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An obsession with “degeneration” was a central preoccupation of modernist culture at the start of the 20th century. Less attention has been paid to the fact that many of the key thinkers in “degeneration theory” – including Cesare Lombroso, Max Nordau, and Magnus Hirschfeld – were Jewish. Unfit: Jewish Degeneration and Modernism is the first in-depth study of the Jewish cultural roots of this strand of modernist thought and its legacies for modernist and contemporary culture. Marilyn Reizbaum explores how literary works from Bram Stoker's Dracula, through James Joyce's Ulysses to Pat Barker's Regeneration trilogy, the crime movies of Mervyn LeRoy, and the photography of Claude Cahun and Adi Nes manifest engagements with ideas of degeneration across the arts of the 20th century. This is a major new study that sheds new light on modernist thought, art and culture.
"This book argues that the antisemitic interpretation of modernist form as a symptom of a mobile, contagious Jewish spirit needs to be treated as integral to the history of European modernism. The notion of modernist form as Jewified lies at the heart of both a certain modernism's hostile reception, and its self-conception"--
In the analysis of the debates in Germany over Jews, Judaism and Jewish emancipation in the late 18th and 19th centuries, Jonathan M. Hess reconstructs a crucial chapter in the history of secular anti-Semitism. He examines not only the thinking of German intellectuals of the time but also that of Jewish writers, revealing the connections between anti-Semitism and visions of modernity, and the Jewish responses to the treat posed by these connections.
"Freedman's final book is a tour de force that examines the history of Jewish involvement in the decadent art movement. While decadent art's most notorious practitioner was Oscar Wilde, as a movement it spread through western Europe and even included a few adherents in Russia. Jewish writers and artists such as Catulle Mèndes, Gustav Kahn, and Simeon Solomon would portray non-stereotyped characters and produce highly influential works. After decadent art's peak, Walter Benjamin, Marcel Proust, and Sigmund Freud would take up the idiom of decadence and carry it with them during the cultural transition to modernism. Freedman expertly and elegantly takes readers through this transition and beyond, showing the lineage of Jewish decadence all the way through to the end of the twentieth century"--
Why were modernist works of art, literature, and music that were neither by nor about Jews nevertheless interpreted as Jewish? In this book, Neil Levi explores how the antisemitic fantasy of a mobile, dangerous, contagious Jewish spirit unfolds in the antimodernist polemics of Richard Wagner, Max Nordau, Wyndham Lewis, and Louis-Ferdinand Celine, reaching its apotheosis in the notorious 1937 Nazi exhibition “Degenerate Art.” Levi then turns to James Joyce, Theodor W. Adorno, and Samuel Beckett, offering radical new interpretations of these modernist authors to show how each presents his own poetics as a self-conscious departure from the modern antisemitic imaginary. Levi claims that, just as antisemites once feared their own contamination by a mobile, polluting Jewish spirit, so too much of postwar thought remains governed by the fear that it might be contaminated by the spirit of antisemitism. Thus he argues for the need to confront and work through our own fantasies and projections—not only about the figure of the Jew but also about that of the antisemite.
Between Redemption and Doom is a revelatory exploration of the evolution of German-Jewish modernism. Through an examination of selected works in literature, theory, and film, Noah Isenberg investigates the ways in which Jewish identity was represented in German culture from the eve of the First World War through the rise of National Socialism. He argues that various responses to modernity?particularly to its social, cultural, and aesthetic currents?converge around the discourse on community: its renaissance, its crisis, and its dissolution. ø Isenberg opens with a general discussion of German modernism?its primary forms, movements, and manifestations. Subsequent chapters on Franz Kafka and Arnold Zweig deal with particular instances of the modern, and often ambivalent, search for forms of German-Jewish identity based on cultural and ethnic community. Discussions of Paul Wegener?s film Der Golem and Walter Benjamin?s childhood memoirs explore the culmination of German modernism and the modes through which Jews were identified in mass society. Throughout, Isenberg shows how Jewish authors and figures confronted the dilemma of self-understanding?the exigencies of community in the modern world?in language, culture, memory, and representation.
This is an analysis of Jewish history and culture, which relates them to theories of modernity and postmodernity and to debates on ethnicity and postcolonialism. Issues include: literary antisemitism; postmodernity and "the Jew"; and the Holocaust.
Challenging the assumption that modernist writer Gertrude Stein seldom integrated her Jewish identity and heritage into her work, this book uncovers Stein’s constant and varied writing about Jewish topics throughout her career. Amy Feinstein argues that Judaism was central to Stein’s ideas about modernity, showing how Stein connects the modernist era to the Jewish experience.  Combing through Stein’s scholastic writings, drafting notebooks, and literary works, Feinstein analyzes references to Judaism that have puzzled scholars. She reveals the never-before-discussed influence of Matthew Arnold as well as a hidden Jewish framework in Stein’s epic novel The Making of Americans. In Stein’s experimental “voices” poems, Feinstein identifies an explicitly Jewish vocabulary that expresses themes of marriage, nationalism, and Zionism. She also shows how Wars I Have Seen, written in Vichy France during World War II, compares the experience of wartime occupation with the historic persecution of Jews.  Affirming the importance of Jewish identity and modernist style to Gertrude Stein’s legacy as a writer, this book radically changes the way we read and appreciate Stein’s work.