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This article deals with contact between East Asian thought and modern Hebrew Literature from the late nineteenth century through the twentieth century, until today. In the first part, the article suggests that from a historiographical perspective, one may outline three waves of contact between these two cultural phenomena, at opposite ends of Asia. In the first wave, which began in the early twentieth century, Asian influence on Hebrew literature written in Europe was mediated mainly through the philosophers Schopenhauer and Nietzsche. The second wave, which emerged in the 1950s, relates to the influence of the leaders of the Beat Generation, who, in turn, were influenced by modernist poetry in English, which was colored by contact with Asian poetry. The third wave is part of the glocal New Age phenomenon and its appropriation of certain Buddhist traits.
The second part of the article presents several theoretical possibilities of symbioses between cultures, as they appear within language.
The third part presents the symptomatic example of the work of contemporary Hebrew writer Yoel Hoffmann, who appears to be a representative of the second wave; however, his work maintains dialogue with the first wave, and its current popularity is part of the third wave. Hoffmann’s work serves as an example of how to apply the theoretical possibilities presented in the second part of the article, as an instance of literary contact between two cultures and their respective languages.
Yoel Hoffmann is an Israeli writer born in 1937 in Brasov (Kronstadt), Romania. Brought up in a German-speaking family, already in his first book, Sefer Yosef (1989), he conveys the voice of German-speaking immigrants in Israel (the “Katschen” story, 1986) and that of the East European Jewish community in Berlin in the late 1930s, on the verge of the Second World War. His works are crammed with characters of Jews from Germany gripped by the memory of the language they abandoned following their emigration to Palestine in the 1930s. The classic one is the character of Bernhard, in the eponymous work. The current article focuses on the representation and elaboration of Hoffmann’s unique creation, in a language influenced by his deep identification with Zen Buddhism on the one hand, and his attraction to the modernist, Western style of stream of consciousness on the other. In central sections of his works, Hoffman presents his entire literary corpus as a type of explicit, allusive, or secret Holocaust literature, and invites his readers and his critics to decode the allusions and expose the secret in this theme, a surprising statement in relation to Hoffmann’s work and its analysis so far. Hoffmann represents the Holocaust as a collective Israeli trauma for which his literary fiction creates a special catalogue of representative characters. In the creation of a catalogue, and particularly one that simultaneously classifies and individualizes, Hoffmann’s project resembles the monumental 1920s cataloguing project by the celebrated German photographer August Sander (Menschen des 20. Jahrhunderts). Hoffmann included photographs from this project in his works, and even chose some of them for the covers of his books. The article examines the implicit relationships between these two creative artists as conferring a meaning so far not considered in the research of the Holocaust theme in Yoel Hoffmann’s writings.
After the mass immigration to Israel from 1948 to 1950, about 2000 Jews remained
in Yemen. These Jews lived in small communities and continued to maintain their
religious environment as it was. In the years that followed, many of them, however, moved from Yemen to Israel with the assistance of the Jewish Agency and the Joint
Distribution Committee (JDC). The community was of a small size and the fact that it
was dispersed throughout the predominantly Muslim areas, created a certain closeness
between the two groups. About ten percent of the Jews chose to convert to Islam, many
of them in groups. In about twenty cases, the husbands chose to convert to Islam while
their wives emigrated to preserve their Judaism. Some of the converts refused to grant
their wives a divorce, because, according to Muslim law, conversion is enough to sever
the marital relationship. This procedure is called ʿAgunot. Meaning, women bound in
marriage to a husband and they no longer lived together, but the husband didn’t formally
‘released’ her from marriage union. The article follows the efforts undertaken
to release the ʿAgunot, and shows that Jewish and Muslim scholars were able to find
solutions to the ʿAgunot problem and, at times, managed to bridge the gap between the
two religions.
A New Kind of Jew
(2018)
The article examines Allen Ginsberg’s spiritual path, and places his interest in Asian religions within larger cultural agendas and life choices. While identifying as a Jew, Ginsberg wished to transcend beyond his parents’ orbit and actively sought to create an inclusive, tolerant, and permissive society where persons such as himself could live and create at ease. He chose elements from the Christian, Jewish, Native-American, Hindu, and Buddhist traditions, weaving them together into an ever-growing cultural and spiritual quilt. The poet never underwent a conversion experience or restricted his choices and freedoms. In Ginsberg’s understanding, Buddhism was a universal, non-theistic religion that meshed well with an individualist outlook, and worked toward personal solace and mindfulness. He and other Jews saw no contradiction between enchantment with Buddhism and their Jewish identity.
rezensiertes Werk: Leshonot yehude Sefarad ve-ha-mizrach vesifruyotehem / Languages and literatures of Sephardic and Oriental Jews. - Jerusalem : Misgav Yerushalayim, 2009. - 484 S. [hebr.] + 434 S. [lat.], ; Ill.
Immobile Tremor
(2011)
The threshold between the XVth and the XVIth Century represents a historical period during which, both for Christians and for Jews, the geopolitical sceneries and the interior horizons radically change. The modified reality provokes new forms of expectation and the need of new historical interpretations. Ferrara, within this scenery, can be considered, as other Italian cases, as a paradigmatic example, a narrow space where phenomena of spiritual and cultural Jewish rebirth can take shape. The permeability between Christian artistic and cultural world and Jewish intellectual production determines a prosperous context, further strengthened by the introduction of Jewish typography and by a growing claim and restoration of social elective dignity among the Jews of the Este Duchy. After the transfer of the capital city from Ferrara to Modena, the indirect effects of this intellectual resurgence are deeply transformed on a social level, and allows us to catch the persistence of important forms of communication between Christians and Jews in everyday life. The introduction of the Inquisition provides us, through the production of the judicial archive, with the most important instrument to understand social dynamics, which allows us to comprehend a new potential interpretation key for the reality of the ghetto and the choice of its erection. The urban division is nothing else but a new attempt to separate the invisible spaces of the thought. The effective efficacy of the physical separation shows several weak points, which persist during the entire life of the ghetto, since 1638 until 1789.
This article aims to demonstrate the exceptional potential of Habsburg military records for the study of Jewish history during Europe’s Age of Revolution. We begin with the random discovery of six Jewish veterans of Freikorps Grün Loudon – a unit of mercenary freebooters – which fought for the Habsburgs during the first war against the French Republic (1792 – 97). A careful re-reading of the available archival evidence reveals that these men were the survivors of a much larger group numbering at least two dozen Jewish soldiers. While Jewish conscripts had been drafted into the Habsburg army since 1788, the fact that Jews could also serve – even volunteer – as professional soldiers in that period is completely new to us. When considered together, the personal circumstances and service experiences of the Jewish soldiers of Freikorps Grün Loudon enable us to make several observations about their motivation as well as their position vis-à-vis their non-Jewish comrades.
The St. Petersburg Branch of the Archive of the Russian Academy (PFA RAN) contains two manuscript biographies of Daniel Chwolson, the Russian-Jewish Orientalist, advocate of Jewish scholarship, and bridge builder to the Breslau Jewish Theological Seminary. They were written by his pupil and colleague, Pavel Kokovtsov, and his grandson Yevgeny Chwolson, respectively. These two texts are studied against the background of published texts and popular opinion of Chwolson in late Imperial Russia. Apart from some details, these manuscripts offer limited additional information as factual sources, most of their contents being mere variation of published texts. However, the biography of Chwolson written by his grandson is a valuable source on the reception of Chwolson and illustrates the potential of further mythological appreciation of his personality and works in the Soviet time as a defense strategy for Chwolson’s family. It also contains crucial information on the fate of Chwolson’s archive.