From Ruth Bader Ginsburg on the walls of the National Portrait Gallery in Washington, DC, to Sarah Silverman on the cover of Heeb; from Amy Winehouse’s voice to Lena Dunham’s breasts, Jewish women are a ubiquitous presence in contemporary “high” and popular culture. In the 2015 documentary Amy, Winehouse even goes so far as to describe herself as “Your favourite Jewish girl, apart from your mum,” invoking the much loved, derided, satirized, and maligned figure of the Jewish mother.1 Nonetheless, artistic representations of the “Jewess” remain undertheorized, especially in comparison to her male counterparts.2 While pioneering feminist Jewish studies scholars (Paula E. Hyman, Deborah Dash Moore, Pamela S. Nadell, Riv-Ellen Prell, and others) have worked hard to salvage the often-forgotten histories of Jewish women,3 this special issue has a different objective. The Modern Jewess in Image and Text takes as its focus the construction of gender, race, and class through representations of Jewish women across different contexts, periods, and media.4 This project had its inception as a conference held at Georgetown University in February 2018, sponsored by the Center for Jewish Civilization. The editorial and managerial team at Shofar worked hard to see it to fruition. I am grateful for the support provided by Jacques Berlinerblau, Michelyne Chavez, Glenn Dynner, Alice Ying Nie, Ranen Omer-Sherman, Tara Saunders, Sebastian Williams, and the many anonymous peer reviewers. The timing of this publication is significant: the term “Jewess” appears to be making a comeback. Mark Oppenheimer asks in Tablet: “Is It Cool to Say ‘Jewess’?”5 My question is: Is the term
{"title":"\"Your Favourite Jewish Girl, Apart From Your Mum\": Introducing the Modern Jewess in Image and Text","authors":"Keren Rosa Hammerschlag","doi":"10.1353/sho.2021.0037","DOIUrl":"https://doi.org/10.1353/sho.2021.0037","url":null,"abstract":"From Ruth Bader Ginsburg on the walls of the National Portrait Gallery in Washington, DC, to Sarah Silverman on the cover of Heeb; from Amy Winehouse’s voice to Lena Dunham’s breasts, Jewish women are a ubiquitous presence in contemporary “high” and popular culture. In the 2015 documentary Amy, Winehouse even goes so far as to describe herself as “Your favourite Jewish girl, apart from your mum,” invoking the much loved, derided, satirized, and maligned figure of the Jewish mother.1 Nonetheless, artistic representations of the “Jewess” remain undertheorized, especially in comparison to her male counterparts.2 While pioneering feminist Jewish studies scholars (Paula E. Hyman, Deborah Dash Moore, Pamela S. Nadell, Riv-Ellen Prell, and others) have worked hard to salvage the often-forgotten histories of Jewish women,3 this special issue has a different objective. The Modern Jewess in Image and Text takes as its focus the construction of gender, race, and class through representations of Jewish women across different contexts, periods, and media.4 This project had its inception as a conference held at Georgetown University in February 2018, sponsored by the Center for Jewish Civilization. The editorial and managerial team at Shofar worked hard to see it to fruition. I am grateful for the support provided by Jacques Berlinerblau, Michelyne Chavez, Glenn Dynner, Alice Ying Nie, Ranen Omer-Sherman, Tara Saunders, Sebastian Williams, and the many anonymous peer reviewers. The timing of this publication is significant: the term “Jewess” appears to be making a comeback. Mark Oppenheimer asks in Tablet: “Is It Cool to Say ‘Jewess’?”5 My question is: Is the term","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"1 - 12"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43780644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reviewing The Great Kosher Meat War of 1902 in the summer of 2021, it is impossible not to think about the historical parallels between the “riots” of more than a century ago and the marches following the murder of George Floyd during the summer of 2020. Obviously the direct circumstances and the scale are not at all the same, but the spread of the protests beyond the initial location; the connections between local and national conditions; the conflation of protests and riots; the dismissal of instigating figures as naïfs in over their heads; the wildly varying media coverage; the pronouncements of government officials at the local, state, and national levels; and quite possibly the long-lasting impact of