"Proceedings of the twenty-fourth annual symposium of the Klutznick Chair in Jewish Civilization and the Harris Center for Judaic Studies, October 23-24, 2011"--p. [i].
This volume presents papers delivered at the 24th Annual Klutznick-Harris Symposium, held at Creighton University in October 2011. The contributors look at all aspects of the intimate relationship between Jews and clothing, through case studies from ancient, medieval, recent, and contemporary history. Papers explore topics ranging from Jewish leadership in the textile industry, through the art of fashion in nineteenth century Vienna, to the use of clothing as a badge of ethnic identity, in both secular and religious contexts.
During the course of the twelfth century, increasing numbers of Jews migrated into dynamically developing western Christendom from Islamic lands. The vitality that attracted them also presented a challenge: Christianity - from early in its history - had proclaimed itself heir to a failed Jewish community and thus the vitality of western Christendom was both appealing and threatening to the Jewish immigrants. Indeed, western Christendom was entering a phase of intense missionising activity, some of which was directed at the long-term Jewish residents of Europe and the Jewish newcomers. This 2003 study examines the techniques of persuasion adopted by the Jewish polemicists in order to reassure their Jewish readers of the truth of Judaism and the error of Christianity. At the very deepest level, these Jewish authors sketched out for their fellow Jews a comparative portrait of Christian and Jewish societies - the former powerful but irrational and morally debased, the latter the weak but reasonable and morally elevated - urging that the obvious and sensible choice was Judaism.
A recent surge of interest in Jewish patronage during the golden years of Vienna has led to the question, Would modernism in Vienna have developed in the same fashion had Jewish patrons not been involved? This book uniquely treats Jewish identification within Viennese modernism as a matter of Jews active fashioning of a new language to convey their aims of emancipation along with their claims of cultural authority. In this provocative reexamination of the roots of Viennese modernism, Elana Shapira analyzes the central role of Jewish businessmen, professionals, and writers in the evolution of the city's architecture and design from the 1860s to the 1910s. According to Shapira, these patrons negotiated their relationship with their non-Jewish surroundings and clarified their position within Viennese society by inscribing Jewish elements into the buildings, interiors, furniture, and design objects that they financed, produced, and co-designed. In the first book to investigate the cultural contributions of the banker Eduard Todesco, the steel tycoon Karl Wittgenstein, the textile industrialist Fritz Waerndorfer, the author Peter Altenberg, the tailor Leopold Goldman, and many others, Shapira reconsiders theories identifying the crisis of Jewish assimilation as a primary creative stimulus for the Jewish contribution to Viennese modernism. Instead, she argues that creative tensions between Jews and non-Jews - patrons and designers who cooperated and arranged well-choreographed social encounters with one another - offer more convincing explanations for the formation of a new semantics of modern Viennese architecture and design than do theories based on assimilation. This thoroughly researched and richly illustrated book will interest scholars and students of Jewish studies, Vienna and Viennese culture, and modernism.
In turn-of-the-century Vienna, Karl Kraus created a bold new style of media criticism, penning incisive satires that elicited both admiration and outrage. Kraus’s spectacularly hostile critiques often focused on his fellow Jewish journalists, which brought him a reputation as the quintessential self-hating Jew. The Anti-Journalist overturns this view with unprecedented force and sophistication, showing how Kraus’s criticisms form the center of a radical model of German-Jewish self-fashioning, and how that model developed in concert with Kraus’s modernist journalistic style. Paul Reitter’s study of Kraus’s writings situates them in the context of fin-de-siècle German-Jewish intellectual society. He argues that rather than stemming from anti-Semitism, Kraus’s attacks constituted an innovative critique of mainstream German-Jewish strategies for assimilation. Marshalling three of the most daring German-Jewish authors—Kafka, Scholem, and Benjamin—Reitter explains their admiration for Kraus’s project and demonstrates his influence on their own notions of cultural authenticity. The Anti-Journalist is at once a new interpretation of a fascinating modernist oeuvre and a heady exploration of an important stage in the history of German-Jewish thinking about identity.
