{"title":"Affiliated Identities as a Design Tool for a Jewish Literature Course","authors":"David Hadar, R. Emerson","doi":"10.1515/9783110619003-015","DOIUrl":"https://doi.org/10.1515/9783110619003-015","url":null,"abstract":"My book Affiliated Identities in Jewish American Literature suggests a framework for understanding writers’ Jewish identity.1 The basic argument of Affiliated Identities is that Jewish writers often build, shape, and maintain their public identities as Jews by way of exhibiting ties with other Jewish writers. Much of this networking takes place as part of works of literature. I believe that this framework is highly pertinent for the pedagogy of Jewish literature in higher education, especially Jewish literature as a transnational multi-lingual phenomenon. In this short paper, I will suggest that instructors can use this idea as tool for designing courses or segments of courses. Thus, the teaching of Jewish literature can be planned around a certain author’s network of literary affiliations. At least in the American case, which was my focus, these ties are often international rather than restricted to a national canon (or even to a linguistic one). Thus, designing courses around the concept of Jewish literary networking will also establish Jewish literature’s multi-lingual and border-crossing nature in a way that is more organic than simply deploying a survey of “the best of” Jewish writing in a plethora of languages. Furthermore, Jewish writers also connect themselves to non-Jewish writers. Following these links can help show how Jewish writing is embedded in non-Jewish national and linguistic traditions. Let me give two American examples for what I mean. The idea of the course is to have an author or a text as the central node of a literary network and then explore (or let students explore) the other texts or authors that are once or twice removed from this central node. In the first example the center is an author, while in the second example it is a novel that works to connect its authors to other writers. Emma Lazarus is often credited as the founding mother of Jewish American literature. She is hardly a household name, but three lines she wrote are some of the most well-known lines in American poetry. They come from “The New Colossus,” a poem dedicated to The Statue of Liberty: “Give me your tired, your poor,/ Your huddled masses yearning to breathe free,/The wretched refuse of your teeming shore” (Lazarus 2005, 48–9). Lazarus comes from a German Jewish and Sephardi heritage. Both sides of her family have lived in America before she was born and were largely assimilated. At the beginning of her career she","PeriodicalId":265491,"journal":{"name":"Disseminating Jewish Literatures","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127843547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Case Study: Belonging in Dialogue. How to Integrate Hélène Cixous and Jacques Derrida in French Literary Studies","authors":"Sarah Sohrabi","doi":"10.1515/9783110619003-016","DOIUrl":"https://doi.org/10.1515/9783110619003-016","url":null,"abstract":"It is uncontested that Hélène Cixous and Jacques Derrida are among the most important thinkers of French expression in the twentieth century. Due to the complexity and vast scope of their writings, it is, however, rare to find their texts in French Studies curricula in German universites. Nonetheless, these oeuvres contain texts that, due to their brevity and composition, are not only highly suitable for academic education, but also address fundamental issues of our time such as displacement, migration and belonging and their representation in language. This contribution aims to illustrate this by means of two essays. First, Mon Algériance by Hélène Cixous, a short essay that was first published 1997 in Les Inrockuptibles, a journal explicitly dedicated to participating in the public sphere.1 The second text is L’anti-Macias : Moi, l’Algérien by Jacques Derrida, published in 2003 in Le Matin.2","PeriodicalId":265491,"journal":{"name":"Disseminating Jewish Literatures","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115028712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Unhomely In/Of Hebrew Literature","authors":"I. Milner","doi":"10.1515/9783110619003-027","DOIUrl":"https://doi.org/10.1515/9783110619003-027","url":null,"abstract":"A symposium dedicated to research and teaching of Modern Hebrew literature within the framework of a wide, interdisciplinary literary context, provides us with a precious opportunity to reflect upon our work in the field. For me, one course such reflection may take is a renewed consideration of literature’s embedded tendency to dismantle predominant narratives, among them monolithic national narratives which literature in general, and Modern Hebrew literature in particular, is often assumed to support and fortify. This is particularly relevant to my present research and teaching; My