Limon Family

#lim-3:Righteous Choreography
As Jose Limon was dying of cancer, he was determined to create one last dance. Thirty-six years later the work, inspired by Jewish legend, is being revived.
Susan Josephs - Special To The Jewish Week
During the period he created "Psalm," Jose Limon discovered he had prostate cancer but kept it secret from his company. Like the Lamed-Vov, the 36 righteous men of Jewish legend who shoulder the sorrows of the world, Limon intended to transform his suffering into an act of redemption.
"Psalm" premiered in 1967, five years before the famed modern dance choreographer's death. "While full of gorgeous material, the overall thread of the piece never quite connected," says Carla Maxwell, who has served as artistic director of the Limon Dance Company for the past 25 years. Because of his physical condition, Limon felt an urgency to "move onto the next piece as soon as possible. But "Psalm has some of the most virtuistic ensemble dancing ever created and I had a dream to tackle this piece again."
Attempting to strike a balance between solving choreographic conundrums and remaining true to Limon's original vision, Maxwell has staged a major revival of "Psalm," which will receive its New York premiere at the Joyce Theater on April 29. The new "Psalm," which first premiered at the 2002 Winter Olympics Arts Festival in Salt Lake City, has a score by the composer Jon Magnussen and a message both specific to Jewish history and relevant to the general human condition. Performed by the company's 13 dancers, this ensemble work features signature Limon-based movements that emphasize expansiveness, theatricality and the choreographer's technique of connecting the external motion of the body with the internal processes of the psyche and spirit.
"From beginning to end, the dance is a whole series of rituals that culminates in a message of rebirth and hope," she says.

Limon had read the book "The Last of the Just," by Andre Schwarz-Bart, one of the first novels to chronicle the plight of the Jews during World War II. Inspired by its message of survival, Limon wrote in his choreographer's notes that he wanted to create a dance "that would be an evocation of the heroic power of the human spirit, triumphant over death itself."

Into his dance, Limon took the idea of the Lamed-Vov, and created the figure of a lone, just man. Limon's just man, like the 36 righteous men of the Lamed-Vov, bears the burden of the world's suffering. But he also "carries a message of hope," says Maxwell. "So much of Limon's work is about people rising out of destruction. With "Psalm", he saw what happened to the Jewish people and wanted to place it in a universal context."
Maxwell, who first joined the Limon Company as a dancer in 1965, recalls the Mexican-born modern dance icon as an "avid reader who was always curious about other cultures. He was always able to take a specific theme and make it into a universal statement," she says.
Like many of those who studied with Limon, who co-founded his company with Doris Humphrey in 1946, Maxwell speaks of her dedication to preserving her mentor's work as if it's an activity like breathing. "How could I not do this work?" she says. "When Jose passed away, there was no precedent for a company continuing without its founder. We felt that Limon's technique is so profound and that his dances are like a canon of literature. We knew that if we disbanded, his work would disappear."
Pointing to a recent resurgence of interest in his technique, Maxwell observes that Limon based his teachings on the "natural functioning of the human body that emphasized moving from the inside out, essentially from your soul," she says. Like Martha Graham and other pioneers, "he believed in purposeful movement and that through modern dance, you could communicate grand ideas and passions."
For Maxwell, "Psalm" stands out as a dance that's particularly emblematic of Limon's movement philosophy. "I'm so proud and happy to share this dance with the public," she says. "It is another Limon masterpiece brought to light."

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Limon Family
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#lim-1	#lim-2:Robert Limon with the Hope Diamond in 1975 Robert Limon, Inc. is a family owned and operated firm founded in 1950, with roots back to 1920. It was in 1920 that Jacob Limon, Robert's father, opened his own "trade shop", designing and manufacturing the finest handmade jewelry in platinum and gold for retail jewelers in the Washington, DC and Richmond, VA areas. After twenty years of training and experience in his father's shop, Robert Limon, by then a well qualified platinum and gold craftsman who had completed the gem courses offered by the Gemological Institute of America, and had earned membership and the title "Certified Gemologist" in the prestigious American Gem Society, left his father's firm and opened his own trade shop and gemological laboratory in 1950. for the rest go to http://www.limons.com/robert_limon.htm

