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Resistance, regeneration and the figuring of the 'New Jew' : Ephraim Moses Lilien and 'Muscular Jewry' /
No full textThis thesis embraces a cross-disciplinary approach to the examination of Jewish body culture, and integrates aspects of Jewish studies with new theories of gender and visual culture, thus contributing specifically to the field of Jewish body culture in relation to the visual arts. It demonstrates that at the fin de siècle the Zionist artist, Ephraim Moses Lilien, integrated Nordau’s concept of ‘Muscular Jewry’ and Buber’s notion of a ‘Jewish Cultural Renaissance’ in order to figure the ‘New Jew’. It establishes that Lilien’s figuring of ‘Muscular Jewry’ as a visibly athletic, explicitly heterosexual, male body, bearing Jewish distinction, was developed as a crucial strategy to overcoming the twin dilemmas of Jewish alterity: antisemitism and assimilation. By proving that Lilien’s art serves as a crucial model for both regenerating the Jewish male body and resisting antisemitic projections of decadence and degeneracy, this thesis expands upon current scholars hip. It applies Margaret Olin’s theory of ‘visual redemption’ to Lilien’s figuring of the ‘New Jew’ and Daniel Boyarin’s articulation of Homi Bhaba’s Post-Colonial theory of mimicry as imitation, inversion and resistance to determine how Lilien’s images functioned as an art of resistance against the dominant Christian European culture.By demonstrating how Lilien drew upon the modern and rebellious Jugendstil to figure the ‘New Jew’ and produce a new, defiant and authentic Jewish visual culture, this thesis proves he transformed the image of the diaspora Jew into the New Hebrew or Israeli tsabar, forty years before it became part of Israeli identity. Nevertheless, this thesis also uncovers the double-binded predicament inherent to Lilien’s quest; despite his attempt to use mimicry of the athleticised, hyper-masculine, genetically pure, normative body as a strategy to resist antisemitic rhetoric and invert its projection, the closest parallel to Lilienfigure of ‘Muscular Jewry’ remained this same image which became instrumental to eugenic campaigns across Europe, particularly in Nazi Germany. Ultimately what is exposed by this thesis is the illusion underpinning Lilien’s figuring of the ‘New Jew’; that the Christianised Eurocentric body culture, designed to eradicate decadence, degeneration and Semitism, could resolve the problematic struggle for a Jewish national identity.Thesis (M.A., Art History and Theory) -- University of New South Wales, College of Fine Art, School of Art Hisotry and Theory, July, 2007.Includes bibliographical references (page 163-174)
Mendelssohn and nineteenth-century England.
No full textThis thesis is about the relationship of Felix Mendelssohn to the musical culture of nineteenth-century England. Mendelssohn's ten trips to England between 1829 and 1847 are described in detail, and his reception and impact there (both during and after his lifetime) are analyzed. The central arguments presented in this thesis cannot be reduced to a single statement. Rather, the focus of this study is a "constellation" of six related ideas.First, that the effects of Mendelssohn's impact on Victorian Britain's musical culture were extensive and far reaching, permeating almost all strata of society from the working classes to the aristocracy, and also having a profound effect on the music profession. Second, that Mendelssohn actively pursued an ameliorist agenda vis-a-vis British musical culture, seeking to bring musical standards, practices, and values in to line with those of Germany, and that his efforts in this regard were supported and encouraged by many British musicians. Third, that the enormous popularity of Mendelssohn's music in Britain during the composer's lifetime was, in part, the product of a personality cult, and that his sudden death at the age of thirty-eight re-enforced this phenomenon and helped to establish him as a canonic figure. Fourth, that during his lifetime, Mendelssohn was perceived in Britain as a "German" rather than a "Jewish" composer, even though this was not always the case in Germany. However, in the decades following his death, perceptions in Britain gradually shifted, so that, increasingly, he came to be viewed as Jewish. Fifth, that despite the attacks of some later nineteenth-century British critics, who portrayed Mendelssohn as a weak and obsolete cultural force, Mendelssohn's music remained popular within many segments of society through the late nineteenth century. And sixth, that the canonic aspirations of the composers associated with the so-called "English Musical Renaissance" of the late nineteenth century, such as Parry, Stanford, and Mackenzie were both enabled and inhibited by the Mendelssohnian values absorbed by Britain's musical culture. These values included learnedness, antiquarianism, cosmopolitanism, classical formalism, romantic pictorialism, and "gentlemanliness" (avoidance of emotional excess, and propriety in abiding by established conventions of good taste).Thesis (Ph.D.)--University of Toronto (Canada), 2007.School code: 0779
Our ancestry : The Cohn, Blaschke, Jaffe, Lewinski, Lewczyk and Berowicz families.
