User:Jring333/sandbox

Shandler, Jeffrey. Adventures in Yiddishland: Postvernacular Language and Culture. University of California Press, 2008.

Shandler, Jeffrey. “Postvernacular Yiddish: Language as a Performance Art.” TDR (1988-), vol. 48, no. 1, 2004, pp. 19–43. JSTOR, www.jstor.org/stable/4488527.

“In Geveb, A Journal of Yiddish Studies.” In Geveb, A Journal of Yiddish Studies, ingeveb.org/blog/spectacular-vernacular-an-interview-with-ezra-berkley-nepon-on-new-yiddish     t.  heater-queer-performance-arts-and-dazzle-camouflage.

Pivot, Bénédicte. « Revitalisation d'une langue post-vernaculaire en pays rama (Nicaragua) », Langage et société, vol. no 145, no. 3, 2013, pp. 55-79.

Shandler, Jeffrey. “Queer Yiddishkeit: Practice and Theory.” Shofar, vol. 25, no. 1, 2006, pp. 90–113. JSTOR, www.jstor.org/stable/42944382.

Glaser, Amelia. “From Polylingual to Postvernacular: Imagining Yiddish in the Twenty-First Century.” Jewish Social Studies, vol. 14, no. 3, 2008, pp. 150–164. JSTOR, www.jstor.org/stable/40207027.

Myers, David N. “New Last Words of Yiddish.” The Jewish Quarterly Review, vol. 102, no. 1, 2012, pp. v-vii. JSTOR, www.jstor.org/stable/41480295.

Laurence Roth. “Talmud on the Roof, or Materializing American Jewish Literary Studies.” Studies in American Jewish Literature (1981-), vol. 31, no. 1, 2012, pp. 91–96. JSTOR, www.jstor.org/stable/10.5325/studamerjewilite.31.1.0091.

Wood, Abigail. “(De)Constructing Yiddishland: Solomon and SoCalled's ‘HipHopKhasene.’” Ethnomusicology Forum, vol. 16, no. 2, 2007, pp. 243–270. JSTOR, www.jstor.org/stable/20184596.

La Hacienda Creative, director. Mending the Torn Curtain. Digital Yiddish Theatre Project, yiddishstage.org/mending-the-torn-curtain-a-documentary-film-about-the-first-international-yiddish-theatre-festival.

Illustration of Hrosvit Abraham or Fall and Redemption of Mary is a play in Latin written by Hrostvit von Grandersheim ca. 935 - ca. 975. The play follows a young orphan, Mary, who is persuaded by her uncle and religious hermit, Abraham, and his co-hermit, Effrem, to lead a life of complete chastity and devotion to God. When Mary submits to temptation and loses her virginity, she is overcome with shame. She soon flees her cell, prompting Abraham to enlist a a friend to search for her. After two years of her absence, Abraham receives news that Mary has been living the life of a sex worker. Disguising himself as a soldier, Abraham sets off to find her. At the inn where she works, Abraham passes himself off as a lover in order to obtain some time alone with his niece. Once alone, Abraham chastises Mary for her immodesty and impiousness. He manages to rise her our of her guilt and despair and convince her to return to a life of chastity. Mary returns to her cell with Abraham where she submits to a strict regimen of repentance. Abraham and Effrem praise God for His forgiveness and rejoice in the power of redemption.

Contents 1	Characters 2	Summary 2.1	Scene 1 2.2	Scene 2 2.3	Scene 3 2.4	Scene 4 2.5	Scene 5 2.6	Scene 6 2.7	Scene 7 2.8	Scene 8 2.9	Scene 9 3	Resources Characters[edit] Abraham - a hermit Effrem - a hermit Mary - Abraham's niece A Friend of Abraham The Master of an Inn Summary[edit] Scene 1[edit] In the desert near Lampsacus, Abraham approaches his co-hermit, Effrem, outside of his cell and asks for a moment to talk. Effrem assures Abraham that as long as their talk is in praise of God, he is at Abraham's service. Abraham seeks Effrem's advice about what to do with his eight-year niece, whom Abraham has recently received custody of after the death of her parents. Abraham reveals that he loves the young orphan immensely and is worried about conserving her purity. Her name, Mary, compels him to initiate her into a monastic noviciate, and he asks Effrem for support in leading her down this path. Effrem obliges, and the two hermits set off to see her.

