By Vincent Brook
The prior few many years have visible a awesome surge in Jewish impacts on American tradition. Entertainers and artists akin to Jerry Seinfeld, Adam Sandler, and Tony Kushner have heralded new waves of tv, movie, and theater; an enormous klezmer revival is lower than manner; bagels at the moment are as regular as pizza; and kabalah has develop into as cool as crystals. Does this wide diversity of cultural expression effectively replicate what it capability to be Jewish in the USA this day? Bringing jointly fourteen essays by way of major students, you'll want to See your self examines the fluctuating representations of Jewishness in various components of pop culture and excessive paintings, together with literature, the media, movie, theater, song, dance, portray, images, and stand-up comedy. members discover the evolution that has taken position inside those cultural varieties, even if variations were slow or surprising, and the way we will be able to top clarify those adjustments. Are diversifications in our knowing of Jewishness the results of common phenomena akin to multiculturalism, politics, and postmodernism, or are they the manufactured from extra in particular Jewish issues comparable to the intermarriage/continuity situation, spiritual renewal, and family members among the U.S. and Israel? An advent by means of Vincent Brook frames the essays by way of evaluating Jewish id in American tradition to the fractured identities which are the norm in postmodern society. available to scholars and normal readers alike, this quantity takes a tremendous step towards advancing the dialogue of Jewish cultural impacts during this nation.
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Additional info for 'You Should See Yourself': Jewish Identity in Postmodern American Culture
Example text
For Jews, the claims of postmodernity have given rise to a crisis of Jewish identity that is being articulated within the pages of contemporary comic books and graphic novels. Aline Kominsky in Self-Loathing (1995, 1997) and Art Spiegelman in Maus I & II (1986, 1991) both self-consciously address their own struggles to find an appropriate visual language with which to represent the Jewish self and Jewish history. In doing so, both use the distinction between Jew and non-Jew as a central organizing opposition.
As the couple enters, we get a close-up of the German woman Bettina, who is thin, with perfectly coiffed blond hair. Aline is Jewishly self-conscious about the way in which she perceives the distinction between her own body and that of Bettina’s:“These days I look like Milton Berle in drag. ” 22 Andrea Mo st This image not available. 1. Aline compares herself to her German guest (Self-Loathing Comics #1, Fantagraphics Books, 1995). © 2005 Aline Kominsky-Crumb. Aline then begins to remember her family’s loathing of Germans and her secret fascination with their otherness.
20. The obvious critic being invoked here is Walter Benjamin, whose essay “The Work of Art in the Age of Mechanical Reproduction” is crucial for understanding Katchor’s work. Also underlying this discussion of the worship of reproductions is the notion of the simulacrum, both in its original Latin meaning (the material representation of a deity) and in Jean Baudrillard’s notion of the sense of hyperreality created by postmodern simulacra. I will be exploring the relationship between the theories of Benjamin and Baudrillard and Katchor’s work in a forthcoming, longer version of this piece.