#lim-3:Righteous Choreography As Jose Limon was dying of cancer, he was determined to create one last dance. Thirty-six years later the work, inspired by Jewish legend, is being revived. Susan Josephs - Special To The Jewish Week During the period he created "Psalm," Jose Limon discovered he had prostate cancer but kept it secret from his company. Like the Lamed-Vov, the 36 righteous men of Jewish legend who shoulder the sorrows of the world, Limon intended to transform his suffering into an act of redemption. "Psalm" premiered in 1967, five years before the famed modern dance choreographer's death. "While full of gorgeous material, the overall thread of the piece never quite connected," says Carla Maxwell, who has served as artistic director of the Limon Dance Company for the past 25 years. Because of his physical condition, Limon felt an urgency to "move onto the next piece as soon as possible. But "Psalm has some of the most virtuistic ensemble dancing ever created and I had a dream to tackle this piece again." Attempting to strike a balance between solving choreographic conundrums and remaining true to Limon's original vision, Maxwell has staged a major revival of "Psalm," which will receive its New York premiere at the Joyce Theater on April 29. The new "Psalm," which first premiered at the 2002 Winter Olympics Arts Festival in Salt Lake City, has a score by the composer Jon Magnussen and a message both specific to Jewish history and relevant to the general human condition. Performed by the company's 13 dancers, this ensemble work features signature Limon-based movements that emphasize expansiveness, theatricality and the choreographer's technique of connecting the external motion of the body with the internal processes of the psyche and spirit. "From beginning to end, the dance is a whole series of rituals that culminates in a message of rebirth and hope," she says. Limon had read the book "The Last of the Just," by Andre Schwarz-Bart, one of the first novels to chronicle the plight of the Jews during World War II. Inspired by its message of survival, Limon wrote in his choreographer's notes that he wanted to create a dance "that would be an evocation of the heroic power of the human spirit, triumphant over death itself." Into his dance, Limon took the idea of the Lamed-Vov, and created the figure of a lone, just man. Limon's just man, like the 36 righteous men of the Lamed-Vov, bears the burden of the world's suffering. But he also "carries a message of hope," says Maxwell. "So much of Limon's work is about people rising out of destruction. With "Psalm", he saw what happened to the Jewish people and wanted to place it in a universal context." Maxwell, who first joined the Limon Company as a dancer in 1965, recalls the Mexican-born modern dance icon as an "avid reader who was always curious about other cultures. He was always able to take a specific theme and make it into a universal statement," she says. Like many of those who studied with Limon, who co-founded his company with Doris Humphrey in 1946, Maxwell speaks of her dedication to preserving her mentor's work as if it's an activity like breathing. "How could I not do this work?" she says. "When Jose passed away, there was no precedent for a company continuing without its founder. We felt that Limon's technique is so profound and that his dances are like a canon of literature. We knew that if we disbanded, his work would disappear." Pointing to a recent resurgence of interest in his technique, Maxwell observes that Limon based his teachings on the "natural functioning of the human body that emphasized moving from the inside out, essentially from your soul," she says. Like Martha Graham and other pioneers, "he believed in purposeful movement and that through modern dance, you could communicate grand ideas and passions." For Maxwell, "Psalm" stands out as a dance that's particularly emblematic of Limon's movement philosophy. "I'm so proud and happy to share this dance with the public," she says. "It is another Limon masterpiece brought to light."

