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In the eighteenth and nineteenth centuries, as German Jews struggled for legal emancipation and social acceptance, they also embarked on a program of cultural renewal, two key dimensions of which were distancing themselves from their fellow Ashkenazim in Poland and giving a special place to the Sephardim of medieval Spain. Where they saw Ashkenazic Jewry as insular and backward, a result of Christian persecution, they depicted the Sephardim as worldly, morally and intellectually superior, and beautiful, products of the tolerant Muslim environment in which they lived. In this elegantly written book, John Efron looks in depth at the special allure Sephardic aesthetics held for German Jewry. Efron examines how German Jews idealized the sound of Sephardic Hebrew and the Sephardim's physical and moral beauty, and shows how the allure of the Sephardic found expression in neo-Moorish synagogue architecture, historical novels, and romanticized depictions of Sephardic history. He argues that the shapers of German-Jewish culture imagined medieval Iberian Jewry as an exemplary Jewish community, bound by tradition yet fully at home in the dominant culture of Muslim Spain. Efron argues that the myth of Sephardic superiority was actually an expression of withering self-critique by German Jews who, by seeking to transform Ashkenazic culture and win the acceptance of German society, hoped to enter their own golden age. Stimulating and provocative, this book demonstrates how the goal of this aesthetic self-refashioning was not assimilation but rather the creation of a new form of German-Jewish identity inspired by Sephardic beauty.
The Jews: A History, second edition, explores the religious, cultural, social, and economic diversity of the Jewish people and their faith. The latest edition incorporates new research and includes a broader spectrum of people - mothers, children, workers, students, artists, and radicals - whose perspectives greatly expand the story of Jewish life.
Hugo Marcus (1880–1966) was a man of many names and many identities. Born a German Jew, he converted to Islam and took the name Hamid, becoming one of the most prominent Muslims in Germany prior to World War II. He was renamed Israel by the Nazis and sent to the Sachsenhausen concentration camp before escaping to Switzerland. He was a gay man who never called himself gay but fought for homosexual rights and wrote queer fiction under the pen name Hans Alienus during his decades of exile. In German, Jew, Muslim, Gay, Marc David Baer uses Marcus’s life and work to shed new light on a striking range of subjects, including German Jewish history and anti-Semitism, Islam in Europe, Muslim-Jewish relations, and the history of the gay rights struggle. Baer explores how Marcus created a unique synthesis of German, gay, and Muslim identity that positioned Johann Wolfgang von Goethe as an intellectual and spiritual model. Marcus’s life offers a new perspective on sexuality and on competing conceptions of gay identity in the multilayered world of interwar and postwar Europe. His unconventional story reveals new aspects of the interconnected histories of Jewish and Muslim individuals and communities, including Muslim responses to Nazism and Muslim experiences of the Holocaust. An intellectual biography of an exceptional yet little-known figure, German, Jew, Muslim, Gay illuminates the complexities of twentieth-century Europe’s religious, sexual, and cultural politics.
In Germany at the turn of the century, Buddhism transformed from an obscure topic, of interest to only a few misfit scholars, into a cultural phenomenon. Many of the foremost authors of the period were profoundly influenced by this rapid rise of Buddhism—among them, some of the best-known names in the German-Jewish canon. Sebastian Musch excavates this neglected dimension of German-Jewish identity, drawing on philosophical treatises, novels, essays, diaries, and letters to trace the history of Jewish-Buddhist encounters up to the start of the Second World War. Franz Rosenzweig, Martin Buber, Leo Baeck, Theodor Lessing, Jakob Wassermann, Walter Hasenclever, and Lion Feuchtwanger are featured alongside other, lesser known figures like Paul Cohen-Portheim and Walter Tausk. As Musch shows, when these thinkers wrote about Buddhism, they were also negotiating their own Jewishness.
Sephardic and Ashkenazic Judaism have long been studied separately. Yet, scholars are becoming ever more aware of the need to merge them into a single field of Jewish Studies. This volume opens new perspectives and bridges traditional gaps. The authors are not simply contributing to their respective fields of Sephardic or Ashkenazic Studies. Rather, they all include both Sephardic and Ashkenazic perspectives as they reflect on different aspects of encounters and reconsider traditional narratives. Subjects range from medieval and early modern Sephardic and Ashkenazic constructions of identities, influences, and entanglements in the fields of religious art, halakhah, kabbalah, messianism, and charity to modern Ashkenazic Sephardism and Sephardic admiration for Ashkenazic culture. For reasons of coherency, the contributions all focus on European contexts between the fourteenth and the nineteenth centuries.
