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Originally published in English in 1991 and now reissued with a new Preface by Jack Zipes, this book presents and examines the work of two little-known writers, Oskar Panizza and Mynona (Salomo Friedlaender). In Panizza’s chilling story, The Operated Jew (1893), a turn-of-the- century Jew undergoes a series of disfiguring operations that transform him into a ‘European’. The tale mingles loathing with compassion for its title character. Thirty years later, Panizza’s tale was answered by Mynona, an urbane German Jew who turned the story’s tables in The Operated Goy (1922). In his introduction and essays, Jack Zipes explores some of the myths of modern anti-Semitic thought. He also examines parallels between the rise of anti-Semitism in Europe and the violence of Arabs and Israelis in the Middle East, issues which have an enduring relevance and are as pertinent in the 21st Century as when the book was first published.
Pp. 47-86 contain the texts of the two stories: "The Operated Jew", by Oskar Panizza (p. 47-74), and "The Operated Goy", by Mynona (pen name of Salomo Friedlaender). The first (published in 1893) is the story of a Jew who underwent radical surgery in order to become a bona fide German, but was unsuccessful due to a bout of drunkenness at his wedding to a Gentile woman, which caused him to disintegrate and reveal the truth. The second story, written in 1922 as a reaction to the first, narrates the tale of an antisemitic Prussian aristocrat who was enchanted by a Jewess, became a religiously observant Jew, and settled in Palestine. Pp. 87-109, "Oskar Panizza: The Operated German as Operated Jew", relate Panizza's biography and try to explain what impelled Panizza to write "The Operated Jew". The story, although antisemitic (as Panizza himself was in the early period of his writing), is also critical of German society, which oppressed the individual; thus, to be German means self-destruction for the Jew. Pp. 110-137, "Salomo Friedlaender: The Anonymous Jew as a Laughing Philosopher", relate his biography and state that Friedlaender wanted to show that, despite the racial difference, German-Jewish symbiosis may be achieved. Pp. 1-46 contain the essay "Preliminary Diagnosis", reflecting on Jewish existence in a prejudiced world, especially in postwar Germany, both West and East. Now, as in the past, the Jew is compelled in one way or another to seek his "normalization" in society, and thus to "operate" on himself.
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.
THE TRUE STORY THAT INSPIRED THE NETFLIX FILM THE RED SEA DIVING RESORT. 'Secret missions, brazen deceptions and thrilling, clandestine operations - Red Sea Spies has it all. But it has something more important, too - a genuine human mission that made a difference.' David Hoffman, author of The Billion Dollar Spy '[A] thrilling and meticulous account.' The Times In the early 1980s on a remote part of the Sudanese coast, a new luxury holiday resort opened for business. Catering for divers, it attracted guests from around the world. Little did the holidaymakers know that the staff were undercover spies, working for the Mossad - the Israeli secret service. Providing a front for covert night-time activities, the holiday village allowed the agents to carry out an operation unlike any seen before. What began with one cryptic message pleading for help, turned into the secret evacuation of thousands of Ethiopian Jews who had been languishing in refugee camps, and the spiriting of them to Israel. Written in collaboration with operatives involved in the mission, endorsed as the definitive account and including an afterword from the commander who went on to become the head of the Mossad, this is the complete, never-before-heard, gripping tale of a top-secret and often hazardous operation. 'Red Sea Spies is what really happened. There is none of the Hollywood colouring-in, and yet the book is all the more vivid for it ... part thriller, part dark comedy, all true ... Berg brings out the native drama in an improbable story of a clandestine homecoming.' Spectator
This is the first study of monstrosity in Jewish history from the Middle Ages to modernity. Drawing on Jewish history, literary studies, folklore, art history and the history of science, it examines both the historical depiction of Jews as monsters and the creative use of monstrous beings in Jewish culture. Jews have occupied a liminal position within European society and culture, being deeply immersed yet outsiders to it. For this reason, they were perceived in terms of otherness and were often represented as monstrous beings. However, at the same time, European Jews invoked, with tantalizing ubiquity, images of magical, terrifying and hybrid beings in their texts, art and folktales. These images were used by Jewish authors and artists to push back against their own identification as monstrous or diabolical and to tackle concerns about religious persecution, assimilation and acculturation, gender and sexuality, science and technology and the rise of antisemitism. Bringing together an impressive cast of contributors from around the world, this fascinating volume is an invaluable resource for academics, postgraduates and advanced undergraduates interested in Jewish studies, as well as the history of monsters.
With an overview essay, timeline, reference entries, and annotated bibliography, this resource is a concise, one-stop reference on antisemitism in today's society. Stretching back to biblical times, antisemitism is perhaps the world's oldest hatred of a group. It has manifested itself around the world, sometimes taking the form of superficially innocent jokes and at other times promoting such tragedies as the Holocaust. Far from disappeared, its continued existence in today's society is evidenced by vandalism of Jewish cemeteries and shootings at synagogues. This book explores the causes and consequences of contemporary antisemitism, placing this form of hatred in its historical, political, and social contexts. An overview essay surveys the background and significance of antisemitism and provides historical context for discussions of contemporary topics. A timeline highlights key events related to antisemitism. Some 50 alphabetically arranged reference entries provide objective, fundamental information about people, events, and other topics related to antisemitism. These entries cite works for further reading and provide cross-references to related topics. An annotated bibliography cites and evaluates some of the most important resources on antisemitism suitable for student research.