No full textExploring the descendents of Bernhard-Benjamin Cohndigitize
Darstellung des Schicksals eines Juden aus dem Raum Erlangen zur Zeit des Nationalsozialismus am Beispiel Justin Fraenkels.
No full textThe paper - submitted in fulfillment of the requirements for the German high school diploma (Abitur) - describes the life of Justin Fraenkel, a Jew from Erlangen, Bavaria during the Nazi era.Bibliography : pages 34-40ManuscriptEnglish translationJustin Fraenkel was born in 1896. He served in the German army during WW I, and he was a teacher at a high school for girls until he was fired for being Jewish in 1936. Fraenkel was arrested from April to November 1937, and he succeeded to organize his emigration to the U.S. in July 1938. He settled in Cincinnati, Ohio, where he died in 1984.English synopsis on fil
AHC interview with George Roper III.
No full textAugust 15, 2007George Roper was born on April 1, 1932 in Vienna, Austria. When he was 7 years old, he and his family left Vienna by train to Belgium. The stayed there for one day and went on a boat to England, where they lived for one year. Then they immigrated to the United States and settled in New York. George Roper worked as a textile designer until his retirement.Austrian Heritage Collectio
Interview with Walter Leonard
No full textOral history interview conducted by Frank Roberts, found on a CD labeled Jan Riley Collection. Walter Leonard was born Walter Wertheimer in Dieburg, Germany and immigrated to the United States with the assistance of his uncle Adolf Lorch, as reflected in papers found in Box 1 Folder 16 of the Adolf Lorch Papers.Digital recordin
AHC interview with Isaac Zelig Zieman.
No full textJan. 18, 2007Issac Zelig Zieman was born 1920 in Riga (Latvia). He grew up in the Latvian town Līvāni (Lievenhof), where he lived until the German occupation in 1941. Zelig Zieman joined an antifascist militia and escaped to Kazakhstan in the Soviet Union, where he joined the Red Army. In 1942 he fought in Stalingrad. Because of his Latvian origin, Zelig Zieman was arrested and deported to Novosibirsk (Siberia), where he was forced to work in a coal mine. After his release he went to Kyrgyzstan an then to Poland, where he worked for the Polish Red Army. Since his youth Zelig Zieman has been a member of the Zionist Youth Organization Gordonia. He continued to do political work for them in Poland and then in Czechoslovakia, where he arrived in 1945. Later on he went to Hungary and then to Austria, where he worked in a DP camp in Braunau am Inn. He helped Jewish Holocaust survivors with their emigration to Palestine. After that he went to Bavaria, where he studied Psychoanalysis. In 1957 he immigrated to the United States and settled in New York City.Austrian Heritage Collectio
Rediscovering Germany : May 7 - 21, 2007 /
No full textTyped manuscript (15 pages) by Audrey Friedman Marcus about Elaine Spanier’s trip to Buende, Berlin and Bonn in May 2007.digitize
Jewish writers in the Arab East: Literature, history, and the politics of enlightenment, 1863--1914.
