scholarly journals Defining Hellenistic Jews in Nineteenth-Century Germany: The Case of Jacob Bernays and Jacob Freudenthal

2020 ◽  
Vol 5 (3) ◽  
pp. 308-342
Author(s):  
Paul Michael Kurtz
Keyword(s):  
Nineteenth Century ◽  
Jewish History ◽  
Modern World ◽  
Hellenistic Period ◽  
Diagnostic Features ◽  
Language And Culture ◽  
German Speaking ◽  
German Jewish ◽  
Hellenistic Judaism ◽  
Jewish Writers

Hellenic language and culture occupy a deeply ambivalent place in the mapping of Jewish history. If the entanglement of the Jewish and the Greek became especially conflicted for modern Jews in philhellenic Europe, nowhere was it more vexed than in the German-speaking lands of the long nineteenth century. Amidst the modern redefinition of what it meant to be Jewish as well as doubts about the genuine Jewishness of Hellenistic Judaism, how did scholars identify Jewish authorship behind ambiguous, fragmented, and interpolated texts – all the more with much of the Hebraic allegedly deprived by the Hellenic? This article not only argues for the contingency of diagnostic features deployed to define the Jewish amidst the Greek but also maintains the embeddedness of those features in nineteenth-century Germany. It scrutinizes the criteria deployed to establish Jewish texts and authors of the Hellenistic period: the claims and qualities assumedly suggestive of Judaism. First, the inquiry investigates which characteristics German Jewish scholars expected to see in Greek-speaking Jewish writers of antiquity, interrogating their procedures and their verdicts. Second, it examines how these expectations of antiquity corresponded to those scholars’ own modern world. The analysis centers on Jacob Bernays (1824–1881) and Jacob Freudenthal (1839–1907), two savants who helped establish the modern study of Hellenistic Judaism. Each overturned centuries of learned consensus by establishing an ancient author – Pseudo-Phocylides and Eupolemus, respectively – as Jewish, rather than Christian or pagan. This article ultimately reveals the subtle entanglements as well as the mutually conditioning forces not only of antiquity and modernity but also of the personal and academic, manifest both in the philological analysis of ancient texts and in the larger historiography of antique Judaism in the Graecophone world.

Languages of Community: The Jewish Experience in the Czech Lands

2003 ◽  
pp. 505-507
Author(s):  
Hillel J. Kieval
Keyword(s):  
Nineteenth Century ◽  
Written Language ◽  
Language And Culture ◽  
Jewish Experience ◽  
The First World War ◽  
Jewish Schools ◽  
German Jewish ◽  
Definition Of ◽  
Czech Lands ◽  
First World

This chapter explores Hillel J. Kieval's book, Languages of Community: The Jewish Experience in the Czech Lands. Kieval's Languages of Community demonstrates that the development of the community of Czech Jews in the period before the First World War was fraught with intense struggles against emerging Czech nationalism. In these interlinked essays, Kieval's primary emphasis is on the way in which the conflicts over language shaped the identities of the Czech Jews—a persuasive emphasis given the centrality of language in the definition of nationalisms in the Habsburg Empire. The fact that German was the primary spoken and written language of urban Jews was a particular irritant to Czech nationalists, who in the nineteenth century were seeking to turn Czech into the language of a new national culture. Like other Jews in the multi-ethnic empire, Czech Jews were caught between the German culture of the regime and the culture of their indigenous environment. Towards the end of the nineteenth century, a Czech Jewish movement emerged which favoured the adoption of the Czech language and culture. But Kieval argues that this movement had only modest success, which was limited primarily to the abolition of German Jewish schools in the villages.

Epic and Novel

2013 ◽  
Vol 68 (3) ◽  
pp. 396-422 ◽  
Author(s):  
Natasha Moore
Keyword(s):  
Nineteenth Century ◽  
Everyday Life ◽  
Economic Life ◽  
Modern World ◽  
The Novel ◽  
Aurora Leigh ◽  
Big Picture

This essay explores a peculiarly Victorian solution to what was perceived, in the middle of the nineteenth century, as a peculiarly Victorian problem: the fragmentation and miscellaneousness of the modern world. Seeking to apprehend the multiplicity and chaos of contemporary social, intellectual, political, and economic life, and to furnish it with a coherence that was threatened by encroaching religious uncertainty, Victorian poets turned to the resources of genre as a means of accommodating the heterogeneity of the age. In particular, by devising ways of fusing the conventions of the traditional epic with those of the newly ascendant novel, poets hoped to appropriate for the novelistic complexity of modern, everyday life the dignifying and totalizing tendencies of the epic. The essay reevaluates the generic hybridity of Elizabeth Barrett Browning’s Aurora Leigh (1856) as an attempt to unite two distinct kinds of length—the microscopic, cumulative detail of the novel and the big-picture sweep of the epic—in order to capture the miscellaneousness of the age and, at the same time, to restore order and meaning to the disjointed experience of modernity.

What's Divine about Divine Law?

