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A history of modern Jewish literature that explores our enduring attachment to the book as an object With the rise of digital media, the "death of the book” has been widely discussed. But the physical object of the book persists. Here, through the lens of materiality and objects, Barbara E. Mann tells a history of modern Jewish literature, from novels and poetry to graphic novels and artists’ books. Bringing contemporary work on secularism and design in conversation with literary history, she offers a new and distinctive frame for understanding how literary genres emerge. The long twentieth century, a period of tremendous physical upheaval and geographic movement, witnessed the production of a multilingual canon of writing by Jewish authors. Literature’s objecthood is felt not only in the physical qualities of books—bindings, covers, typography, illustrations—but also through the ways in which materiality itself became a practical foundation for literary expression.
This History offers an unparalleled examination of all aspects of Jewish American literature. Jewish writing has played a central role in the formation of the national literature of the United States, from the Hebraic sources of the Puritan imagination to narratives of immigration and acculturation. This body of writing has also enriched global Jewish literature in its engagement with Jewish history and Jewish multilingual culture. Written by a host of leading scholars, The Cambridge History of Jewish American Literature offers an array of approaches that contribute to current debates about ethnic writing, minority discourse, transnational literature, gender studies, and multilingualism. This History takes a fresh look at celebrated authors, introduces new voices, locates Jewish American literature on the map of American ethnicity as well as the spaces of exile and diaspora, and stretches the boundaries of American literature beyond the Americas and the West.
In the middle of New York City lies a neighborhood where all secrets are valuable, all assets are liquid, and all deals are sealed with a blessing rather than a contract. Welcome to the diamond district. Ninety percent of all diamonds that enter America pass through these few blocks, but the inner workings of this mysterious world are known only to the people who inhabit it. In Precious Objects, twenty-six-year-old journalist Alicia Oltuski, the daughter and granddaughter of diamond dealers, seamlessly blends family narrative with literary reportage to reveal the fascinating secrets of the diamond industry and its madcap characters: an Elvis-impersonating dealer, a duo of diamond-detective brothers, and her own eccentric father. With insight and drama, Oltuski limns her family’s diamond-paved move from communist Siberia to a displaced persons camp in post–World War II Germany to New York’s diamond district, exploring the connections among Jews and the industry, the gem and its lore, and the exotic citizens of this secluded world. Entertaining and illuminating, Precious Objects offers an insider’s look at the history, business, and society behind one of the world’s most coveted natural resources, providing an unforgettable backstage pass to an extraordinary and timeless show.
Explores the metaphorical power of time and space in Jewish modernist poetry in Hebrew and Yiddish as a response to the experience of exile and landlessness, and as a means of furthering modernism's exploration of the self and its relation to community, nation, and the world.
A history of modern Jewish literature that explores our enduring attachment to the book as an object With the rise of digital media, the "death of the book” has been widely discussed. But the physical object of the book persists. Here, through the lens of materiality and objects, Barbara E. Mann tells a history of modern Jewish literature, from novels and poetry to graphic novels and artists’ books. Bringing contemporary work on secularism and design in conversation with literary history, she offers a new and distinctive frame for understanding how literary genres emerge. The long twentieth century, a period of tremendous physical upheaval and geographic movement, witnessed the production of a multilingual canon of writing by Jewish authors. Literature’s objecthood is felt not only in the physical qualities of books—bindings, covers, typography, illustrations—but also through the ways in which materiality itself became a practical foundation for literary expression.
Literary Passports is the first book to explore modernist Hebrew fiction in Europe in the early decades of the twentieth century. It not only serves as an introduction to this important body of literature, but also acts as a major revisionist statement, freeing this literature from a Zionist-nationalist narrative and viewing it through the wider lens of new comparative studies in modernism. The book's central claim is that modernist Hebrew prose-fiction, as it emerged from 1900 to 1930, was shaped by the highly charged encounter of traditionally educated Jews with the revolution of European literature and culture known as modernism. The book deals with modernist Hebrew fiction as an urban phenomenon, explores the ways in which the genre dealt with issues of sexuality and gender, and examines its depictions of the complex relations between tradition, modernity, and religion.
This book proposes that the idea of the Jews in European cultures has little to do with actual Jews, but rather is derived from the conception of Jews as Christianity's paradigmatic Other, eternally reenacting their morally ambiguous New Testament role as the Christ-bearing and -killing chosen people of God. Through new readings of canonical Russian literary texts by Gogol, Turgenev, Chekhov, Babel, and others, the author argues that these European writers—Christian, secular, and Jewish—based their representation of Jews on the Christian exegetical tradition of anti-Judaism. Indeed, Livak disputes the classification of some Jewish writers as belonging to "Jewish literature," arguing that such an approach obscures these writers' debt to European literary traditions and their ambivalence about their Jewishness. This work seeks to move the study of Russian literature, and Russian-Jewish literature in particular, down a new path. It will stir up controversy around Christian-Jewish cultural interaction; the representation of otherness in European arts and folklore; modern Jewish experience; and Russian literature and culture.
In stark contrast to the widespread preoccupation with the wartime looting of priceless works of art, BoÅ1⁄4ena Shallcross focuses on the meaning of ordinary objects -- pots, eyeglasses, shoes, clothing, kitchen utensils -- tangible vestiges of a once-lived reality, which she reads here as cultural texts. Shallcross delineates the ways in which Holocaust objects are represented in Polish and Polish-Jewish texts written during or shortly after World War II. These representational strategies are distilled from the writings of Zuzanna Ginczanka, WÅ‚adysÅ‚aw Szlengel, Zofia NaÅ‚kowska, CzesÅ‚aw MiÅ‚osz, Jerzy Andrzejewski, and Tadeusz Borowski. Combining close readings of selected texts with critical interrogations of a wide range of philosophical and theoretical approaches to the nature of matter, Shallcross's study broadens the current discourse on the Holocaust by embracing humble and overlooked material objects as they were perceived by writers of that time.
From one of today’s keenest critics comes a collection of essays on poetry, religion, and the connection between the two Adam Kirsch is one of today’s finest literary critics. This collection brings together his essays on poetry, religion, and the intersections between them, with a particular focus on Jewish literature. He explores the definition of Jewish literature, the relationship between poetry and politics, and the future of literary reputation in the age of the internet. Several essays look at the way Jewish writers such as Stefan Zweig and Isaac Deutscher, who coined the phrase “the non-Jewish Jew,” have dealt with politics. Kirsch also examines questions of spirituality and morality in the writings of contemporary poets, including Christian Wiman, Kay Ryan, and Seamus Heaney. He closes by asking why so many American Jewish writers have resisted that category, inviting us to consider “Is there such a thing as Jewish literature?”
A new explanation of the beginnings of Jewish angelology and demonology, drawing on non-canonical writings and Aramaic Dead Sea Scrolls.