Social Functions of Synagogue Song: A Durkheimian Approach

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The other is to jump into a car.

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The author manages to convey the deep appeal of endless asphalt while still debunking many of the myths of Americans' romance with the road. Beginning with America's first intercoastal highway narrative, From Ocean to Ocean in a Winton, and concluding with the postmodern rush of Stephen Wright's Going Native, he offers a sense of wide vistas. This is a book designed to connect its readers to other books, while providing conclusive evidence that America's literature may indeed be as expansive as its map. Of particular poignancy is a chapter on how African American narratives have shown that the highway often holds no romance for them.

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Social Functions of Synagogue Song : A Durkheimian Approach

SearchWorks Catalog Stanford Libraries. It is of unknown authorship. Both Ani Ma'amin and a poetic version, Yigdal , form part of the prayers of Jews and have inspired varied settings to music. The recitation consists of thirteen lines, each beginning with the phrase " Ani ma'amin be-emunah shelemah " "I believe with perfect faith". It follows the same order as Maimonides' enumeration. Many Jews recite Ani Ma'amin at the conclusion of their morning prayers. The poetic version Yigdal is more commonly recited at the beginning of the prayers.

In some communities Yigdal is also recited on the Shabbat and holidays after the evening service. The penultimate line refers to the essential Jewish belief in the coming of the Mashiach. As such, this line has become a popular source of lyrics for Jewish songs. One version of the lyrics, set to a "haunting melody", [1] is attributed to Azriel David Fastag, a Modzitzer Hasid whose compositions were regularly sung in the court of the Modzitzer Rebbe, Rabbi Shaul Yedidya Elazar.

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