2015 ◽  
Author(s):  
Christine Hayes
Keyword(s):  
Cognitive Dissonance ◽  
Second Temple ◽  
Hellenistic Period ◽  
Philo Of Alexandria ◽  
Rabbinic Judaism ◽  
Early Christian ◽  
Greco Roman ◽  
Western Idea ◽  
Jewish Writers ◽  
Divine Law

In the thousand years before the rise of Islam, two radically diverse conceptions of what it means to say that a law is divine confronted one another with a force that reverberates to the present. This book untangles the classical and biblical roots of the Western idea of divine law and shows how early adherents to biblical tradition—Hellenistic Jewish writers such as Philo, the community at Qumran, Paul, and the talmudic rabbis—struggled to make sense of this conflicting legacy. This book shows that for the ancient Greeks, divine law was divine by virtue of its inherent qualities of intrinsic rationality, truth, universality, and immutability, while for the biblical authors, divine law was divine because it was grounded in revelation with no presumption of rationality, conformity to truth, universality, or immutability. The book describes the collision of these opposing conceptions in the Hellenistic period, and details competing attempts to resolve the resulting cognitive dissonance. It shows how Second Temple and Hellenistic Jewish writers, from the author of 1 Enoch to Philo of Alexandria, were engaged in a common project of bridging the gulf between classical and biblical notions of divine law, while Paul, in his letters to the early Christian church, sought to widen it. The book then delves into the literature of classical rabbinic Judaism to reveal how the talmudic rabbis took a third and scandalous path, insisting on a construction of divine law intentionally at odds with the Greco-Roman and Pauline conceptions that would come to dominate the Christianized West. This book sheds critical light on an ancient debate that would shape foundational Western thought, and that continues to inform contemporary views about the nature and purpose of law and the nature and authority of Scripture.

The Well-Mannered Auditor

2018 ◽  
Author(s):  
James Deaville
Keyword(s):  
Nineteenth Century ◽  
English Language ◽  
The Self ◽  
Modern World ◽  
Music Making ◽  
Social Events ◽  
Drawing Room ◽  
The Way

The chapter explores the way English-language etiquette books from the nineteenth century prescribe accepted behavior for upwardly mobile members of the bourgeoisie. This advice extended to social events known today as “salons” that were conducted in the domestic drawing room or parlor, where guests would perform musical selections for the enjoyment of other guests. The audience for such informal music making was expected to listen attentively, in keeping with the (self-) disciplining of the bourgeois body that such regulations represented in the nineteenth century. Yet even as the modern world became noisier and aurally more confusing, so, too, did contemporary social events, which led authors to become stricter in their disciplining of the audience at these drawing room performances. Nevertheless, hosts and guests could not avoid the growing “crisis of attention” pervading this mode of entertainment, which would lead to the modern habit of inattentive listening.

German-Jewish History in Modern Times, Volume 4, Renewal and Destruction: 1918-1945

2001 ◽  
Vol 106 (4) ◽  
pp. 1487
Author(s):  
Donald L. Niewyk ◽  
Michael A. Meyer
Keyword(s):  
Jewish History ◽  
Modern Times ◽  
German Jewish

Unity and Engagement in the Modern World

2021 ◽  
pp. 507-527
Author(s):  
John Halsey Wood
Keyword(s):  
Nineteenth Century ◽  
Modern World ◽  
Western World ◽  
Starting Point

In the midst of the roiling chaos of the nineteenth century, Abraham Kuyper’s Neo-Calvinism was a strategy to maintain a Calvinist unity and engagement with an increasingly disintegrated Western world. The unity Kuyper pursued was of two kinds: intellectual and social. As a thinker, Kuyper valued coherent, interrelated systems. He took as his starting point the systematic Calvinism of Protestant scholastics and the Reformed Confessions as well as Romanticism’s organic impulse which elevated the organic and natural over mechanical and artificial. In addition to a unified mind, Kuyper also pursued a unified Calvinist community, albeit a different kind than imagined by earlier Calvinists. Under the pressures of modernity, Kuyper didn’t pursue a repristinated Calvinist culture, but a renewed Calvinist subculture.

"[...] über die outrirte, willkürliche Bezeichnung"

2021 ◽  
Vol 73 (1) ◽  
pp. 17-30
Author(s):  
Vasiliki Papadopoulou
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Music Teachers ◽  
Early 20Th Century ◽  
Popular Medium ◽  
German Speaking ◽  
Joseph Joachim

Instructive editions from the late 19th and early 20th century include various annotations regarding musical and interpretative aspects, such as articulation, bowings, fingerings, dynamics, note values, or vibrato As a popular medium at the time, instructive editions were often in the centre of contemporary discussions and attracted the attention of musicians and music teachers, bequeathing us a wide corpus of valuable sources. Joseph Joachim was arguably the most prominent violinist and a sought-after pedagogue in the German-speaking world at the time. Hitherto unknown letters as well as revisited statements by Joachim lead to new insights regarding his attitude towards instructive editions: he viewed them - despite his (few) publications in this genre - very critically, as he was convinced that detailed instructions would limit the freedom of the performer. He instead preferred editions without annotations, but interpreted the music freely andd variably in what he considered the spirit of the composer. Joachim's attitude thus poses general questions as to the role and freedom of performance and interpretation in the second half of the nineteenth century.

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