During the course of her fieldwork in Paris, anthropologist Kimberly Arkin heard what she thought was a surprising admission. A French-born, North African Jewish (Sephardi) teenage girl laughingly told Arkin she was a racist. When asked what she meant by that, the girl responded, "It means I hate Arabs." This girl was not unique. She and other Sephardi youth in Paris insisted, again and again, that they were not French, though born in France, and that they could not imagine their Jewish future in France. Fueled by her candid and compelling informants, Arkin's analysis delves into the connections and disjunctures between Jews and Muslims, religion and secular Republicanism, race and national community, and identity and culture in post-colonial France. Rhinestones argues that Sephardi youth, as both "Arabs" and "Jews," fall between categories of class, religion, and culture. Many reacted to this liminality by going beyond religion and culture to categorize their Jewishness as race, distinguishing Sephardi Jews from "Arab" Muslims, regardless of similarities they shared, while linking them to "European" Jews (Ashkenazim), regardless of their differences. But while racializing Jewishness might have made Sephardi Frenchness possible, it produced the opposite result: it re-grounded national community in religion-as-race, thereby making pluri-religious community appear threatening. Rhinestones thus sheds light on the production of race, alienation, and intolerance within marginalized French and European populations.
Autobiographical Jews examines the nature of autobiographical writing by Jews from antiquity to the present, and the ways in which such writings can legitimately be used as sources for Jewish history. Drawing on current literary theory, which questions the very nature of autobiographical writing and its relationship to what we normally designate as the truth, and, to a lesser extent, the new cognitive neurosciences, Michael Stanislawski analyzes a number of crucial and complex autobiographical texts written by Jews through the ages. Stanislawski considers The Life by first-century historian Josephus; compares the early modern autobiographies of Asher of Reichshofen (Book of Memories) and Glikl of Hameln (Memoirs); analyzes the radically different autobiographies of two Russian Jewish writers, the Hebrew Enlightenment author Moshe Leib Lilienblum and the famous Russian poet Osip Mandelstam; and looks at two autobiographies written out of utter despair in the midst and in the wake of World War II, Stefan Zweig’s The World of Yesterday and Sarah Kofman’s Rue Ordener, Rue Labat. These writers’ attempts to portray their private and public struggles, anxieties, successes, and failures are expressions of a basic drive for selfhood which is both timeless and time-bound, universal and culturally specific. The challenge is to attempt to unravel the conscious from the unconscious distortions in these texts and to regard them as artifacts of individuals’ quests to make sense of their lives, first and foremost for themselves and then, if possible, for their readers.
Part travelogue, part social history, and part family saga, this book investigates the politics of heritage tourism and collective memory. Acclaimed historian Daniel J. Walkowitz visits key Jewish heritage sites from Berlin to Belgrade to Warsaw to New York to discover which stories of the Jewish experience get told and which get silenced.
A Cultural History of Jewish Dress is the first comprehensive account of how Jews have been distinguished by their appearance from Ancient Israel to the present. For centuries Jews have dressed in distinctive ways to communicate their devotion to God, their religious identity, and the proper earthly roles of men and women. This lively work explores the rich history of Jewish dress, examining how Jews and non-Jews alike debated and legislated Jewish attire in different places, as well as outlining the big debates on dress within the Jewish community today. Focusing on tensions over gender, ethnic identity and assimilation, each chapter discusses the meaning and symbolism of a specific era or type of Jewish dress. What were biblical and rabbinic fashions? Why was clothing so important to immigrant Jews in America? Why do Hassidic Jews wear black? When did yarmulkes become bar mitzvah souvenirs? The book also offers the first analysis of how young Jewish adults today announce on caps, shirts, and even undergarments their striving to transform Jewishness from a religious and historical heritage into an ethnic identity that is hip, racy, and irreverent. Fascinating and accessibly written, A Cultural History of Jewish Dress will appeal to anybody interested in the central role of clothing in defining Jewish identity.
Surviving photographs of Jewish Viennese men during the fin-de-siècle and interwar periods both the renowned cultural luminaries and their many anonymous coreligionists all share a striking sartorial detail: the tailored suit. Yet, until now, the adoption of the tailored suit and its function in the formation of modern Jewish identities remains under-researched. Jews in Suits uses a rich range of written and visual sources, including literary fiction and satire, 'ego-documents', photography, trade catalogues, invoices, and department store culture, to propose a new narrative of men, fashion, and their Jewish identities. It reveals that dressing in a modern manner was not simply a matter of assimilation, but rather a way of developing new models of Jewish subjectivity beyond the externally prescribed notion of 'the Jew'. Drawing upon fashionable dress, folk costume, religious dress, avant-garde, oppositional dress, typologies which are often considered separate from one another, it proposes a new way of reading men and clothing cultures within an iconic cultural milieu, offering insights into the relationship of clothing and grooming to the understanding of the self.