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Institute
In the aftermath of the Shoah and the ostensible triumph of nationalism, it became common in historiography to relegate Jews to the position of the “eternal other” in a series of binaries: Christian/Jewish, Gentile/Jewish, European/Jewish, non-Jewish/Jewish, and so forth. For the longest time, these binaries remained characteristic of Jewish historiography, including in the Central European context. Assuming instead, as the more recent approaches in Habsburg studies do, that pluriculturalism was the basis of common experience in formerly Habsburg Central Europe, and accepting that no single “majority culture” existed, but rather hegemonies were imposed in certain contexts, then the often used binaries are misleading and conceal the complex and sometimes even paradoxical conditions that shaped Jewish life in the region before the Shoah.
The very complexity of Habsburg Central Europe both in synchronic and diachronic perspective precludes any singular historical narrative of “Habsburg Jewry,” and it is not the intention of this volume to offer an overview of “Habsburg Jewish history.” The selected articles in this volume illustrate instead how important it is to reevaluate categories, deconstruct historical narratives, and reconceptualize implemented approaches in specific geographic, temporal, and cultural contexts in order to gain a better understanding of the complex and pluricultural history of the Habsburg Empire and the region as a whole.
The Jewish museums established in the fin-de-siècle Habsburg Empire postulated the unity of “the Jewish people,” with custodians constructing an “us” (Jews) in distinction to the “other” (non-Jews). In the difference-oriented frenzy of the time, Jewish identity was predominantly presented as Central European, enlightened, not overly religious, and middle-class. Then, when the Viennese Jewish Museum opened its doors in 1895, the painters Isidor Kaufmann and David Kohn created an installation called “Die Gute Stube” (The Parlor). This exhibit housed books, furniture, as well as decorative and ritual objects of the kind that were thought to be found in typical Eastern European Jewish households. However, as this article argues, this attempted visualization of the essence of Judaism and the range of Jewish life worlds promoted a paradigmatic stereotype with which Jewish museums would have to struggle for decades to come.