Making the Past into History

This chapter chronicles battles over the restitution of Nazi-looted archives from Worms and Hamburg, which were eventually transferred to the Jewish Historical General Archives in Jerusalem, and also the contested possibility of establishing Jewish archives in 1950s Germany. It argues that restitution was really about the transfer of the German Jewish past into the realm of history. Israeli archivists and their restitution agency allies argued that Jewish life was at its end—and feared that establishing new archives in Germany would provide a kind of “birth certificate” for fledgling Jewish communities. The chapter traces this history to the 1980s and 1990s, when new Jewish archival efforts in Germany reflected the growth of Jewish communities in Germany.

Archival Totality in the Gesamtarchiv der deutschen Juden

This chapter uncovers the history of the Gesamtarchiv der deutschen Juden, the central archive of the German Jews, which operated from 1903 until it was confiscated by the Nazis in 1943. It details the Gesamtarchiv’s attempt to create a singular archive of German Jewish history in Berlin, and also opposition to the project of centralization, and it situates the archive within the wider trends of archival science. It thereby explicates the Gesamtarchiv’s vision of total archives and traces its legacy across the arc of the twentieth century. This archive was intended to help produce the history of Germany’s Jews and also to help manage its communities, but it was ultimately turned into an instrument for the domination of Jewish life by the Nazi regime. Altogether, this chapter offers the Gesamtarchiv as a starting point for a global network of Jewish archives that followed the Gesamtarchiv’s vision of archival totality.

Dismantling a Monopoly: Jews, Christians, and the Production of Shofarot in Fifteenth-Century Germany

This essay presents a case study from Erfurt (Germany) concerning the production of shofarot (i.e., animal horns blown for ritual purposes, primarily on the Jewish New Year). By the early 1420s, Jews from all over the Holy Roman Empire had been purchasing shofarot from one Christian workshop in Erfurt that produced these ritual Jewish objects in cooperation with an unnamed Jewish craftsman. At the same time, two Jews from Erfurt were training in this craft, and started to produce shofarot of their own making. One of these Jewish craftsmen claimed that the Christian workshop had been deceiving the Jews for decades by providing improper shofarot made with materials unsuitable for Jewish ritual use. The local rabbi, Yomtov Lipman, exposed this as a scandal, writing letters to the German Jewish communities about the Christian workshop’s fraud and urging them all to buy new shofarot from the new Jewish craftsmen in Erfurt instead. This article will first examine the fraud attributed to the Christian workshop. Then, after analyzing the historical context of Yomtov Lipman’s letter, it will explore the underlying motivations of this rabbi to expose the Christian workshop’s fraud throughout German Jewish communities at this time. I will argue that, while Yomtov Lipman uses halakhic explanations in his letter, his chief motivation in exposing this fraud was to discredit the Christian workshop, create an artificial demand for shofarot, and promote the new Jewish workshop in Erfurt, whose craftsmen the rabbi himself had likely trained in the art of shofar making.

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.

The Unsung Buber-Leibowitz Coda to the German Jewish Swan Song

Among the hidden treasures squirreled away in the archives of Israel’s National Library lies a fragmented correspondence that sheds new light on the afterlife of a project that was long deemed the farewell gift to the German language and culture from the remnants of its Jewry. It is an exchange of letters between two scholars, whose interest in the German rendition of the Bible occupied them for many years, first in Germany, and later in the land where Hebrew was vernacular and where one might think there would no longer be a need for translations of the Bible; particularly not into a language that aroused considerable aversion in the aftermath of the war. And yet, the 1963–64 exchange between the two Jerusalemites, the Vienna-born and Frankfurt-crowned philosopher, theologian, and translator Martin Buber and the Riga-born, Berlin- and Marburg-educated biblical scholar Nechama Leibowitz tells a different story. It shows they both believed the project that began under the title Die Schrift, zu verdeutschen unternommen should be revised once again, after its completion so as to underline its ongoing relevance for present and future readings of the Bible tout court, in German and Hebrew speaking lands alike.

Unpacking the Suitcase: German-Jewish Refugees in New Zealand and the Afterlives of their Displaced Objects 1933-2015

