格奥尔格·兰格1928年的《论犹太门柱卷轴的功能》的导言

IF 0.2 0 ART Images Pub Date : 2020-11-18 DOI:10.1163/18718000-12340127
Batsheva Goldman-Ida
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引用次数: 0

摘要

艺术史学家兼博物馆馆长巴特谢娃·戈德曼·艾达介绍了吉·莫德查伊·乔治·兰格(1894年,布拉格-1943年,特拉维夫)的文章:《论犹太涂鸦卷轴的功能》,该文章首次以英文翻译呈现,最初于1928年为弗洛伊德杂志《Imago》撰写。兰格是一位希伯来语诗人和犹太研究老师,是卡夫卡的朋友。兰格于1913-16年加入贝尔兹-哈西德派,是将卡夫卡引入哈西德主义的人之一。兰格在强迫神经症的背景下,参考土著人的仪式和图腾理论,提出了一个犹太宗教文物的解释模型,如Mezuzah和Phylacteries。引言提供了作者的背景材料、其他书籍和作品的细节,以及更好地欣赏他的诗歌和学术作品的框架。兰格寻求“同志之爱”的复兴,其家庭主义偏见在今天引起了人们的兴趣。他关于Mezuzah的文章提出了一系列关于犹太文物、精神分析和犹太仪式起源的问题。长期以来一直被忽视的是,它挑战了当前犹太学术领域重新思考其方法论。
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Introductory Remarks on Georg Langer’s “On the Function of the Jewish Doorpost Scroll” from 1928
Batsheva Goldman-Ida, art historian and museum curator, introduces the article by Jiří Mordechai Georgo Langer (1894, Prague–1943, Tel Aviv): “On the Function of the Jewish Doorpost Scroll,” presented for the first time in English translation, and originally written for the Freud journal Imago in 1928. Langer, a Hebrew poet and teacher of Jewish studies was a friend of Franz Kafka. Langer joined the Belz Hasidism from 1913–16 and was one of the people who introduced Kafka to Hasidism. Langer suggests an explanatory model for Jewish religious artifacts such as the Mezuzah and Phylacteries in the context of compulsion neuroses, referencing the rites of indigenous people and totem theory. The introduction provides background material on the author and details of his other books and endeavors, as well as a framework to better appreciate his poetry and scholarly work. Langer sought a revival of “comrade love” whose homerotic bias is of interest today. His essay on the Mezuzah opens up a range of questions on Jewish artifacts, psychoanalysis, and the origins of Jewish rites. Long left unnoticed, it challenges the current field of Jewish scholarship to rethink its methodology.
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来源期刊
Images
Images ART-
CiteScore
0.10
自引率
0.00%
发文量
11
期刊介绍: The study of Jewish art and visual culture, which has been cultivated for over a century in European, American and Israeli institutions, has burgeoned in the last fifteen years. Major universities have established graduate programs that integrate Jewish art and visual studies and Jewish museums dot the landscape in Israel, Europe and North America. Contemporary scholarship on Jewish art and visual culture intersects with concerns of the wider academy; a lively interchange among scholars has ensued. The field has now achieved the breadth and maturity to sustain an international journal that represents the interests of this interdisciplinary community of scholars.
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