Hybrid identity in the American-Jewish literature

The paper analyzes the complex relationship between becoming American and keeping up ethnic and religious traditions in immigrant families as portrayed in the works of leading American Jewish novelists who entered the literary scene after the Second World War when the back-to-the-roots sentiment was on the rise driven by the expanding multiculturalist discourse. The writings of Saul Bellow, Alan Lelchuk and Philip Roth are discussed to illustrate the different stages in the reassessment of Jewish identity.

Repression and Realism in Postwar American Literature 1945-1955

<p>This thesis focuses on the uncanny in literature produced in America during the first decade following World War II. The period between 1945 and 1955 was marked by repressive socio-political forces such as McCarthyism and cultural conformity which complicated the representation of what Philip Roth refers to as "demonic reality." I explore the ways in which the avoidance and minimisation of the unpleasant created a highly circumscribed version of postwar American life while also generating a sense of objectless anxiety. According to the theories of Sigmund Freud, repression inevitably stages a return registered as the "uncanny." Animism, magic, the omnipotence of thoughts, the castration complex, death, the double, madness, involuntary repetition compulsion, live burial and haunting are all deemed capable of provoking a particular anxiety connected to what lies beneath the surface of accepted reality. Although it is common to argue that fantasy genres such as science fiction and gothic represent the return of what is repressed, this thesis explores several realist novels displaying uncanny characteristics. The realist novels included here are uncanny not only because they depict weird automaton-like characters, haunting, and castration anxieties, thus exhibiting a conscious use of Freudian theory, but because the texts themselves act as the return of the repressed. Norman Mailer referred to this unsettling phenomenon when he described writing as the "spooky" art; spooky because although a writer might sit down to consciously write a particular story, another unwilled story might very well appear.</p>

Repression and Realism in Postwar American Literature 1945-1955

<p>This thesis focuses on the uncanny in literature produced in America during the first decade following World War II. The period between 1945 and 1955 was marked by repressive socio-political forces such as McCarthyism and cultural conformity which complicated the representation of what Philip Roth refers to as "demonic reality." I explore the ways in which the avoidance and minimisation of the unpleasant created a highly circumscribed version of postwar American life while also generating a sense of objectless anxiety. According to the theories of Sigmund Freud, repression inevitably stages a return registered as the "uncanny." Animism, magic, the omnipotence of thoughts, the castration complex, death, the double, madness, involuntary repetition compulsion, live burial and haunting are all deemed capable of provoking a particular anxiety connected to what lies beneath the surface of accepted reality. Although it is common to argue that fantasy genres such as science fiction and gothic represent the return of what is repressed, this thesis explores several realist novels displaying uncanny characteristics. The realist novels included here are uncanny not only because they depict weird automaton-like characters, haunting, and castration anxieties, thus exhibiting a conscious use of Freudian theory, but because the texts themselves act as the return of the repressed. Norman Mailer referred to this unsettling phenomenon when he described writing as the "spooky" art; spooky because although a writer might sit down to consciously write a particular story, another unwilled story might very well appear.</p>

5. Into the mainstream

“Into the mainstream” looks at immigrant Jewish writers in America, such as Abraham Cahan (The Rise of David Levinsky), Anzia Yezierska (Bread Givers), and Isaac Bashevis Singer (Gimpel the Fool and Other Stories), all of whom transitioned from Yiddish into English, and analyzes Henry Roth’s Call It Sleep as a transitional novel. We notice here the transition from “ethnic” to “national” writer in the careers of Bashevis Singer, Saul Bellow, Philip Roth, Grace Paley, and Cynthia Ozick. Much was gained and lost in Jewish literature as a result of Jews becoming a “successful minority” in America. Jewish readers have always been a voracious audience of international literature.

Jewish Literature: A Very Short Introduction

Jewish Literature: A Very Short Introduction explores modern Jewish literature from 1492 to the early twenty-first century, rotating around the concept of aterritoriality to appreciate the diasporic journey Jews have embarked on across geographic and linguistic spheres to the present day. At the center are canonical figures like Franz Kafka, Isaac Babel, Bruno Schulz, Anne Frank, Martin Buber, Hannah Arendt, Isaac Bashevis Singer, Saul Bellow, Philip Roth, Grace Paley, Jacobo Timerman, Moacyr Scliar, and Susan Sontag. Unlike the output of other national literatures, Jewish literature does not have a fixed address. As a result, its practitioners are at once insiders and outsiders.

Distopia e utopia na obra de David Simon: uma leitura de The Plot Against America

O objetivo principal deste artigo é discutir os elementos distópicos e utópicos presentes nas séries televisivas escritas ou produzidas por David Simon, como The Wire e Show me a Hero, com especial atenção à análise de The Plot Against America, adaptação recente realizada por David Simon e Ed Burns do romance homônimo de Philip Roth, que narra uma “história alternativa” em que os Estados Unidos elegem Charles Lindbergh como presidente e aliam-se às forças do Eixo na Segundo Guerra Mundial. Em primeiro lugar, estabelecemos a centralidade do conceito de distopia no debate político contemporâneo a partir da eleição de Donald Trump em 2016. Identificamos que o termo desponta subliminarmente no discurso de vitória da vice-presidenta eleita, Kamala Harris, representando a tendência apontada por Jill Lepore de reforço da polarização política. Em seguida, examinamos a discussão em torno do conceito de distopia, o que nos ajudará a fazer um levantamento, nas demais séries de David Simon, também de seus elementos utópicos, cujos limites temáticos e formais revelam-se exemplares de uma classe política alinhada ao Partido Democrata. Argumentamos que Simon se apoia em uma utopia do trabalho, da socialdemocracia e da família, e que cada um desses elementos se conjuga tanto às convenções do formato do seriado televisivo dramático contemporâneo quanto às transformações políticas do período pós-fordista e neoliberal a partir do final dos anos 1970.