participation are, at the least, reminiscent of one another. Equally central to any review of Scott D. Seligman’s book is the bright light still cast by Paula E. Hyman’s pathbreaking article “Immigrant Women and Consumer Protest: The New York City Kosher Meat Boycott of 1902,” published in American Jewish History in 1980. This was an early example of American Jewish women’s history and has arguably remained one of the most influential scholarly articles in the field. While Seligman certainly fleshes out the story of the 1902 protests in much more detail than was possible in an article, it is unfortunate that he did not learn more from Hyman’s work than the basic narrative. Even in 1980, without the benefit of the decades of corroborating research to come, Hyman understood that the women she was writing about were savvy political actors who strategically deployed gender within economic and religious constraints to achieve their goals. When they worked with
在2021年夏天回顾1902年的犹太肉类大战，不可能不想到一个多世纪前的“骚乱”与2020年夏天乔治·弗洛伊德(George Floyd)被谋杀后的游行之间的历史相似之处。显然，直接情况和规模完全不同，但抗议活动的蔓延超出了最初的地点;地方与国情的联系;抗议和骚乱的结合;把煽动者当作naïfs在他们头上解雇;五花八门的媒体报道;公告:地方、州和国家各级政府官员的声明;很有可能，参与的长期影响至少会让人想起彼此。对于斯科特·d·塞利格曼这本书的任何评论，同样重要的是宝拉·e·海曼(Paula E. Hyman) 1980年发表在《美国犹太历史》(American Jewish History)上的开创性文章《移民妇女和消费者抗议:1902年纽约市犹太肉类抵制》(Immigrant Women and Consumer Protest: the New York City Kosher Meat Boycott)所投下的光芒。这是美国犹太妇女历史的早期例子，可以说是该领域最具影响力的学术文章之一。虽然塞利格曼确实比一篇文章更详细地充实了1902年抗议活动的故事，但不幸的是，他没有从海曼的作品中学到比基本叙述更多的东西。即使在1980年，没有经过几十年的实证研究，海曼也明白，她所写的女性是精明的政治演员，她们在经济和宗教约束下战略性地利用性别来实现自己的目标。当他们与
{"title":"The Great Kosher Meat War of 1902: Immigrant Housewives and the Riots That Shook New York City by Scott D. Seligman (review)","authors":"Melissa R. Klapper","doi":"10.1353/sho.2021.0038","DOIUrl":"https://doi.org/10.1353/sho.2021.0038","url":null,"abstract":"Reviewing The Great Kosher Meat War of 1902 in the summer of 2021, it is impossible not to think about the historical parallels between the “riots” of more than a century ago and the marches following the murder of George Floyd during the summer of 2020. Obviously the direct circumstances and the scale are not at all the same, but the spread of the protests beyond the initial location; the connections between local and national conditions; the conflation of protests and riots; the dismissal of instigating figures as naïfs in over their heads; the wildly varying media coverage; the pronouncements of government officials at the local, state, and national levels; and quite possibly the long-lasting impact of participation are, at the least, reminiscent of one another. Equally central to any review of Scott D. Seligman’s book is the bright light still cast by Paula E. Hyman’s pathbreaking article “Immigrant Women and Consumer Protest: The New York City Kosher Meat Boycott of 1902,” published in American Jewish History in 1980. This was an early example of American Jewish women’s history and has arguably remained one of the most influential scholarly articles in the field. While Seligman certainly fleshes out the story of the 1902 protests in much more detail than was possible in an article, it is unfortunate that he did not learn more from Hyman’s work than the basic narrative. Even in 1980, without the benefit of the decades of corroborating research to come, Hyman understood that the women she was writing about were savvy political actors who strategically deployed gender within economic and religious constraints to achieve their goals. When they worked with","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"287 - 289"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48959013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:"The Modern Jewess and Her Wondering Jewish Identity" argues that Margot Singer and Elisa Albert represent Jewish exile as women's stories. In their narratives, women's selfhood is historically and culturally inflected with both the imperative of Jewish women's obligation and exile within Jewish communal life. Their modern Jewesses wonder about the foundational urgency of sustaining and regenerating, even against all odds, Jewish identity and continuity. Albert and Margot Singer portray the modern Jewess as wandering and wondering—entering the fray of a perennially contested and changing Jewish American history and social and cultural site: the absent presence of the Holocaust, the Jewish home, family, and community, and the evolving nature of Jewish American literature and characterization.