readings of the literature of some of the prominent authors of Hebrew literature of the past 100 years focus on their attempts at transgressing confined borders, by way of constantly searching for “decentered-ness” and exposing a fundamental yearning for otherness. These readings indeed expose literature’s embedded resistance to the canonization of a national narrative, founded on prescribed conventions of identity, place and time. I believe an emphasis on these subversive aspects of Modern Hebrew literature provides a ground for studying and teaching it in the context of such recently flourishing interdisciplinary discourses as Diasporic Studies, Exile Studies, Migration and Immigration Studies, Minority Studies, Trauma Studies and Post-Colonial studies in general.1 An outstanding example of a consistent resistance to a national narrative is the oeuvre of a unique and highly appreciated woman author of Hebrew prose, Yehudit Hendel. Hendel, a 2003 Israel Prize laureate, was a rather prolific writer until her death in 2014. Born in Warsaw in 1921 to “Bundist” parents who opposed Zionist ideology and refused to join their Hassidic family that had immigrated to Palestine, but later changed their mind, she arrived in Haifa at the age of 9.2 She began publishing short stories at a very young age, and in 1949, after a","PeriodicalId":265491,"journal":{"name":"Disseminating Jewish Literatures","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128221228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jewish Writing and Gender between the National and the Transnational","authors":"","doi":"10.1515/9783110619003-025","DOIUrl":"https://doi.org/10.1515/9783110619003-025","url":null,"abstract":"","PeriodicalId":265491,"journal":{"name":"Disseminating Jewish Literatures","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132155829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Producing Radical Presence: Yiddish Literature in Twenty-first Century Israel","authors":"Hannah Pollin-Galay","doi":"10.1515/9783110619003-026","DOIUrl":"https://doi.org/10.1515/9783110619003-026","url":null,"abstract":"Should literature be taught as space of imagination or as a tool for building social conscience? This is a question heard and asked often these days. Given the current challenges facing the humanities – declining enrollment, profit-based measures of educational success, technological incursions on learning practices, and public leaders who proudly assert that they do not read – many scholars seek new ways to articulate the value of their profession, to defend literature in the public sphere. Martha Nussbaum has famously argued that the humanities are crucial for creating and maintaining a “people-sensitive democracy” (Nussbaum 2010, 25). Not all are pleased with this line of thinking. Nussbaum’s detractors complain that, in arguing for the ultimate “use” of the humanities, she echoes the instrumentalism of those who want to destroy these same fields. Ben Saunders puts it this way: “We value money instrumentally, because it allows us to consume other things that we value intrinsically. Art and culture, I suggest, are such goods: worth spending money on because we value them in themselves, rather than regarding them as investments expected to produce some further benefit, either economic or political” (Saunders 2013, 250). I would like to move away from the dichotomy between instrumental outcomes (strengthening democracy) versus intrinsic value (aesthetic or experiential pleasure) by thinking instead about the capacity of literature to produce presence – a notion that has been richly developed by the critic Hans Ulrich Gumbrecht. Gumbrecht defines presence as “a spatial relationship to the world and its objects. Something that is ‘present’ is supposed to be tangible for human hands, which implies that, conversely, it can have an immediate impact on human bodies.” (Gumbrecht 2004, xiii). Perhaps counterintuitively, since literature is often considered an art of words rather than objects, Gumbrecht argues that certain texts have the ability to create presence, both by making readers more alive to the sensations of the moment that they are currently living, more attentive to the other human faces before them and also by re-presenting moments of the past, calling them up into the physical space of here and now (Gumbrecht 2003). I believe that Yiddish literature has an especially valuable presence to produce today, particularly when taught in contemporary Israel. I first arrived at this proposition in the spring of 2018, my first teaching at Tel Aviv University. As part of an introductory course on Yiddish literature, I taught the classic fiction, Di","PeriodicalId":265491,"journal":{"name":"Disseminating Jewish Literatures","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121376097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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