This book explores the fraught aftermath of the German Jewish conversionary experience through the story of one family as it grapples with the meaning of its Jewish origins in a post-Holocaust, post-conversionary milieu. Utilizing archival family texts and multiple interviews spanning three generations, beginning with the author’s German Jewish parents, 1940s refugees, and engaging the insights of contemporary scholars, the book traces the impact of a contested Jewish identity on the deconstruction and reconstruction of the Jewish self. The Holocaust as post-memory and the impact of the German Jewish culture personified by the author’s parents leads to a retrieval of a lost Jewish identity, postmodern in its implications, reinforcing the concept of Judaism as ultimately a family affair. Focusing on the personal to illuminate a complex historical phenomenon, this book proposes a new cultural history that challenges conventional boundaries of what is Jewish and what is not.
An examination of why Jews promote a positive image of Ottomans and Turks while denying the Armenian genocide and the existence of antisemitism in Turkey. Based on historical narrative, the Jews expelled from Spain in 1492 were embraced by the Ottoman Empire and then, later, protected from the Nazis during WWII. If we believe that Turks and Jews have lived in harmony for so long, then how can we believe that the Turks could have committed genocide against the Armenians? Marc David Baer confronts these convictions and circumstances to reflect on what moral responsibility the descendants of the victims of one genocide have to the descendants of victims of another. Baer delves into the history of Muslim-Jewish relations in the Ottoman Empire and Turkey to find the origin of these myths. He aims to foster reconciliation between Jews, Muslims, and Christians, not only to face inconvenient historical facts but to confront, accept, and deal with them. By looking at the complexities of interreligious relations, Holocaust denial, genocide and ethnic cleansing, and confronting some long-standing historical stereotypes, Baer aims to tell a new history that goes against Turkish antisemitism and admits to the Armenian genocide. “[Baer] demonstrates not only his erudition and knowledge of the sources but his courage on confronting a major myth of Ottoman history and current Turkish politics: the tolerance and defense of Jews by the Ottoman and Turkish state.” —Ronald Grigor Suny, editor of A Question of Genocide “A very significant study regarding the origins of violence and its denial in Turkey through the empirical study of not only antisemitism, but also its connection to genocide denial.” —Fatma Müge Göçek, author of The Transformation of Turkey
Ephraim Moses Lilien (1874-1925) was one of the most important Jewish artists of modern times. As a successful illustrator, photographer, painter and printer, he became the first major Zionist artist. Surprisingly there has been little in-depth scholarly research and analysis of Lilien's work available in English, making this book an important contribution to historical and art-historical scholarship. Concentrating mainly on his illustrations for journals and books, Lynne Swarts acknowledges the importance of Lilien's groundbreaking male iconography in Zionist art, but is the first to examine Lilien's complex and nuanced depiction of women, which comprised a major dimension of his work. Lilien's female images offer a compelling glimpse of an alternate, independent and often sexually liberated modern Jewish woman, a portrayal that often eluded the Zionist imagination. Using an interdisciplinary approach to integrate intellectual and cultural history with issues of gender, Jewish history and visual culture, Swarts also explores the important fin de siècle tensions between European and Oriental expressions of Jewish femininity. The work demonstrates that Lilien was not a minor figure in the European art scene, but a major figure whose work needs re-reading in light of his cosmopolitan and national artistic genius.
"In 1935, Adolf Hitler declared Munich the "Capital of the Movement." It was here that he developed his anti-Semitic beliefs and founded the Nazi party. Though Hitler's immediate milieu during the 1910s and 1920s has received ample attention, this book argues that the Munich of this period is worthy of study in its own right and that the changes the city underwent between 1918 and 1923 are absolutely crucial for understanding the rise of antisemitism and eventually Nazism in Germany. Before 1918, Munich had a decidedly cosmopolitan flavor, but its open atmosphere was shattered by the November Revolution of 1918-19. Jews were prominently represented among many of the European revolutions of the late 1910s and early 1920s, but nowhere did Jewish revolutionaries and government representatives appear in such high numbers as in Munich. The link between Jews and communist revolutionaries was especially strong in the minds of the city's residents. In the aftermath of the revolution and the short-lived Socialist regime that followed, the Jews of Munich experienced a massive backlash. The book unearths the story of Munich as ground zero for the racist and reactionary German Right, revealing how this came about and what it meant for those who lived through it"--
Highlighting the seminal role of German Jewish intellectuals and ideologues in forming and transforming the modern Jewish world, this volume analyzes the political roads taken by German Jewish thinkers; the impact of the Holocaust on the Central and East European Jewish intelligentsia; and the conundrum of modern Jewish identity. Several of German Jewry’s most outstanding figures such as Scholem, Strauss, and Kohn are discussed. Inspired by Steven E. Aschheim’s work, several contributors focus on the fraught relationship between German and East European Jews (the so-called Ostjuden) and between German Jews and their non-Jewish neighbors. More generally, this book examines how Central European Jewish thinkers reacted to the terrible crises of the twentieth century—to war, genocide, and the existential threat to the very existence of the Jewish people. It is essential reading for those interested in the triumphs and tragedies of modern European Jewry.