Modalities of Assimilation: Subcultural Currents in Felix Mendelssohn's Lieder Ohne Worte

In this article I examine the impact on Felix Mendelssohn's music, as reflected in his Lieder ohne Worte (Songs without Words), of his affiliation with a German-Jewish subculture. To better understand the interrelationship between musical formations and sociocultural realities, I associate the real and imaginary tensions between the German, the Jewish, and the German-Jewish with stylistic ambiguities in Mendelssohn's piano songs, which often destabilize the lyrical simplicity projected by the lieder framework through formal complexities that exceed the narrow scope of the piano miniature. I establish the connections between Mendelssohn's music and sociocultural disposition by identifying a correlation between his so-called stylistic ‘conservatism’ and the anachronistic devotion of German Jewry to the universal ideals of the Enlightenment during the rise of German nationalism. Against this background, I primarily reveal the generic heterogeneity of the Lieder ohne Worte, which feature ‘progressive’ stylistic frameworks associated with the lied traditions yet concurrently point toward the formal ideals of eighteenth-century classicism. And following this, I position the stylistic duality of Mendelssohn's piano songs within a broader context through Heinrich Heine's essay The Romantic School, which sheds crucial light on the negotiation of Jewishness within German culture as it is reflected in aesthetic movements, historical changes, and political climates.

Selbst-Bildungen. The Tradition of Comedy and the Emancipation of German Jews in Carl Sternheim’s The Snob

The article explores the connection between enlightenment and comedy, as well as its importance for German Jewry. Following Hegel, whose thoughts on ancient drama as well as modern society have shaped the German discourse on comedy until today, this article demonstrates that questions of self-formation, emancipation, and historical self-location are central to comedy. In Carl Sternheim’s comedy The Snob, the idea of self-formation resonates with the historic concept of “civic improvement” through “Bildung”: Jewish emancipation in Germany stood at the end of an educational project that outlasted Jews’ achieving legal equality. The Snob is a comedy about Jewish acculturation and bourgeoisification and embodies Marx’s understanding of comedy as ambivalent: on the one hand, comedy helps people to part cheerfully from their past that was characterized by inequality, but, on the other, it indicates that a world-historic fact like Jewish emancipation may be prone to repeat itself as a farce. Sternheim’s comedy develops a poetic that embraces ambivalence, but also opens the genre of comedy to the question of therapy and healing. It depicts the struggle between autonomy and social formation – the dialectics of German “Bildung.”

Dispossession: Plundering German Jewry, 1933-1953

Christoph Kreuzmüller and Jonathan R. Zatlin (Eds.)

Marx and Rosenzweig on Community and Redemption

The first and second parts of the paper will deal with the problem of assimilation and the genesis of a kind of cultural hibridity in the context of the German Jewry in the Modern Age. I will try to understand the figures of Karl Marx and Franz Rosenzweig as complementary visions of Jewish identity, the latter from within, and the former from without it. The third and the fourth parts will tackle the question of how that identity may be fully realized in a socio-institutional sense, not necessarily restricted to a narrow political conception of the State. My conclusion will be that both Marx and Rosenzweig affirmed human freedom as an essentialy social phenomenon enacted through redemption, which must take always in account the problem of alterity.

Marx and Rosenzweig on Community and Redemption

The first and second parts of the paper will deal with the problem of assimilation and the genesis of a kind of cultural hibridity in the context of the German Jewry in the Modern Age. I will try to understand the figures of Karl Marx and Franz Rosenzweig as complementary visions of Jewish identity, the latter from within, and the former from without it. The third and the fourth parts will tackle the question of how that identity may be fully realized in a socio-institutional sense, not necessarily restricted to a narrow political conception of the State. My conclusion will be that both Marx and Rosenzweig affirmed human freedom as an essentialy social phenomenon enacted through redemption, which must take always in account the problem of alterity.

Otto Dov Kulka, German Jews in the Era of the “Final Solution”: Essays on Jewish and Universal History. Berlin: Walter de Gruyter; Jerusalem: The Hebrew University Magnes Press, 2020. xv + 341 pp.

This chapter evaluates Otto Dov Kulka's German Jews in the Era of the “Final Solution”: Essays on Jewish and Universal History (2020). Readers interested in the significance of antisemitism in modern European history, the centrality of antisemitism in Nazi ideology, the reaction of German Jews to Nazi persecution, and the influence of the German public's attitudes toward Jews on Nazi policies will find this collection a rich source of information. Kulka shows that key organizations of German Jewry such as the Reichsvertretung and its successor, the Reichsvereinigung, managed to preserve their essential functions under the Nazis; they did not become tools of the regime. In general, German Jews were able to resist the process known as coordination (Gleichschaltung). If anything, they became more dedicated to their own organizations and more democratic as persecution increased. The collection also includes Kulka's own experience of miraculous survival in the family camp at Auschwitz and his return visit to Auschwitz in 1978.

Returning and Leaving

Starting with the reinauguration of Westend Synagogue with organ, choir, and cantor, the Jewish community of Frankfurt am Main and its music practices during the 1950s serve as a case study to show a continuous dialectic between cultural change and persistence, which marked Jewish life in the Federal Republic at large during the postwar period. As such, the community provides an example of the threefold process of returning, rebuilding, and redefining which affected the establishment of its cultural life. This can be observed in several areas of musical practice. In synagogue service it pertained to the role of the cantor, choir, and the organ as an artifact most closely associated with liberal German Jewry. Outside of service, it concerned musical programs in the context of communal events and to a lesser extent commemoration. Each uniquely embodies and exemplifies facets of cultural mobility and its others.

Introduction

This chapter provides an overview of the Polish–Lithuanian Jews' flight westward after 1648. Three major issues underlie the discussion as a whole. First is the nature of Jewish solidarity in those years and the fate of the Jewish refugees outside Poland–Lithuania when the religious imperative to ransom captives was not a relevant issue. Second is the policies adopted by the states of the Holy Roman Empire toward the refugees and their impact on the refugees themselves as they tried to rebuild their lives on German lands. Third is the new social and cultural formations created by the encounter of “eastern” and “western” Ashkenazim in the wake of the refugee crisis and their consequences for the development of German Jewry in both the short and long term.