{"title":"The Modern Jewess and Her Wondering Jewish Identity","authors":"P. Lassner","doi":"10.1353/sho.2021.0034","DOIUrl":"https://doi.org/10.1353/sho.2021.0034","url":null,"abstract":"ABSTRACT:\"The Modern Jewess and Her Wondering Jewish Identity\" argues that Margot Singer and Elisa Albert represent Jewish exile as women's stories. In their narratives, women's selfhood is historically and culturally inflected with both the imperative of Jewish women's obligation and exile within Jewish communal life. Their modern Jewesses wonder about the foundational urgency of sustaining and regenerating, even against all odds, Jewish identity and continuity. Albert and Margot Singer portray the modern Jewess as wandering and wondering—entering the fray of a perennially contested and changing Jewish American history and social and cultural site: the absent presence of the Holocaust, the Jewish home, family, and community, and the evolving nature of Jewish American literature and characterization.","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"108 - 87"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47265984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Life? Or Theatre? by Charlotte Salomon (review)","authors":"Chloe Julius","doi":"10.1353/sho.2021.0042","DOIUrl":"https://doi.org/10.1353/sho.2021.0042","url":null,"abstract":"","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"281 - 286"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44828547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Coming Home explores the legacy of the kinship practices that began in the Australian Women’s Liberation and Gay & Lesbian Liberation movements in a community in Adelaide, Australia, called the Jewish Adelaide Feminist Lesbians (JAFLs). Members of this group have adapted traditional Jewish rituals to align with their Marxist, feminist, and lesbian politics, embodying their shared values in a way of life that combines their activism with their deep sense of belonging to the Jewish people. In a ritualistic format, the JAFLs tell how their shared practices were like “coming home,” making it possible for them to bring their feminist and LGBTQIA+ inclusive politics into the fabric of their personal lives in a way that they could all relate to. Together they have found ways to be Jewish that foster their other identities, making it possible for feminism and their queer kinship experiments to become a transgenerational part of their home and community lives. Through the affirmation of their diverse Jewish genealogies as well as a range of feminist Jewish literature, the group members have created a sense of continuity between the cultures they inherited and the one they have created for themselves and those who come after them—their children and grandchildren as well as other queer and feminist kin.
{"title":"Coming Home, 2021","authors":"A. Roe","doi":"10.1353/sho.2021.0039","DOIUrl":"https://doi.org/10.1353/sho.2021.0039","url":null,"abstract":"Coming Home explores the legacy of the kinship practices that began in the Australian Women’s Liberation and Gay & Lesbian Liberation movements in a community in Adelaide, Australia, called the Jewish Adelaide Feminist Lesbians (JAFLs). Members of this group have adapted traditional Jewish rituals to align with their Marxist, feminist, and lesbian politics, embodying their shared values in a way of life that combines their activism with their deep sense of belonging to the Jewish people. In a ritualistic format, the JAFLs tell how their shared practices were like “coming home,” making it possible for them to bring their feminist and LGBTQIA+ inclusive politics into the fabric of their personal lives in a way that they could all relate to. Together they have found ways to be Jewish that foster their other identities, making it possible for feminism and their queer kinship experiments to become a transgenerational part of their home and community lives. Through the affirmation of their diverse Jewish genealogies as well as a range of feminist Jewish literature, the group members have created a sense of continuity between the cultures they inherited and the one they have created for themselves and those who come after them—their children and grandchildren as well as other queer and feminist kin.","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"16 - 20"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47188895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This essay examines an understudied Jewish American autobiographical text, Harriet Lane Levy's memoir 920 O'Farrell Street (1947). Completed when she was eighty years old, the memoir uses modernist aesthetics to describe Levy's Jewish upbringing in late nineteenth-century San Francisco. Arguing that 920 O'Farrell Street fills a significant gap in Jewish American literary history, I consider Levy's modernist memoir as an alternative to the established Jewish American autobiographical tradition, which has privileged the stories of working-class immigrants making their way from the ghetto into mainstream America. As I demonstrate through close analysis of the memoir, and in particular Levy's use of the Victorian house as a structuring device, 920 O'Farrell Street expands the parameters of Jewish American literary history by mapping Jewishness to the geographic and architectural sites of turn-of-the-twentieth-century San Francisco, and displacing the ghetto as the sole locus of Jewish life and literature in the United States. Further, Jewish American literary scholarship's New York-centrism and its privileging of the ghetto tale have obscured the pivotal role played by California Jewish women in the early stages of the modernist movement. As a corrective, I preface my close reading of the memoir with background on Levy, placing her in the context of a group of remarkable women—including Gertrude Stein, an Oakland resident in her youth, and Alice B. Toklas, Levy's O'Farrell Street neighbor—who moved between the middle-class Jewish communities of northern California and the expatriate salons of Paris in the first decades of the twentieth century.