No full textEsther Azhari Moyal, born in Beirut in 1873, was a celebrated Jewish journalist, author, literary translator, and feminist who founded an Arabic newspaper for women, translated a dozen novels from French to Arabic, and published an Arabic-language biography of Emile Zola. Yet despite these achievements she died in Jaffa in 1948 alone, impoverished, and utterly forgotten. My dissertation tells the story of Moyal and her contemporaries: the late-nineteenth and early-twentieth century Arab Jewish intellectuals who wrote of their visions and aspirations in poetry and in prose, in newspapers, cultural journals, and books. Their story unfolds in the mashriq (Arab East) during a moment of intense passion for new forms of knowledge, an era when the collective terms of identity and affiliation were being renegotiated, civil society was being shaped, and new connections between members of different genders, sects, and cultures were being forged.At the twilight of the Ottoman Empire, in urban centers such as Baghdad, Beirut, Cairo, and Jaffa, Jewish intellectuals participated in the modern Hebrew and Arabic enlightenment movements (the haskala and the nand&dotbelow;a). They immersed themselves in the ideological and political currents of their time, responding to the competing pulls of Ottomanism, Zionism, and territorial nationalism. Above all, they explored what it meant to be Arab, Jewish, and modern, reimagining themselves and their communities through the regional vocabulary of modernity and enlightenment. But the split between "Arab" and "Jew" was to become violently entrenched, socially institutionalized, and in time, historically reified. With these developments, Moyal and other Arab Jewish writers were cast out not only from the bygone world of the cosmopolitan Middle East, but from historical memory itself.This dissertation thus represents a lost chapter in the histories of modern Jewish and Arab cultures. First and foremost, it is a reading of the discursive production of modernity by mashriqi Jews through their double engagement in the nand&dotbelow;a and haskala. Second, it investigates the historical development and expression of modern Arab Jewish subjectivity within those two cultural contexts. How, I ask, did Jewish writers of Arabic represent themselves to a general Arabic readership? Conversely, how did Arab Jewish writers of Hebrew address a primarily European Jewish readership? Finally, the dissertation seeks connections between the nand&dotbelow;a and the haskala, a discussion I situate within the broader epistemological context of non-Western enlightenment movements. Ultimately, I argue, Arab Jewish writing represented a transculturation not only of European enlightenment discourse but of the "minor," non-Western discourses of the nand&dotbelow;a and the haskala . As such, it poignantly underscored the struggle for authority that was at the heart of both movements.Thesis (Ph.D.)--University of California, Berkeley, 2007.School code: 0028
Jewish writers in the Arab East: Literature, history, and the politics of enlightenment, 1863--1914.
No full textEsther Azhari Moyal, born in Beirut in 1873, was a celebrated Jewish journalist, author, literary translator, and feminist who founded an Arabic newspaper for women, translated a dozen novels from French to Arabic, and published an Arabic-language biography of Emile Zola. Yet despite these achievements she died in Jaffa in 1948 alone, impoverished, and utterly forgotten. My dissertation tells the story of Moyal and her contemporaries: the late-nineteenth and early-twentieth century Arab Jewish intellectuals who wrote of their visions and aspirations in poetry and in prose, in newspapers, cultural journals, and books. Their story unfolds in the mashriq (Arab East) during a moment of intense passion for new forms of knowledge, an era when the collective terms of identity and affiliation were being renegotiated, civil society was being shaped, and new connections between members of different genders, sects, and cultures were being forged.At the twilight of the Ottoman Empire, in urban centers such as Baghdad, Beirut, Cairo, and Jaffa, Jewish intellectuals participated in the modern Hebrew and Arabic enlightenment movements (the haskala and the nand&dotbelow;a). They immersed themselves in the ideological and political currents of their time, responding to the competing pulls of Ottomanism, Zionism, and territorial nationalism. Above all, they explored what it meant to be Arab, Jewish, and modern, reimagining themselves and their communities through the regional vocabulary of modernity and enlightenment. But the split between "Arab" and "Jew" was to become violently entrenched, socially institutionalized, and in time, historically reified. With these developments, Moyal and other Arab Jewish writers were cast out not only from the bygone world of the cosmopolitan Middle East, but from historical memory itself.This dissertation thus represents a lost chapter in the histories of modern Jewish and Arab cultures. First and foremost, it is a reading of the discursive production of modernity by mashriqi Jews through their double engagement in the nand&dotbelow;a and haskala. Second, it investigates the historical development and expression of modern Arab Jewish subjectivity within those two cultural contexts. How, I ask, did Jewish writers of Arabic represent themselves to a general Arabic readership? Conversely, how did Arab Jewish writers of Hebrew address a primarily European Jewish readership? Finally, the dissertation seeks connections between the nand&dotbelow;a and the haskala, a discussion I situate within the broader epistemological context of non-Western enlightenment movements. Ultimately, I argue, Arab Jewish writing represented a transculturation not only of European enlightenment discourse but of the "minor," non-Western discourses of the nand&dotbelow;a and the haskala . As such, it poignantly underscored the struggle for authority that was at the heart of both movements.Thesis (Ph.D.)--University of California, Berkeley, 2007.School code: 0028