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Edited volume tracing the development of a new generation of German Jewish writers, offering fresh interpretations of individual works, and probing the very concept of "German Jewish literature."
In Making German Jewish Literature Anew, Katja Garloff traces the emergence of a new Jewish literature in Germany and Austria from 1990 to the present. The rise of new generations of authors who identify as both German and Jewish, and who often sustain additional affiliations with places such as France, Russia, or Israel, affords a unique opportunity to analyze the foundational moments of diasporic literature. Making German Jewish Literature Anew is structured around a series of founding gestures: performing authorship, remaking memory, and claiming places. Garloff contends that these founding gestures are literary strategies that reestablish the very possibility of a German Jewish literature several decades after the Holocaust. Making German Jewish Literature Anew offers fresh interpretations of second-generation authors such as Maxim Biller, Doron Rabinovici, and Barbara Honigmann as well as of third-generation authors, many of whom come from Eastern European and/or mixed-religion backgrounds. These more recent writers include Benjamin Stein, Lena Gorelik, and Katja Petrowskaja. Throughout the book, Garloff asks what exactly marks a given text as Jewish—the author's identity, intended audience, thematic concerns, or stylistic choices—and reflects on existing definitions of Jewish literature.
Combining cultural history and literary analysis, this study proposes a new and thought-provoking reading of the changing relationship between Germans and Jews following the Holocaust. Two Holocaust survivors whose work became uniquely successful in the Germany of the 1980s and 1990s, Grete Weil and Ruth Kluger, emerge as exemplary in their contributions to a postwar German discussion about the Nazi legacy that had largely excluded living Jews. While acknowledging that the German audience for the works of Holocaust survivors began to change in the 1980s, this study disputes the common tendency to interpret this as a sign of greater willingness to confront the Holocaust, arguing instead that it resulted from a continued German misreading of Jews' criticisms. By tracing the particular cultural-political impact that Weil's and Kluger's works had on their German audience, it investigates the paradox of Germany's confronting the Holocaust without necessarily confronting the Jews as Germans. Furthermore, for the authors this literature also had a psychological impact: their 'return' to the German language and to Germany is read not as an act of mourning or nostalgia, but rather as a public call to Germans for a dialogue about the Nazi past, as a way to move into the public realm the private emotional and psychological battles resulting from German Jews' exclusion from and persecution by their own national community.
While German unification promised a new historical beginning, it also stirred discussions about contemporary Germany’s Nazi past and ideas of citizenship and belonging in a changing Europe. Minority Discourses in Germany Since 1990 explores the intersections and divergences between Black German, Turkish German, and German Jewish experiences, with reflections on the evolving academic paradigms with which these are studied. Informed by comparative approaches, the volume investigates social and aesthetic interventions into contemporary German public and political discourse on memory, racism, citizenship, immigration, and history.
A study of the archival turn in contemporary German memory culture, drawing on recent memorials, documentaries, and prose narratives that engage with the material legacy of National Socialism and the Holocaust.
Examines how German-Jewish writers from Eastern Europe who migrated to Germany during or after the Cold War have widened European cultural memory to include the traumas of the Gulag.
'I love the German character more than anything else in the world, and my breast is an archive of German song' So wrote Heinrich Heine in 1824, adding: 'It is likely that my Muse gave her German dress something of a foreign cut from annoyance with the German character'. Here Heine sums up the ambivalent emotions of Jews who felt at home in German culture and yet, even in the age of emancipation, foundGermany less than welcoming. This anthology illustrates the history of Jews in Germany from the eighteenth century, when it was first proposed to give Jews civil rights, to the 1990's and the problems of living after the Holocaust. The texts include short stories, plays, poems, essays, letters anddiary entries, all chosen for their literary merit as well as the light they shed on the relations between Jews in Germany and Austria and their Gentile fellow-citizens. Ritchie Robertson's lucid introduction provides the necessary historical context and his translations make available in Englishin some cases for the first time - both Jewish writers on various aspects of Jewish experience and responses of Gentile writers to the Jews in their midst. Each is introduced by a short illuminating preface.
Examines how German-Jewish writers from Eastern Europe who migrated to Germany during or after the Cold War have widened European cultural memory to include the traumas of the Gulag.
With the disappearance of the eyewitness generation and the globalization of Holocaust memory, this book interrogates key concepts in Holocaust and trauma studies through an assessment of contemporary German-language Jewish authors.
The Translated Jew brings together an eclectic set of literary and visual texts to reimagine the transnational potential for German Jewish culture in the twenty-first century. Departing from scholarship that has located the German Jewish text as an object that can be defined geographically and historically, Leslie Morris challenges national literary historiography and redraws the maps by which transnational Jewish culture and identity must be read. Morris explores the myriad acts of translation, actual and metaphorical, through which Jewishness leaves its traces, taking as a given the always provisional nature of Jewish text and Jewish language. Although the focus is on contemporary German Jewish literary cultures, The Translated Jew also turns its attention to a number of key visual and architectural projects by American, British, and French artists and writers, including W. G. Sebald, Anne Blonstein, Hélène Cixous, Ulrike Mohr, Daniel Blaufuks, Paul Celan, Raymond Federman, and Rose Ausländer. In thus realigning German Jewish culture with European and American Jewish culture and post-Holocaust aesthetics, this book explores the circulation of Jewishness between the United States and Europe. The insistence on the polylingualism of any single language and the multidirectionality of Jewishness are at the very center of The Translated Jew.