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A collection of essays dealing with the integration of Jewish intellectuals in German culture and society during the 19th-20th centuries, and the self-hatred expressed by some of them. The introduction surveys 19th-century antisemitism in Germany, raising the question whether it should be considered an opening phase of the Holocaust. Discusses the ambivalent relations between Wagner and the Jewish conductor Hermann Levi, and the contribution of Max Liebermann (whose Jewish origins were emphasized by art critics) to modern art.
The “gripping” true story of the founder of psychoanalysis—and how he made it out of Austria after the Nazi takeover (The Independent). Sigmund Freud was not a practicing Jew, but that made no difference to the Nazis as they burned his books in the early 1930s. Goebbels and Himmler wanted all psychoanalysts, especially Freud, dead, and after the annexation of Austria, it became clear that Freud needed to leave Vienna. But a Nazi raid on his house put the Freuds’ escape at risk. With never-before-seen material, this biography reveals details of the last two years of Freud’s life, and the people who helped him in his hour of need—among them Anton Sauerwald, who defied his Nazi superiors to make the doctor’s departure possible. The Escape of Sigmund Freud also delves into the great thinker’s work, and recounts the arrest of Freud’s daughter, Anna, by the Gestapo; the dramatic saga behind the signing of Freud’s exit visa and his eventual escape to London; and how the Freud family would have an opportunity to save Sauerwald’s life in turn. “Full of fascinating insights and anecdotes . . . Cohen draws copiously on the correspondence between Freud and [his nephew] Sam to paint a vivid picture of their complex and deeply troubled family.” —Daily Mail “An illuminating look at the end of the life of a giant of psychology.” —Kirkus Reviews
The first book to examine multicultural visual art in Germany, discussing more than thirty contemporary artists and arguing for a cosmopolitan Germanness. With Turks, Jews, and Other Germans in Contemporary Art, Peter Chametzky presents a view of visual culture in Germany that leaves behind the usual suspects--those artists who dominate discussions of contemporary German art, including Gerhard Richter, Anselm Kiefer, and Rosemarie Trockel--and instead turns to those artists not as well known outside Germany, including Maziar Moradi, Hito Steyerl, and Tanya Ury. In this first book-length examination of Germany's multicultural art scene, Chametzky explores the work of more than thirty German artists who are (among other ethnicities) Turkish, Jewish, Arab, Asian, Iranian, Sinti and Roma, Balkan, and Afro-German. With a title that echoes Peter Gay's 1978 collection of essays, Freud, Jews and Other Germans, this book, like Gay's, rejects the idea of "us" and "them" in German culture. Discussing artworks in a variety of media that both critique and expand notions of identity and community, Chametzky offers a counternarrative to the fiction of an exclusively white, Christian German culture, arguing for a cosmopolitan Germanness. He considers works that deploy critical, confrontational, and playful uses of language, especially German and Turkish; that assert the presence of "foreign bodies" among the German body politic; that grapple with food as a cultural marker; that engage with mass media; and that depict and inhabit spaces imbued with the element of time. American discussions of German contemporary art have largely ignored the emergence of non-ethnic Germans as some of Germany's most important visual artists. Turks, Jews, and Other Germans in Contemporary Art fills this gap.
On 23rd July 1908 Sigmund Freud wrote to his colleague Karl Abraham: "Rest assured that if my name were Oberhuber an obviously non-Jewish name, in spite of everything my innovations would have met with far less resistance."From its beginning, psychoanalysis has been seen as a Jewish affair, and psychoanalysts have always been afraid of ending up in the position of the Jew - that of the outsider. In A Dangerous Legacy: Judaism and Psychoanalysis Hans Reijzer examines how psychoanalysts have managed that fear, in the recent past and in the present. During his research, which led him to Vienna, Paris, Amsterdam, London, Jerusalem, Hamburg, and Durban, Reijzer encountered malicious as well as enlightening statements, situations, and incidents. A Dangerous Legacy is a striking study of an interesting area of research. Reijzer's conclusion is surprising: stereotypes about Jews are a factor not only in the everyday world but also in the psychoanalytic world as soon as Jews take part in it.
In The Riddle of Freud Estelle Roith argues that certain important elements of Judaic culture were so integral a part of Freud's personality that they became visible in his work and especially in his attitudes to and theories of femininity. Freud's formulation of femininity, which the author contends is mistaken, is seen not as a simple error but as resulting from a complex bias in which personal and social factors are interrelated. The author proposes that the considerable ambivalence experienced by Freud about his sexual, cultural, and social identity, in which both overt and covert aspects of his Jewish culture survived, could not be surmounted by him in the case of women. Estelle Roith describes Freud's theory of femininity and its implications for psychoanalytic theories of human development and motivation in general. She examines Freud's relationships with his women disciples and also the social and political conditions that obtained for Jews of Freud's time. Finally, her book helps illuminate the reasons for Freud's emphasis on the paternal power within the Oedipus complex. It is essential reading for psychoanalysts and psychotherapists, for students of women's issues, and all those interested in Freud's impact on contemporary Western thought.
Adolf Hitler has always been and will continue to be a tempting subject for psychological analysis -- even if, despite Peter Gay's classic Freud for Historians, psychohistory and psychobiography are still considered the black sheep of historical biography. Gonen (a retired professor of psychology at the University of Cincinnati and author of A Psychohistory of Zionism) offers a brief study and analysis of what he claims is a "Nazi psychology". Drawing from an extensive and rigorous reading of Hitler's speeches and published writings (especially Mein Kampf), Freudian theories and social, economic and cultural history, Gonen ponders whether Hitler was an aberration in German society or a "man of the people". (The German masses, he concludes, shared in Hitler's paranoia and delusions.) Chapters cover the role of ideology in shaping mass thinking, as well as anti-Semitism, lebensraum and the idea of the Volkish state -- and contain fascinating passages on the image of the Jew, the role of women and the interrelatedness of kitsch and death in the Nazi mentality. Although Gonen doesn't really say anything new ("Hitler", he tells us, for example, "was a messianic paranoid"), what he offers is compellingly written and blessedly free of social science jargon. What is troubling, however, is that Gonen fails to explore concepts central to his inquiry, such as "utopia" and "barbarism", and that he contends that Nazism had its own "internal (or) inherent logic". Slightly flawed, this is still a good introduction to a difficult subject.
A collection of essays dealing with the integration of Jewish intellectuals in German culture and society during the 19th-20th centuries, and the self-hatred expressed by some of them. The introduction surveys 19th-century antisemitism in Germany, raising the question whether it should be considered an opening phase of the Holocaust. Discusses the ambivalent relations between Wagner and the Jewish conductor Hermann Levi, and the contribution of Max Liebermann (whose Jewish origins were emphasized by art critics) to modern art.