摘要:本文考察了美国犹太裔作家哈丽特·莱恩·列维的回忆录《奥法雷尔街920号》(1947)。她在80岁时完成了这本回忆录，用现代主义美学描述了列维在19世纪晚期旧金山的犹太成长经历。我认为，奥法雷尔街920号填补了美国犹太文学史上的一个重大空白，利维的现代主义回忆录是美国犹太自传体传统的另一种选择，这种传统赋予了工人阶级移民从贫民窟进入美国主流社会的故事特权。正如我通过对回忆录的仔细分析，特别是列维使用维多利亚时代的房子作为结构装置所展示的那样，奥法瑞尔街920号扩展了犹太美国文学史的参数，通过将犹太人映射到二十世纪之交的旧金山的地理和建筑遗址，并取代了犹太区，成为美国犹太人生活和文学的唯一场所。此外，美国犹太文学研究的纽约中心主义及其对犹太区故事的特权掩盖了加州犹太妇女在现代主义运动早期所起的关键作用。作为纠正，我以列维的背景作为我仔细阅读这本回忆录的开头，把她放在一群杰出女性的背景中——包括年轻时住在奥克兰的格特鲁德·斯坦(Gertrude Stein)和列维在奥法雷尔街(O'Farrell Street)的邻居爱丽丝·b·托克拉斯(Alice B. Toklas)——她们在20世纪头几十年游走于加州北部的中产阶级犹太社区和巴黎的外籍人士沙龙之间。
{"title":"Through the Bay Window: Harriet Lane Levy's 920 O'Farrell Street as Modernist Memoir","authors":"L. Harrison-Kahan","doi":"10.1353/sho.2021.0031","DOIUrl":"https://doi.org/10.1353/sho.2021.0031","url":null,"abstract":"ABSTRACT:This essay examines an understudied Jewish American autobiographical text, Harriet Lane Levy's memoir 920 O'Farrell Street (1947). Completed when she was eighty years old, the memoir uses modernist aesthetics to describe Levy's Jewish upbringing in late nineteenth-century San Francisco. Arguing that 920 O'Farrell Street fills a significant gap in Jewish American literary history, I consider Levy's modernist memoir as an alternative to the established Jewish American autobiographical tradition, which has privileged the stories of working-class immigrants making their way from the ghetto into mainstream America. As I demonstrate through close analysis of the memoir, and in particular Levy's use of the Victorian house as a structuring device, 920 O'Farrell Street expands the parameters of Jewish American literary history by mapping Jewishness to the geographic and architectural sites of turn-of-the-twentieth-century San Francisco, and displacing the ghetto as the sole locus of Jewish life and literature in the United States. Further, Jewish American literary scholarship's New York-centrism and its privileging of the ghetto tale have obscured the pivotal role played by California Jewish women in the early stages of the modernist movement. As a corrective, I preface my close reading of the memoir with background on Levy, placing her in the context of a group of remarkable women—including Gertrude Stein, an Oakland resident in her youth, and Alice B. Toklas, Levy's O'Farrell Street neighbor—who moved between the middle-class Jewish communities of northern California and the expatriate salons of Paris in the first decades of the twentieth century.","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"21 - 58"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48713021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:The 1970s gave voice to a number of female Jewish authors who subverted stereotypes of Jewish women through the creation of complex, deeply funny Jewish female protagonists that reimagined and celebrated Jewish femininity. This paper considers Gail Parent's Sheila Levine Is Dead and Living in New York (1972), Louise Blecher Rose's The Launching of Barbara Fabrikant (1974), and Susan Lukas's Fat Emily (1974), three novels that repurpose the "Jewish American Princess" (JAP) stereotype to empower the Jewish daughter and to dismantle the image of young Jewish femininity previously set forth by male authors like Philip Roth. This paper contextualizes and analyzes each of the three novels in conversation with Letty Cottin Pogrebin's conception of the "Jewish Big Mouth" and Nathan Abrams's definition of the "New JAP with Attitude," ultimately making the argument that the Jewish female protagonists in these novels were simultaneously progressive in their clear articulation of active female Jewish voices in American popular fiction and conservative in their reliance on mid-century tropes about JAPs and "Jewish Ugly Ducklings." In doing so, these novels act as a bridge between the mid-century images of young Jewish femininity perpetuated by authors like Roth and the more nuanced, female-driven representations of Jewish women seen in contemporary popular culture.