Scene 2[edit] In Abraham's cell, Abraham and Effrem talk to Mary. Abraham asks Mary if she is willing to live a life of chastity in order to follow in the footsteps of her namesake Mary, the first of all virgins. Effrem notes the mystical significance of her name, persuading the young child that her place is alongside Mother of God in Heaven. After commenting that she sees nothing mystical in her name, Effrem explains that 'Mary' stands for 'Stella Maris,' meaning the star around which the world revolves. It is called 'Stella Maris' because it never sets and provides constant guidance for sailors steering their course. Mary wonders how she, "a poor frail creature made from the dust of the earth[1]" live up to such a nme. Effrem declares that she can do so by keeping remaining a virgin. If she does so, he asserts, she will be freed of her earthly body and eventually arrive in Mary's bridal chamber, in the arms of her Son. Exciting by Effrem's rhetoric, Mary exclaims that she will deny herself in order to be willing of those heavenly blessings. Effrem and Abraham are elated about her concession but decide that Abraham should build a little cell close to him from which he can watch her and guide her.

Scene 3[edit] Four years later, Abraham returns to Effrem's cell will bad news. Overcome with sorrow, he announces that Mary has run away. He tells Effrem that a man dressed as a monk made visits to girl and seduced her. After having sex with the man, Mary become overwhelmed with remorse. Feeling unable to redeem herself, she chose to abandon her monastic commitment. Effrem is shocked by the news and wonders how Mary had been able to escape without Abraham noticing. Abraham discloses that two days before Mary's disappearance, he had a nightmare in which a massive snake dashed outside his cell and grabbed a little white dove that was by his side. She snake devoured the dove and vanished. Thinking that his dream indicated a threat to the Church, he prayed to God for two days, asking Him to reveal the dream's meaning. In a second dream, the snake fell dead at his feet, and the dove reappeared unharmed. When he woke from this dream. Abraham realized that he had not heard Mary's usual singing for the past two days. He rushed to her cell, and found she had disappeared. Eventually, some people came by and informed him that Mary had "given herself up to the lusts of the world." No one knows where she has gone, but Abraham tells Effrem of his plan to enlist who friend who travels often. Abraham has asked this man to find her. When Abraham learns of her whereabouts, he will go to her disguised as a lover, in order to convert her back to her godly life. Effrem accepts this plan but asks what Abraham will do if he has meat or wine put before him while charging in the secular world. Abraham asserts that he must not refuse the meat or wine, so he will remain undetected. Condoning this, Effrem claims that in order to win back a soul for Christ, it is alright to stray from religious asceticism.

Scene 4[edit] Two years later, a man dressed as a soldier approaches Abraham at his cell. Realizing the man is his friend who he had sent to look for Mary, Abraham readily greets him. Abraham's friend tells of Mary's occupancy at a house of "ill-fame" where she receives many lovers. The brothel is owned by a man who pays her well. Aghast at the news, Abraham demands a horse and an officer's uniform and hat. The friend gives him his disguise, and Abraham decides to take some gold so he can pay the master of Mary's house.

Scene 5[edit] In the town of Assos, Abraham approaches the inn where Mary resides. The Master of the Inn greets Abraham, and Abraham asks for a place to stay. Once Abraham has received the man's hospitality, he asks see the young girl about whom he has heard great things. The man praises Mary's youth, telling Abraham that she "outshines all the other women."

Scene 6[edit] In a room at the inn, the Master of the Inn brings Mary to Abraham. In an aside to the audience, Abraham calls on his personal strength to be able to see her "decked out in the guise of a harlot." He must preserve his disguise and not show his true feelings about her. When he sees her, Abraham asks Mary to give him a kiss. When she embraces Abraham, she recognizes Abraham's scent, but cannot place it. Mary begins crying, telling the audience "How far have I fallen, and into what a sink of iniquity!' When the Master of the Inn asks her why she cries, she exclaims that she wishes she had died before she fell into this disgraceful way of life. Abraham consoles the girl, and the three sit down for supper. When they have finished their meal, Mary tells Abraham to go to bed, where she will visit him.