This book examines how modernizing German-speaking cultures, undergoing their own processes of identification, responded to the narcissistic threat posed by the continued persistence of Judentum (Judaism, Jewry, Jewishness) by representing "the Jew"'s body--or rather parts of that body and the techniques performed upon them. Such fetish-producing practices reveal the question of German-identified modernity to be inseparable from the Jewish Question. But Jewish-identified individuals, immersed in the phantasmagoria of such figurations--in the gutter and garret salon, medical treatise and dirty joke, tabloid caricature and literary depiction, church fa ade and bric-a-brac souvenir--had their own question, another Jewish Question. They also had other answers, for these physiognomic fragments not only identified "the Jew" but also became for some Jewish-identified individuals the building blocks for working through their particular situations and relaying their diverse responses. The Other Jewish Question maps the dissemination of and interrelationships among these corporeal signifiers in Germanophone cultures between the Enlightenment and the Shoah. Its analyses of ascribed Jewish physiognomy include tracing the gendered trajectory of the reception of Benedict Spinoza's correlation of Jewish persistence, anti-Semitism, and circumcision; the role of Zopf ("braid") in mediating German Gentile-Jewish relations; the skin(ny) on the association of Jews and syphilis in Arthur Dinter's antisemitic bestseller Sin against the Blood and Adolf Hitler's Mein Kampf; as well as the role of Jewish corporeality in the works of such Jewish-identified authors as Rahel Levin Varnhagen, Heinrich Heine, Karl Marx, Max Nordau, Franz Kafka, and Walter Benjamin, as well as such "Jew"-identifying writers as Ludwig Feuerbach and Daniel Paul Schreber. The Other Jewish Question portrays how Jewish-identified individuals moved beyond introjection and disavowal to appropriate and transform this epidemic of signification to make sense of their worlds and our modernity.
The Jews and Germany debunks a modern myth: that once upon a time there was a Judeo-German symbiosis, in which two cultures met and brought out the best in each other. Enzo Traverso argues that to the contrary, the attainments of Jews in the German-speaking world were due to the Jews aspiring to be German, with little help from and often against the open hostility of Germans. As the Holocaust proved in murder and theft, German Jews could never be German enough. Now the works of German Jews are being published and reprinted in Germany. It is a matter of enormous difference whether the German rediscovery of German Jews is another annexation of Jewish property or an act of rebuilding a link between traditions. Traverso shows how tenuous the link was in the first place. He resumes the queries of German Jews who asked throughout the twentieth century what it meant to be both Jewish and German. Hannah Arendt, Gershom Scholem, Martin Buber, Max Horkheimer, Walter Benjamin, Theodor Adorno, Ernst Bloch, Rosa Luxemburg, Franz Kafka, and many more thinkers of genius found the problems unavoidable and full of paradoxes. In returning to them Traverso not only demolishes a sugary myth but also reasserts the responsibility of history to recover memory, even if bitter and full of pain. Enzo Traverso was born in Italy in 1957. He currently works at the Bibliothique de documentation internationale contemporaine in Nanterre, where he is in charge of the German section of documentary research. He is also the author of The Marxists and the Jewish Question: History of a Debate, 1843-1943. Daniel Weissbort is a professor of English at the University of Iowa. He is the author of Inscription and the editor ofTranslating Poetry and The Poetry of Survival. His translations include Claude Simon's The World about Us.
Drawing on a wealth of medical and historical materials, Sander Gilman sketches details of the anti-Semitic rhetoric about the Jewish body and mind, including medical and popular depictions of the Jewish voice, feet, and nose. Case studies illustrate how Jews have responded to such public misconceptions as the myth of the cloven foot and Jewish flat-footedness, the proposed link between the Jewish mind and hysteria, and the Victorians' irrational connection between Jews and prostitutes. Gilman is especially concerned with the role of psychoanalysis in the construction of anti-Semitism, examining Freud's attitude towards his own Jewishness and its effect on his theories, as well as the supposed "objectiveness" of psychiatrists and social scientists.
This is the first study of monstrosity in Jewish history from the Middle Ages to modernity. Drawing on Jewish history, literary studies, folklore, art history and the history of science, it examines both the historical depiction of Jews as monsters and the creative use of monstrous beings in Jewish culture. Jews have occupied a liminal position within European society and culture, being deeply immersed yet outsiders to it. For this reason, they were perceived in terms of otherness and were often represented as monstrous beings. However, at the same time, European Jews invoked, with tantalizing ubiquity, images of magical, terrifying and hybrid beings in their texts, art and folktales. These images were used by Jewish authors and artists to push back against their own identification as monstrous or diabolical and to tackle concerns about religious persecution, assimilation and acculturation, gender and sexuality, science and technology and the rise of antisemitism. Bringing together an impressive cast of contributors from around the world, this fascinating volume is an invaluable resource for academics, postgraduates and advanced undergraduates interested in Jewish studies, as well as the history of monsters.