{"title":"A Voice of Her Own: The New Young Jewish Woman in Gail Parent's Sheila Levine Is Dead and Living in New York (1972), Louise Blecher Rose's The Launching of Barbara Fabrikant (1974), and Susan Lukas's Fat Emily (1974)","authors":"Samantha Pickette","doi":"10.1353/sho.2021.0035","DOIUrl":"https://doi.org/10.1353/sho.2021.0035","url":null,"abstract":"ABSTRACT:The 1970s gave voice to a number of female Jewish authors who subverted stereotypes of Jewish women through the creation of complex, deeply funny Jewish female protagonists that reimagined and celebrated Jewish femininity. This paper considers Gail Parent's Sheila Levine Is Dead and Living in New York (1972), Louise Blecher Rose's The Launching of Barbara Fabrikant (1974), and Susan Lukas's Fat Emily (1974), three novels that repurpose the \"Jewish American Princess\" (JAP) stereotype to empower the Jewish daughter and to dismantle the image of young Jewish femininity previously set forth by male authors like Philip Roth. This paper contextualizes and analyzes each of the three novels in conversation with Letty Cottin Pogrebin's conception of the \"Jewish Big Mouth\" and Nathan Abrams's definition of the \"New JAP with Attitude,\" ultimately making the argument that the Jewish female protagonists in these novels were simultaneously progressive in their clear articulation of active female Jewish voices in American popular fiction and conservative in their reliance on mid-century tropes about JAPs and \"Jewish Ugly Ducklings.\" In doing so, these novels act as a bridge between the mid-century images of young Jewish femininity perpetuated by authors like Roth and the more nuanced, female-driven representations of Jewish women seen in contemporary popular culture.","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"59 - 86"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41498697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Ephraim Moses Lilien (1874–1925) was one of the most important Jewish artists of modern times. As a successful illustrator, photographer, painter, and printer, he became known as the "first major Zionist" artist. Surprisingly, there has been little in-depth scholarly research and analysis of Lilien's work available in English.In this article, I summarize my research findings from my recent monograph, Gender, Orientalism and the Jewish Nation (Bloomsbury Press, 2020), and consider how radical Lilien's complex depictions of women were for this period. Most of the historiography on Lilien has concentrated on his iconography of the muscular [male] Jewish body, discussed among scholars of Zionist art historiography. There has been little debate on his images of the modern Jewess. Like other vanguard male artists at the end of the nineteenth century, painting continued to be a male preserve. His work mirrored the misogyny inherent among non-Jewish avant-garde artists. Ironically, as a secular Zionist, Lilien pushed the limits of Jewish visual representation in the interests of Jewish cultural literacy. This paper considers that paradox in regard to the burgeoning interest at the fin de siècle in German Orientalism and the tensions inherent in the navigation of German Jewish identity.Using an interdisciplinary approach to integrate intellectual and cultural history with issues of gender, Jewish history, and visual culture, this article explores fin-de-siècle tensions between European and Oriental expressions of Jewish femininity. Lilien's female images offer a compelling glimpse of an alternate, independent, and often sexually liberated modern Jewish woman.
