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Kvetch may be: Kvetch, an English word of Yiddish origin meaning 'to gripe', 'someone who complains habitually' Kvetch, 1991 play by Steven Berkoff
This is a list of words that have entered the English language from the Yiddish language, many of them by way of American English.There are differing approaches to the romanization of Yiddish orthography (which uses the Hebrew alphabet); thus, the spelling of some of the words in this list may be variable (for example, shlep is a variant of schlep, and shnozz, schnoz).
The Yiddish word "kvetch" in the book title means "to complain", "to whine", expressing Wex's idea that Yiddish is the language of complaint, which is rooted in millennia of Jewish exile. William Grimes in his review of the book quotes it: "Judaism is defined by exile, and exile without complaint is tourism". [5]
Michael Wex (born September 12, 1954) is a Canadian novelist, playwright, translator, lecturer, performer, and author of books on language and literature. [1] His specialty is Yiddish and his book Born to Kvetch was a surprise bestseller in 2005. [1]
A significant diffusion of Yiddish loan words into the non-Jewish population continues to be a distinguishing feature of New York City English. Some of these words include glitch, chutzpah, mensch, kvetch, klutz, etc.
Yiddish, [a] historically Judeo-German, [11] [b] is a West Germanic language historically spoken by Ashkenazi Jews.It originated in 9th-century [12]: 2 Central Europe, and provided the nascent Ashkenazi community with a vernacular based on High German fused with many elements taken from Hebrew (notably Mishnaic) and to some extent Aramaic.
The Kvetch: George Teatro Della Contraddizione [78] 2000 Woyzeck: Unknown Didsbury Studio 2001 The Visit: Anton Schill Edinburgh Festival Fringe Drayton Court Theatre Tearto Della Contraddizione 2001 Love's Labour's Lost: Ferdinand Open Air Theatre [2] 2001 A Midsummer Night's Dream: Demetrius: Open Air Theatre [2] 2002 As You Like It: Orlando ...
Mendele initially wrote in Hebrew, coining many words in that language, but ultimately switched to Yiddish in order to expand his audience. Like Sholem Aleichem , he used a pseudonym because of the contemporary perception of Yiddish as a ghetto vernacular unsuitable for serious literary work — an idea he did much to dispel.