Scene 7[edit] When Mary and Abraham enter a bedroom at the inn, Abraham tells Mary to lock the door so that no one can come in. When Abraham takes off his disguise, Mary reveals her angelic life is lost. He asks her why she deserted him without telling him of her fall from grace. He and Effrem would have done penance on her behalf. Mary says that she could not bare to approach him in her defiled state. Abraham explains that human nature is to sin, and it is not the man who sins who deserves condemnation, but the man who fails to rise up from the sin. Hearing this, Mary falls at Abraham's feet. She stares at the ground, unable to look at him. Believing that she does not deserve pardon, Abraham reasons with her to drop her despair and accept his guidance. Mary submits herself to his wishes. She says that she will walk behind him in his footsteps back to his cell, but Abraham demands that she will ride on his horse to protect her feet. Mary vows to devote herself to God.

Scene 8[edit] Mary and Abraham arrive at Abraham's cell. When Abraham points out her empty cell, she is terrified of going in and facing her sin. Agreeing that Mary should avoid the place where "the Enemy has triumphed," Abraham tells her to occupy a different cell where the Serpent will not find her. He tells her that he will go to visit Effrem and tell him news of her return.

Scene 9[edit] Outside Effrem's cell, Abraham tells Effrem that he has brought Mary back. Abraham tells his co-hermit that Mary has surrendered to her strict penance. She has put on a hair vest and is continuously fasting so that her body can bow to the will of her soul. The two men rejoice in the forgiveness of God. The lift their hands to God, and praise Him for His mercy.

Resources[edit] Hrotsvitha, et al. Abraham, a Play. Stanton Press, 1922.

Jump up ^ The Nun of Gandersheim, Roswitha (1922). Abraham, a Play;. The Stanton Press.


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 * 4) Enders, Jody. “Visions with Voices: The Rhetoric of Memory and Music in Liturgical Drama.” Comparative Drama, vol. 24, no. 1, 1990, pp. 34–54. JSTOR, JSTOR, www.jstor.org/stable/41153440.
 * 5) Morrison, Robert.  "The Liturgical Context of Early European Drama (review)." Bulletin of the Comediantes, vol. 44 no. 2, 1992, pp. 283-285. Project MUSE, doi:10.1353/boc.1992.0000
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 * 7) Swoboda, Marina. “The Furnace Play and the Development of Liturgical Drama in Russia.” The Russian Review, vol. 61, no. 2, 2002, pp. 220–234. JSTOR, JSTOR, www.jstor.org/stable/3664281.
 * 8) Wallace, Robin. “The Role of Music in Liturgical Drama: A Revaluation.” Music & Letters, vol. 65, no. 3, 1984, pp. 219–228. JSTOR, JSTOR, www.jstor.org/stable/736093.
 * 9) Coffman, George R. “Modern Language Notes.” Modern Language Notes, vol. 53, no. 3, 1938, pp. 233–235. JSTOR, JSTOR, www.jstor.org/stable/2912638.
 * 10) Davidson, Clifford. "Medieval Drama: Diversity and Theatricality." Comparative Drama, vol. 8 no. 1, 1974, pp. 5-12. Project MUSE, doi:10.1353/cdr.1974.0000

Feedback on preliminary bibliography
Hi, Jring333 -- In general you've shown a good grasp of MLA style in your bibliography. However, note that you only list the name of an electronic database once, in italics: https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_electronic_sources.html -- you've listed JSTOR twice in your citations of articles that you found in that database. Also, note that it is best to include the date you accessed it, e.g. "Accessed 8 Feb. 2009." Finally, I hope that you will consult at least a couple of books during your research process. Often, articles are revised when they finally make it into a book, so it's important (especially) to check if a scholar whose article you're using eventually wrote a book. Let me know if you have any questions. I look forward to seeing how this project develops! Amy E Hughes (talk) 17:07, 28 October 2018 (UTC)

Feedback on spring 2019 bibliography
Jring333, this prelim bib looks very solid. Overall, you've done a great job formatting your citations, too! I see just two things you need to attend to: 1) in MLA, frequently used words like "university" and "press" are abbreviated (e.g., U of California P); 2) I believe MLA specifies that inclusive page numbers be listed as: 243-70 instead of: 243-270 (for example). I look forward to learning what you decide to do re: creating a new article or adding to the Yiddish theatre article. Have fun this semester, and happy writing! Amy E Hughes (talk) 14:20, 27 February 2019 (UTC)