{"title":"Femmes Fatales, Biblical Heroines, and Sensual Beauties: Who Is the Modern Jewess in the Art of Ephraim Moses Lilien","authors":"Lynne Swarts","doi":"10.1353/sho.2021.0041","DOIUrl":"https://doi.org/10.1353/sho.2021.0041","url":null,"abstract":"ABSTRACT:Ephraim Moses Lilien (1874–1925) was one of the most important Jewish artists of modern times. As a successful illustrator, photographer, painter, and printer, he became known as the \"first major Zionist\" artist. Surprisingly, there has been little in-depth scholarly research and analysis of Lilien's work available in English.In this article, I summarize my research findings from my recent monograph, Gender, Orientalism and the Jewish Nation (Bloomsbury Press, 2020), and consider how radical Lilien's complex depictions of women were for this period. Most of the historiography on Lilien has concentrated on his iconography of the muscular [male] Jewish body, discussed among scholars of Zionist art historiography. There has been little debate on his images of the modern Jewess. Like other vanguard male artists at the end of the nineteenth century, painting continued to be a male preserve. His work mirrored the misogyny inherent among non-Jewish avant-garde artists. Ironically, as a secular Zionist, Lilien pushed the limits of Jewish visual representation in the interests of Jewish cultural literacy. This paper considers that paradox in regard to the burgeoning interest at the fin de siècle in German Orientalism and the tensions inherent in the navigation of German Jewish identity.Using an interdisciplinary approach to integrate intellectual and cultural history with issues of gender, Jewish history, and visual culture, this article explores fin-de-siècle tensions between European and Oriental expressions of Jewish femininity. Lilien's female images offer a compelling glimpse of an alternate, independent, and often sexually liberated modern Jewish woman.","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"109 - 153"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47172678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This essay analyzes the video dance work of contemporary Jewish performance artist Julie Weitz through analysis of her seven-minute short The Great Dominatrix (2018). Inspired by Charlie Chaplin's critique of fascism in The Dictator (1940), Weitz mocks modern-day political power in Hassidic drag with Chaplin-esque physicality and layered cultural reference. Curls unfurl from under the fur of a traditional man's hat as golem enters in white tights and leotard, wrapped unorthodoxly in religious tefillin. She mounts a plastic inflatable globe as quick cuts speed through the myriad ways she sexualizes the prop. In one sequence, the artist gesticulates her white-caked face and body with exaggerated expressions of surprise, disgust, and desire while watching iPhone clips of Trump and Chaplin's Hitler playing with his own oversize globe. Satirizing today's rulers and their greed for world domination while libidinizing the sci-fi figure of Jewish folklore, Weitz embodies an ethnogender drag she describes as curiously empowering, if often misunderstood. Prioritizing these multiple mis/identifications as contestatory performance plays in porcelain slip, I argue that the artist deploys competing tropes to dethrone dictatorship while exaggerating antisemitic extremes to sculpt the Modern Jewess in bodily negotiation of (her own) power.
{"title":"Redressing Power Through Hasidic Drag: Julie Weitz in My Golem as the Great Dominatrix","authors":"Hannah Schwadron","doi":"10.1353/sho.2021.0032","DOIUrl":"https://doi.org/10.1353/sho.2021.0032","url":null,"abstract":"ABSTRACT:This essay analyzes the video dance work of contemporary Jewish performance artist Julie Weitz through analysis of her seven-minute short The Great Dominatrix (2018). Inspired by Charlie Chaplin's critique of fascism in The Dictator (1940), Weitz mocks modern-day political power in Hassidic drag with Chaplin-esque physicality and layered cultural reference. Curls unfurl from under the fur of a traditional man's hat as golem enters in white tights and leotard, wrapped unorthodoxly in religious tefillin. She mounts a plastic inflatable globe as quick cuts speed through the myriad ways she sexualizes the prop. In one sequence, the artist gesticulates her white-caked face and body with exaggerated expressions of surprise, disgust, and desire while watching iPhone clips of Trump and Chaplin's Hitler playing with his own oversize globe. Satirizing today's rulers and their greed for world domination while libidinizing the sci-fi figure of Jewish folklore, Weitz embodies an ethnogender drag she describes as curiously empowering, if often misunderstood. Prioritizing these multiple mis/identifications as contestatory performance plays in porcelain slip, I argue that the artist deploys competing tropes to dethrone dictatorship while exaggerating antisemitic extremes to sculpt the Modern Jewess in bodily negotiation of (her own) power.","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"181 - 209"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46864724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Between August and December 1942, western deportation trains heading from Drancy, Westerbork, and Mechelen/Malines to Auschwitz were stopped in Cosel (today Kędzierżyn-Koźle, Poland, Upper Silesia), a town situated forty miles northwest of the death camp, by the SS and order police. During this so-called Cosel period, nearly 9,000 able-bodied men aged between sixteen and fifty-five were made to step out, while the elderly, the women, and the children rode on to Auschwitz, where they were murdered in the gas chambers almost immediately.From Cosel, the men were distributed among forced labor camps specifically set up for Eastern Upper Silesian Jews from the fall of 1940. These forced labor camps, superintended by SS Special Commissioner Albrecht Schmelt, were operated independently from the Auschwitz concentration camp and its satellites, hence the men were selected in Cosel and not on the ramp of Birkenau. The Cosel stops thus facilitated the transfer of western deportees into a secluded camp system that existed in parallel to the subcamps of concentration camps. The camp system was intrinsically linked to the construction of the "thoroughfare IV" to the Ukraine, supervised by the Reich Highway Company (Reichsautobahn), which had begun to use Jewish forced labor on a large scale.Most of the men taken off the trains in Cosel perished due to the adverse conditions in the camps. Based on survivor testimonies, this paper aims to providing the first detailed analysis of the Cosel period, while equally addressing the profound psychological trauma it effectuated.
