A Chosen People in a Pluralist Nation: Horace Kallen and the Jewish-American Experience

2006 ◽  
Vol 16 (2) ◽  
pp. 161-193 ◽  
Author(s):  
Daniel Greene

AbstractThis article examines the ways that ethnic pluralism and Jewish exceptionalism coexisted in philosopher Horace M. Kallen’s thought from the time that Jewish identity began to play a significant and positive role in his own self-conception, roughly in 1900, until his coining of “cultural pluralism” in 1924. Kallen conceived of pluralism, in large part, to address concerns about American Jewish identity, but its conception created a vexing problem for Jews. If Jews were the “chosen people,” then how could they fit into a model of the nation that emphasized equality, or at least harmony, between many different groups? Kallen would solve the dilemma of pluralism and chosenness by advocating that American Jews maintain their particularity on the basis of cultural distinctiveness rather than of superiority. Interrogating Kallen's thought on this question illuminates how his enduring theory of cultural pluralism owed its origins, in part, to specific Jewish concerns and how it developed in conjunction with a sustained struggle to articulate a meaningful Jewish identity that would prove continuous across generations. Kallen’s solution to the dilemma of pluralism and Jewish exceptionalism also demonstrates one instance of how debates about Jewish particularity profoundly influenced understandings of cultural, racial, and religious difference within American democracy during the early twentieth century.

AJS Review ◽  
2018 ◽  
Vol 42 (1) ◽  
pp. 21-38
Author(s):  
Omri Asscher

The translation and mediation of literature can play an important role in the ideologically charged transfer of ideas between cultures. This paper approaches the English translation of Hebrew literature as a subtle form of cultural appropriation, whereby agents such as literary critics, scholars, editors, and translators mediated Israeli notions and narratives into Jewish American literary discourse. The article discusses forms of mediation of Hebrew literature in the 1960s and 1970s that promoted a more progressive, yet less secular, notion of Judaism than that depicted in the source works, and subdued an antidiasporic view of Jewish identity. It shows how high moral standards were represented as an inherent feature of Judaism, and Israeli society was portrayed in a more positive moral light than in the sometimes self-critical source texts. American Jewish readership was thus introduced to a notion of Judaism that the agents assumed would be “easier to stomach” than that of the source literary works, and could serve to reinforce some of the tenets of contemporary American Jewish identity.


2019 ◽  
Vol 32 (1) ◽  
pp. 46-76
Author(s):  
Mark Hodin

Abstract Willy Loman’s cryptic Jewish identity, recognizable but absent, has long been considered an act of ethnic betrayal, evidence of Arthur Miller’s inauthenticity as a Jewish writer. However, as scholars recently have explored the undercurrent of anxiety running beneath the surface of postwar Jewish life, Willy’s feelings of rootlessness, and his worries over American success, seem now particularly “Jewish.” Arguing that Willy Loman represents a postwar Jewish-American identity crisis, not a suppressed Jewish essence, the article analyzes the reception of Death of a Salesman (1949) in the Jewish press, from the pulpit, and within the synagogue community. Throughout, Willy’s preoccupation with acceptance and his eventual self-destruction resonate uncomfortably with the nightmare of European catastrophe that American Jews were then processing. In this context, the article claims that Biff’s attempt to counter his father’s world of selling by laboring in Texas, an action usually interpreted through myths of the American West, may have been read by Jewish Salesman audiences through a discourse of postwar Zionism they knew well: namely, the resettlement of Holocaust refugees in the land of Israel.


This chapter reviews the books Fútbol, Jews and the Making of Argentina (2014), by Raanan Rein, translated by Marsha Grenzeback, and Muscling in on New Worlds: Jews, Sport, and the Making of the Americas (2014), edited by Raanan Rein and David M.K. Sheinin. Rein’s book deals with the “making” of Argentina through football (soccer), while Muscling in on New Worlds focuses on the “making” of the Americas (mainly the one America, called the United States) through sports. Muscling in on New Worlds is a collection of essays that seeks to advance the common theme of sport as “an avenue by which Jews threaded the needle of asserting a Jewish identity.” Topics include Jews as boxers, Jews and football, Jews and yoga, Orthodox Jewish athletes, and American Jews and baseball. There are also essays about the cinematic and literary representations of Jews in sports.


PMLA ◽  
1998 ◽  
Vol 113 (2) ◽  
pp. 273-287 ◽  
Author(s):  
Maeera Y. Shreiber

What is the location of Jewish identity? Cultural studies has provoked reexaminations of many long-standing tropes of ethnic and religious identity, including that of exile. Such inquiries have potentially explosive consequences for the already vexed notion of Jewish identity, especially in the context of an American experience. This essay means to trouble the relation between Jewish identity and the problematic marker of exile, within the contexts of cultural and postcolonial theory, drawing on the work of Jewish and non-Jewish thinkers, including Alain Finkielkraut, Daniel Boyarín, and Edward Said. This analysis allows for a sustained consideration of a diasporic poetics—an alternative aesthetic model for imagining community and the attendant terms of belonging. The experimental Yiddish-English bilingual verse of the contemporary poet Irena Klepfisz serves as a paradigmatic example of such a vision that challenges the familiar opposition between home and exile. Yiddish, a notoriously inclusive language and a by-product of the Diaspora, is central to her inquiries into the relation between individual and collective identities and into the role gender plays in the construction of such entities.


2019 ◽  
Vol 2 (2) ◽  
pp. 80-88
Author(s):  
Ethan Sabourin

Known by his moniker Lil' Dicky, David Burd has been making rap music with an exceedingly Jewish twist for several years. This paper examines the Jewish and racial implications, and especially the intersections between the two, in Burd's lyrics and videos. Using James Baldwin's commentary on the Jewish-American condition in "On Being 'White' and Other Lies" as a starting point, I consider how Burd utilizes Jewish identity markers as a stand-in for Blackness in order to give his rap a unique ethnic position. Through three of his songs, I analyze the ways that Burd's relationship with race has evolved, culminating in his 2018 single "Freaky Friday" where Lil' Dicky and Chris Brown 'switch bodies'. In this song Dicky is able to say the N-word by having been placed by Burd into a Black body. Burd's music reflects a piece of contemporary, White, Male, Jewish consciousness and has implications for those who see themselves reflected in it.


Author(s):  
Simon Willmetts

If official secrecy had a devastating impact on American history, its impact on Americans’ understanding of that history was a collateral disaster.1 Richard Gid Powers, introduction to Senator Daniel Patrick Moynihan, Secrecy: The American Experience 13 Rue Madeleine, a 1947 semi-documentary that commemorates the sacrifice and courage of the Central Intelligence Agency’s (CIA’s) wartime predecessor, the Office of Strategic Services (OSS), opens with a shot of the US National Archives Building on Pennsylvania Avenue. The building’s location, at the heart of the nation’s capital on the Washington Mall, amidst so many iconic monuments to American democracy, is no accident. Like the Washington or Lincoln Memorial, it is a depository of historical experience that binds up the nation. In its inner-sanctum, as audiences then and now would know, the United States of America’s founding documents, including the Constitution and the Declaration of Independence, are housed. After the establishing shot the camera slowly tilts from top to bottom, surveying the archive’s columnar neo-classical facade – a common architectural feature of America’s monuments that evokes a sense of both history and authority. Finally, it comes to rest on a statue in the forecourt of the archive called Future. On Future’s plinth, the inscription reads: ‘What is Past is Prologue’. At this point we hear the booming voice of an omniscient narrator – an oratory style borrowed from the newsreels of the time that was also a defining feature of the semi-documentary format:...


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