<p>When German-Jewish refugees arrived in New Zealand in the 1930s fleeing Hitler’s Europe, they brought with them everything they could from their former homes: furniture, luggage, personal documents, musical instruments, artwork, books, silverware, linen, a typewriter. These humble and remarkable domestic objects survive today, a few in public heritage collections, but most in the private family homes of descendants. But while the Jewish refugee migration story is well known in public and academic circles, less so is the story of those objects. This thesis explores the relationship between refugee families, their descendants, and the material objects they have inherited. To what extent do refugee objects embody the memory of the prewar, European past? And how do the objects’ meanings change for refugees and their descendants, over time and in different custodial contexts? A major part of this thesis involved oral history interviews with refugee survivor families (mainly second-generation participants), and studying the interviews, letters, memoirs, and reminiscences of the first generation. Material culture objects were also analysed, and curated in an electronic archive (available for review). This thesis charts the slowly evolving significances of the objects throughout the various stages of the object migration journey. It examines themes of cultural identity, intergenerational memory, collection practices, and the private-public tensions inherent in the institutional custody of family objects. These themes are explored in three chapters, the first of which defines the German-Jewish refugee archive in New Zealand against the existing literature on displaced Jewish objects, by contextualising the New Zealand objects within the specific historical circumstances determining their owners’ migration journeys. The final two chapters analyse the usage and meanings of the objects in the ‘private archive’ of the family, and the ‘public archive’ of local and international collecting institutions. Drawing on insights from migration, material culture, Holocaust, and memory studies, this thesis is premised on the widely accepted argument that such mementoes function as mobile depositories of cultural identity and knowledge to ensure continuity between generations. Considering objects as nodes of memory for remembering a German-Jewish past (between Europe and New Zealand) characterised by the traumatic rupture of first generation silence, brings my research into conversation with the work of second-generation scholar Marianne Hirsch and Nina Fischer. But by addressing the role of collective memory and cultural identity in determining the future location and preservation of such artefacts, this thesis significantly extends the findings of Hirsch and Fischer beyond the private sphere to interrogate the perspectives of both families and collecting institutions. In doing so, it argues that New Zealand’s German-Jewish refugee objects bear multiple identities and meanings as a result of their dispersed, transnational history. In light of current international repatriation movements to return such artefacts to Germany, the provenance and significance of these objects is particularly pertinent today, as the first person authenticity of survivors rapidly fades, and the memorial sphere transforms to accommodate this change.</p>

Unpacking the Suitcase: German-Jewish Refugees in New Zealand and the Afterlives of their Displaced Objects 1933-2015

<p>When German-Jewish refugees arrived in New Zealand in the 1930s fleeing Hitler’s Europe, they brought with them everything they could from their former homes: furniture, luggage, personal documents, musical instruments, artwork, books, silverware, linen, a typewriter. These humble and remarkable domestic objects survive today, a few in public heritage collections, but most in the private family homes of descendants. But while the Jewish refugee migration story is well known in public and academic circles, less so is the story of those objects. This thesis explores the relationship between refugee families, their descendants, and the material objects they have inherited. To what extent do refugee objects embody the memory of the prewar, European past? And how do the objects’ meanings change for refugees and their descendants, over time and in different custodial contexts? A major part of this thesis involved oral history interviews with refugee survivor families (mainly second-generation participants), and studying the interviews, letters, memoirs, and reminiscences of the first generation. Material culture objects were also analysed, and curated in an electronic archive (available for review). This thesis charts the slowly evolving significances of the objects throughout the various stages of the object migration journey. It examines themes of cultural identity, intergenerational memory, collection practices, and the private-public tensions inherent in the institutional custody of family objects. These themes are explored in three chapters, the first of which defines the German-Jewish refugee archive in New Zealand against the existing literature on displaced Jewish objects, by contextualising the New Zealand objects within the specific historical circumstances determining their owners’ migration journeys. The final two chapters analyse the usage and meanings of the objects in the ‘private archive’ of the family, and the ‘public archive’ of local and international collecting institutions. Drawing on insights from migration, material culture, Holocaust, and memory studies, this thesis is premised on the widely accepted argument that such mementoes function as mobile depositories of cultural identity and knowledge to ensure continuity between generations. Considering objects as nodes of memory for remembering a German-Jewish past (between Europe and New Zealand) characterised by the traumatic rupture of first generation silence, brings my research into conversation with the work of second-generation scholar Marianne Hirsch and Nina Fischer. But by addressing the role of collective memory and cultural identity in determining the future location and preservation of such artefacts, this thesis significantly extends the findings of Hirsch and Fischer beyond the private sphere to interrogate the perspectives of both families and collecting institutions. In doing so, it argues that New Zealand’s German-Jewish refugee objects bear multiple identities and meanings as a result of their dispersed, transnational history. In light of current international repatriation movements to return such artefacts to Germany, the provenance and significance of these objects is particularly pertinent today, as the first person authenticity of survivors rapidly fades, and the memorial sphere transforms to accommodate this change.</p>

Arno Nadel (1878–1943): A Contributor to Modern German-Jewish Identity from Vilnius

The phenomenon of Arno Nadel (1878–1943) is presupposed by his extremely diverse activities in art, scholarship, and musical journalism. A music arranger, musicologist, music journalist and collector, composer, choirmaster, pianist and organist, as well as a poet, playwright, painter and translator, Arno Nadel was born in a religious Jewish family in Vilnius and spent his first twelve years there. Having lived and studied in Königsberg for five years, in 1895 Nadel settled in Berlin, one of the largest centres of German Jewish cultural life before the National Socialists came to power in 1933. Nadel was murdered in Auschwitz in 1943. So far, his creative legacy has not been studied in Lithuania. The aim of this article is to bring Nadel back on the horizon of multinational Lithuanian cultural history and to review his contribution to the formation of modern German-Jewish identity in the context of Nadel’s Vilnius origins and his diverse musical activities. Nadel’s original compositions, arrangements of traditional Jewish liturgical music and folk songs, research in and texts about Jewish music contributed to a new approach towards cultural connections between the Jews of Eastern Europe and Germany, and were important for the development of German Jewish music in the first half of the twentieth century, as well as for the documentation and renewal of Jewish liturgical music. Although Arno Nadel composed music in a variety of genres himself, it was his work as a scholar and arranger of Jewish music and as a musicologist that received the most attention among his contemporaries and in the articles written after the Second World War.