and analysis key trends in choosing biblical themes for their art production. Keywords Jews, Jewish culture, Jewish art, Jewish Societies for the Encouragement of Arts, The Russian Empire, Bible, biblical themes, St. Petersburg, Moscow, Vitebsk