摘要：1942年8月至12月，从德兰西、韦斯特博克和梅赫伦/马林斯开往奥斯威辛的西方驱逐列车在科塞尔（今天是波兰上西里西亚的KÉdzierżyn Ko Rozile）被党卫队和秩序警察拦下，科塞尔是一个位于死亡集中营西北40英里的小镇。在这个所谓的科塞尔时期，近9000名年龄在16岁至55岁之间的健全男子被迫离开，而老人、妇女和儿童则乘车前往奥斯威辛，在那里他们几乎立即在毒气室中被谋杀。从科塞尔，这些人被分配到1940年秋天专门为东上西里西亚犹太人设立的强迫劳改营。这些强迫劳改营由党卫军特别专员阿尔布雷希特·施梅尔特负责监督，独立于奥斯威辛集中营及其卫星运营，因此这些人被选在科塞尔，而不是在比克瑙的坡道上。因此，科塞尔站为将西方被驱逐者转移到一个与集中营附属营地平行的隐蔽营地系统提供了便利。营地系统与通往乌克兰的“第四大道”的建设有着内在的联系，由帝国公路公司（Reichsautobhan）监督，该公司已开始大规模使用犹太强迫劳动。大多数在科塞尔下火车的人都因营地的恶劣条件而丧生。基于幸存者的证词，本文旨在对科塞尔时期进行首次详细分析，同时同样探讨其造成的深刻心理创伤。
{"title":"Revisiting the \"Cosel Period\": A Fresh Perspective on the Stopping of Western Deportation Trains En Route to Auschwitz, 1942–1943","authors":"Susanne Barth","doi":"10.1353/sho.2021.0023","DOIUrl":"https://doi.org/10.1353/sho.2021.0023","url":null,"abstract":"ABSTRACT:Between August and December 1942, western deportation trains heading from Drancy, Westerbork, and Mechelen/Malines to Auschwitz were stopped in Cosel (today Kędzierżyn-Koźle, Poland, Upper Silesia), a town situated forty miles northwest of the death camp, by the SS and order police. During this so-called Cosel period, nearly 9,000 able-bodied men aged between sixteen and fifty-five were made to step out, while the elderly, the women, and the children rode on to Auschwitz, where they were murdered in the gas chambers almost immediately.From Cosel, the men were distributed among forced labor camps specifically set up for Eastern Upper Silesian Jews from the fall of 1940. These forced labor camps, superintended by SS Special Commissioner Albrecht Schmelt, were operated independently from the Auschwitz concentration camp and its satellites, hence the men were selected in Cosel and not on the ramp of Birkenau. The Cosel stops thus facilitated the transfer of western deportees into a secluded camp system that existed in parallel to the subcamps of concentration camps. The camp system was intrinsically linked to the construction of the \"thoroughfare IV\" to the Ukraine, supervised by the Reich Highway Company (Reichsautobahn), which had begun to use Jewish forced labor on a large scale.Most of the men taken off the trains in Cosel perished due to the adverse conditions in the camps. Based on survivor testimonies, this paper aims to providing the first detailed analysis of the Cosel period, while equally addressing the profound psychological trauma it effectuated.","PeriodicalId":21809,"journal":{"name":"Shofar: An Interdisciplinary Journal of Jewish Studies","volume":"39 1","pages":"32 - 61"},"PeriodicalIF":0.5,"publicationDate":"2021-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44734374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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