#lim-4:John K Limon Professor of EnglishEDUCATION: BA: Harvard, 1973; PhD: UCal Berkeley,1981. COURSES TAUGHT: Contemporary American Novel, Seminars on Modernism and Faulkner, American Literature to 1860. PRIMARY FIELDS OF INTEREST: American Literature and the History and Philosophy of Science and of War, Stand-up Comedy. OTHER INTERESTS: Race Theory, Queer Theory, American Popular Culture, Sports Theory, Intelligence Theory, Kafka from http://elsa.photo.net/housebook/house_nf42.html John Limon is one of those people you hear a lot about at Harvard, but rarely come across. Someone who gets into Harvard because he's a mathematical whiz and then goes on to graduate summa cum laude in English literature. Someone who comes in as a shy and reclusive freshman and leaves with three good friends and lots of acquaintances among students and faculty. Someone who ignores the college literary scene and all the undergraduate publications -- Advocate, Crimson, Independent, Lampoon -- and then has two finished novels making the rounds of publishers in New York when he gets his diploma...... Writing After War: American War Fiction from Realism to Postmodernism by John Limon Editorial Reviews Synopsis In Writing After War , John Limon develops a theory of the relationship of war in general to literature in general, in order to make sense of American literary history in particular. Applying the work of war theorists Carl von Clausewitz and Elaine Scarry, John Limon argues that The Iliad inaugurates Western literature on the failure of war to be duel-like, to have a beautiful form. War's failure is literature's justification. American literary history is demarcated by wars, as if literary epochs, like the history of literature itself, required bloodshed to commence. But in chapters on periods of literary history from realism, generally taken to be a product of the Civil War, through modernism, usually assumed to be a prediction or result of the Great War, up to postmodernism which followed World War II and spanned Vietnam, Limon argues that, despite the looming presence of war in American history, the techniques that define these periods are essentially ways of not writing war. From James and Twain, through Fitzgerald, Faulkner, and even Hemingway, to Pynchon, our national literary history is not hopelessly masculinist, Limon argues. Instead, it arrives naturally at Bobbie Ann Mason and Maxine Hong Kingston. Kingston brings the discussion full circle: The Woman Warrior , like The Iliad , appears to condemn the fall from duel to war that is literature's endless opening. This book is intended for students and scholars of American literature. Book Description In Writing After War, John Limon develops a theory of the relationship of war in general to literature in general, in order to make sense of American literary history in particular. Applying the work of war theorists Carl von Clausewitz and Elaine Scarry, John Limon argues that The Iliad inaugurates Western literature on the failure of war to be duel-like, to have a beautiful form. War's failure is literature's justification. American literary history is demarcated by wars, as if literary epochs, like the history of literature itself, required bloodshed to commence. But in chapters on periods of literary history from realism, generally taken to be a product of the Civil War, through modernism, usually assumed to be a prediction or result of the Great War, up to postmodernism which followed World War II and spanned Vietnam, Limon argues that, despite the looming presence of war in American history, the techniques that define these periods are essentially ways of not writing war. From James and Twain, through Fitzgerald, Faulkner, and even Hemingway, to Pynchon, our national literary history is not hopelessly masculinist, Limon argues. Instead, it arrives naturally at Bobbie Ann Mason and Maxine Hong Kingston. Kingston brings the discussion full circle: The Woman Warrior, like The Iliad, appears to condemn the fall from duel to war that is literature's endless opening. The Place of Fiction in the Time of Science A Disciplinary History of American WritingJohn Limon In this major new book John Limon examines the various ways American authors have approached the writing of fiction (and justified that writing) in an age increasingly dominated by science. He focuses in particular on Charles Brockden Brown, Edgar Allen Poe, and Nathaniel Hawthorne - three highly articulate and highly alarmed witnesses to the professionalisation of science, the great crisis in modern intellectual history. It was, he argues, especially specially difficult for American writers to face this crisis since they could make no appeal to traditional values: America, after all, had never really been a pre-scientific society Stand-Up Comedy in Theory, Or, Abjection in America by: John Limon

