By Axel Stähler
Anglophone Jewish literature isn't really normally numbered one of the new literatures in English. relatively, Jewish literary creation in English has conventionally been categorised as ‘hyphenated’ and has for this reason no longer but been subjected as such to the scrutiny of students of literary or cultural historical past.
The number of essays addresses this lack and initiates the scholarly exploration of transnational and transcultural Anglophone Jewish literature as one of many New English Literatures. with no trying to impose what would appear to be a faulty conceptual team spirit at the many-facetted box of Anglophone Jewish literature, the ebook is predicated on a plurality of theoretical frameworks. Alert to the efficient friction among those discourses, which it goals to elicit, it confronts Jewish literary experiences with postcolonial reviews, cultural experiences, and different modern theoretical frameworks.
Featuring contributions from one of the best-known students within the fields of British and American Jewish literature, together with Bryan Cheyette and Emily Miller Budick, this assortment transcends borders of either countries and educational disciplines and takes under consideration cultural and ancient affinities and alterations of the Anglophone diaspora that have contributed to the formation and improvement of the English-language section of Jewish literature.
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Extra info for Anglophone Jewish Literatures (Routledge Studies in Twentieth-Century Literature)
In the first of these, ‘Literary symptomology and Jewish fiction: envy; or, the New Yiddish in America’ (chapter 5), Emily Miller Budick posits that literary fictions are symptoms in the fully complex, already linguistically mediated sense of the word as it is employed by Slavoj ≈i∆ek and Jacques Lacan. Accordingly, Budick reads Cynthia Ozick’s long short story ‘Envy; or Yiddish in America’ (1969) as a highly personal expression of what it means to be both Jewish and American (and also that hybrid phenomenon known as Jewish American).
At the same time it may be said to be a product of the hybridity which Homi Bhabha described itself as the effect of the colonial confrontation and whose recognition entails ‘an important change of perspective’ (1994: 112), in that it challenges essentialisms of all kinds. In a ‘post-essentialist’ age it seems necessary to relativize Memmi’s literary essentialism and to recognize in their very hybridity the aesthetic, social and political potential of all literatures which emerge from the cultural contact zones of the colonial confrontation – among them also Anglophone Jewish literature.
Her stories and novels portray an Israel which, though not entirely de-historicized, is highly apathetic to its Jewish history. The shallow superficiality that is one of the consequences of this apathy has much in common with the widespread political and historical apathy in the United States, particularly as it is represented in Hollywood. English, for Castel-Bloom, is not a language that has anything to do with Jewishness or Jewish history. It is the language of movies and of television – not of the Bible, not of Eastern Europe or the Holocaust, not of the ancient Canaanites, and certainly not of her Egyptian parents.
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