9. From Displaying ‘Jewish Art’ to (Re)Building German-Jewish History: The Jewish Museum Berlin

Author(s):  
Robin Ostow
2001 ◽  
Vol 106 (4) ◽  
pp. 1487
Author(s):  
Donald L. Niewyk ◽  
Michael A. Meyer

2021 ◽  
pp. 190-222
Author(s):  
Phil Alexander

This chapter devotes specific consideration to the complex relationship between contemporary Jewish identity and klezmer music in the city—as seen in two case studies that both directly address Berlin Jewish history through music. The first of these is a project that unearths the rich recorded legacy of two prewar Berlin Jewish record labels (Semer and Lukraphon) and re-presents their music for a modern concert audience. Despite the pre-Holocaust provenance of this music, a post-Holocaust framing is unavoidable, making these materials both a way of hearing the past and also a commentary on the present (including changing German-Jewish relations). In the process, Semer Ensemble raises important questions about the relationship of bounded historical materials to contemporary performance practice. The chapter also critiques the project, arguing that while it powerfully illustrates the wealth of talent and creativity in Berlin’s Jewish music scene, it also bends certain historical narratives to better suit its own artistic aims. Secondly, the chapter discusses the life story and work of singer Tania Alon, one of the few Berlin-born Jews on today’s klezmer and Yiddish scene. Tania’s deeply felt testimony as the granddaughter of Holocaust victims stands as a powerful contrast to the easy fluidity of the contemporary milieu and reminds us of the very personal resonances that this music also contains. In particular, Tania’s singing at Stolpersteine ceremonies is explored, through her own words, as a way of sounding the silenced voices of her family and simultaneously an aural part of the urban fabric.


2020 ◽  
pp. 301-303

This volume is a collection of 17 essays originally presented at a workshop at St. Antony’s College, Oxford almost a decade ago. The essays follow an extensive introduction by the two editors that lays out both the theoretical justifications and the methodological advantages of this project, all conceived in the spirit of the so-called “spatial turn” in historiography. Beginning in the 1990s, interest in concrete places and in real or imaginary spaces became part of the new cultural history, with this topic often considered on its own in an ever-growing historical research landscape. In this case, promise the editors, the conceptual apparatus developed by the new turn would be applied to the study of minorities, specifically to the Jews in modern times, and in what may be called their German diaspora. Using concepts such as place, space, and boundaries, they explain, is a means of opening new perspectives on the intensively researched field of German Jewish history, while also newly illuminating matters of integration and seclusion, belonging and identity. The book is divided into three parts: “Imaginations,” “Transformations,” and “Practices,” and as one moves from the heavily theoretical introduction to the concrete historical contributions, the potential of this overall approach begins to unravel....


2000 ◽  
Vol 18 (4) ◽  
pp. 1-2
Author(s):  
Phyllis Cohen Albert ◽  
Alex Sagan

George L. Mosse died on January 22, 1999, leaving a legacy of scholarly innovation in the study of European, German, and German-Jewish history. The memorial symposium of October 1, 1999 that produced the following articles brought together some of the many students, colleagues, and friends who were deeply influenced by Mosse’s life and work. They offered reflections on his contributions as researcher, author, teacher, and friend.


2020 ◽  
Vol 5 (3) ◽  
pp. 308-342
Author(s):  
Paul Michael Kurtz

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.


2000 ◽  
Vol 23 (1) ◽  
pp. 115
Author(s):  
Keith H. Pickus ◽  
Michael A. Meyer

Author(s):  
Amir Engel

Abstract The fact that bizarre intellectual trends and teachings, like occultism, parapsychology, and neopaganism played an important role in modern German culture is thoroughly documented by scholars of German history. Experts on German-Jewish history, however, still tend to describe German-Jewish culture as one formed around the ideals of ‘Bildung’ and the Enlightenment. As a result, German-Jewish occultism, mysticism, and other non-Enlightenment texts and authors have received relatively little scholarly attention. The present article aims to help correct this bias by introducing a new framework for the study of German-Jewish culture, and by examining an all but forgotten case study: Meir Wiener and his work. After introducing the term ‘Western esotericism’, developed by scholars of religious studies, the article uses it to explore two of Meir Wiener’s strangest and virtually forgotten works. Wiener, it is shown, produced fantastically esoteric works in the context of German expressionism and Kabbalah studies, which better represent their time and place than scholars have thus far acknowledged.


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