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DSP Group, Inc. (a fabless semiconductor company that is a leader in the residential wireless markets. ) Zvi Limon has served as a director of the Company since February 1999. Mr. Limon is currently self-employed. He served as Chairman of Limon Holdings Ltd., a consulting and investment advisory firm, from October 1993 to July 2000. the son of Mexican immigrants, Commander Frank Limon was raised on the southwest side of Chicago and earned a Bachelor of Arts Degree from Xavier University and a Master's Degree in Public Administration from the Illinois Institute of Technology; and Commander Frank Limon began his illustrious law enforcement career in 1977 and was assigned to serve as a police officer in the 9th District; and through perseverance and diligence, Commander Frank Limon began his steady rise through the ranks of the department receiving promotions to Detective of the Area 1 Violent Crime Unit, Sergeant of 11th and 12th Districts, the Organized Crime Division, instructor for the Education & Training Division and Watch Commander and Field Lieutenant of the 14th District; and on February 26, 1999, Superintendent Terry G. Hillard named Frank Limon to serve as the Commander of the 13th District; Commander Frank Limon's achievements are secured in the belief that education, hard work and professional dedication can achieve the "American Dream" that his parents hoped for all of their children; and WHEREAS, Commander Frank Limon is a highly able and dedicated law enforcement professional who, throughout his career, has earned our great admiration and respect. NOW, THEREFORE, BE IT RESOLVED, that the President and Members of the Cook County Board of Commissioners on behalf of the people of Cook County take this opportunity as part of National Hispanic Heritage Month to express official gratitude to Commander Frank Limon for his tireless service to the Hispanic community as a law enforcement professional; and ----- http://ottodidactreadingdiary.blogspot.com/ I was named Eustacia Juanita Limon. My Brazillian born father dropped the diacritical mark in his last name some years prior to his similar disinheritance of any paternal responsibility a few days after I was conceived. Eustacia after an uncle, named Eustace, and I've always been called the latter, an act which may have been influenced by or been the influence of, my many "boyish" early habits: stickball with the Fleischmann twins, Detective comics, Robinson Crusoe, and the early and frequent use of the rejoinder "douche bag". After a guilt soaked but otherwise happy childhood in various ethnic ghettos in Queens, I went to Hunter College where I did a double major in Russian literature and cell biology. The former for Tolstoi and the latter because, by dictate, I was to be a pharmacist. Fate had different plans however and I did a stint as a genuine spook in the USSR in the midst of the cold war. Well, the "mission" wasn't very glamourous. As an MLS student who spoke Russian I had been picked to do an exchange program at the _____ Biblioteka in, then, Leningrad. One day, a week before my departure, two federal agents came by and asked me to pass along an envelope to Piotr V______ who would contact me upon my arrival. It all went off without a hitch but that, dear diary, is how one can become a government pawn. I was twenty three! ..... to read the rest go to... http://ottodidactreadingdiary.blogspot.com/
Vilnius Ghetto List ; LEHMAN, Samuel 1896 Rudninku 7 - 4 Vilna Gaon State Museum of Lithuania Vilnius Ghetto: Lists of Prisoners Volume 1 216 Vilnius Vilnius Vilnius May 1942 LIMON, Faitel 1910 Strasuno 15 Vilna Gaon State Museum of Lithuania Vilnius Ghetto: Lists of Prisoners Volume 1 349 Vilnius Vilnius Vilnius May 1942 LIMON, Rachel 1912 Strasuno 15 Vilna Gaon State Museum of Lithuania Vilnius Ghetto: Lists of Prisoners Volume 1 349 Vilnius Vilnius Vilnius May 1942 Name(Other Surnames) Date of Death Date of Birth/ Age More InformationCemetery Name / City / Country LEAMON, Augusta 25-Jul-1953 View Full Burial RecordKovner / West Roxbury / USA LEAMON, Julius 09-Jun-1964 View Full Burial RecordKovner / West Roxbury / USA LYMAN, Barnet 12-Oct-1946 View Full Burial RecordOnikchty / Melrose / USA LYMAN, Lewis 10-Mar-1999 Age: 87 View Full Burial RecordVilno / West Roxbury / USA The 1915 Vsia Vilna Database ; LEMAN _Eval Karl Kalvariyskaya Street 2-17 1915 167 VilniusVilniusVilnius Vsia Vilna (City Directory) LEMAN Gust Iv Shveytsarsky Lane 3 1915 167 VilniusVilniusVilnius Vsia Vilna (City Directory) LOMAN G Preobrazhenskaya Street 7 1915 172 VilniusVilniusVilnius Vsia Vilna (City Directory) LOMAN Kh Preobrazhenskaya Street 7 1915 172 VilniusVilniusVilnius Vsia Vilna (City Directory) LUNIN Girsh Ios Bolshaya Street 20 1915 174 VilniusVilniusVilnius Vsia Vilna (City Directory LEMAN, Jockel Israel Transcribed from videotaped narration. Unverified. 1888 Pasvalys Panevezys Kaunas Transcribed videotape narration / Vital Records / Births Dotnuva Kaunas Kaunas LIMON Borukh Itsko Head of Household 49 December 1868 795 Military list KRA/I-61/1/1398LIMON Yankel Itsko Relative 40 LIMON Abram Itsko Relative 37 LIMON Shloma Itska Yankel Son 13 in 1866 Glebokie Disna Vilnius LAYMAN David Yankel Head of Household 31 14 3 January 1851 387175 Revision List LVIA/515/15/878LAYMAN Rubin David Son 7 LAYMAN Chaim David Son 4 LAYMAN Freyda Kalman Wife 30 LAYMAN Sora Kalman Daughter 5 TownUyezdGuberniya Surname Given Name Father Relationship Age ThisAge Last Reason LeftYear Comments Date PageRegistrationFormer Registration Publication TypeArchive / Fond etc Glebokie Disna Vilnius LEYMAN Yankel Mendel Head of Household 65 47 3 January 1851 37229 Revision List LVIA/515/15/878LEYMAN Gershon Yankel Son 16 Converted 1856 LEYMAN Shepshel Yankel Son Conscripted 1839 LEYMAN Girsha Yankel Son 11 LEYMAN Sora Riva David Wife 55 Pandelys Zarasai Kaunas LIMAN Iosel Abram Izrael Head of Household 49 missing a distiller 1845 729146135 Family list KRA/I-49/1/1372LIMAN Izrael Iosel Abram Son 23 missing LIMAN Monesh Iosel Abram Son 21 missing LIMAN Itsko Iosel Abram Son 18 missing TownUyezdGuberniya Surname Given Name Father Relationship Age ThisAge Last Reason LeftYear Comments Date PageRegistrationFormer Registration Publication TypeArchive / Fond etc Pandelys Zarasai Kaunas LIMAN Fayvis Choduk (Tsodyk?) Head of Household 38 present; lives in Raguva? parish; a tailor 1845 734190213 Family list KRA/I-49/1/1372LIMAN Chaya Wife 34 LIMAN Royuza Fayvis Daughter 11 1/2