The certainty that deep down we are all schlemiels is perhaps what makes America love an inept ball team or a Woody Allen who unburdens his neurotic heart in public. In this unique, revised history of the schlemiel, Sanford Pinsker uses psychological, linguistic, and anecdotal approaches, as well as his considerable skills as a spritely storyteller, to trace the schlemiel from his beginnings in the Old Testament through his appearance in the nineteenth-century literature of Mendele Mocher Seforim and Sholom Aleichem to his final development as the beautiful loser in the works of Isaac Bashevis Singer, Bernard Malamud, Saul Bellow, Philip Roth, and Woody Allen. Horatio Alger might have once been a good emblem of the American sensibility, but today Woody Allen's anxious, bespectacled punin (face) seems closer, and truer, to our national experience. His urban, end-of-the-century anxieties mirror--albeit in exaggeration--our own. This expanded study of the schlemiel is especially relevant now, when scholarship of Yiddish and American Jewish literature is on the increase. By sketching the family tree of that durable anti-hero the schlemiel, Pinsker proves that Jewish humor is built upon the very foundations of the Jewish experience. Pinsker shows the evolution of the schlemiel from the comic butt of Yiddish jokes to a literary figure that speaks to the heart of our modern problems, and he demonstrates the way that Yiddish humor provides a sorely needed correction, a way of pulling down the vanities we all live by.

Jewish literatures and cultures : context and intertext / Anita Norich -- From continuity to contiguity : thoughts on the theory of Jewish literature / Dan Miron -- Beyond influence : toward a new historiographic paradigm / Michael L. Satlow -- Hellenistic Judaism : myth or reality? / Gabriele Boccaccini -- "He was renowned to the ends of the earth" (1 Maccabees 3:9) : Judaism and Hellenism in 1 Maccabees / Martha Himmelfarb -- Roman statues, rabbis, and Greco-Roman culture / Yaron Z. Eliav -- The ghetto and Jewish cultural formation in early modern Europe : towards a new interpretation / David Ruderman -- Hybrid with what? : the variable contexts of Polish Jewish culture : their implications for Jewish cultural history and Jewish studies / Moshe Rosman -- Idols of the cave and theater : a verbal or visual Judaism? / Kalman P. Bland -- "Reverse marranism," translatability, and practice of secular Jewish culture in Russian / Gabriella Safran -- Intertextuality, Rabbinic literature, and the making of Hebrew modernism / Shachar Pinsker -- Brooklyn am Rhein? : the German sources of Jewish-American literature / Julian Levinson -- Diaspora and translation : the migrations of Jewish meaning / Naomi Seidman.

Throughout our history, Jews have traditionally responded to our trials with hope, psychologist David Arnow says, because we have had ready access to Judaism’s abundant reservoir of hope. The first book to plumb the depths of this reservoir, Choosing Hope journeys from biblical times to our day to explore nine fundamental sources of hope in Judaism: Teshuvah—the method to fulfill our hope to become better human beings Tikkun Olam—the hope that we can repair the world by working together Abraham and Sarah—models of persisting in hope amid trials Exodus—the archetype of redemptive hope Covenant—the hope for a durable relationship with the One of Being Job—the “hard-fought hope” that brings a grief-stricken man back to life World to Come—the sustaining hope that death is not the end Israel—high hope activists work to build a just and inclusive society for all Israelis Jewish Humor—“hope’s last weapon” in our darkest days Grounded in a contemporary theology that situates the responsibility for creating a better world in human hands, with God acting through us, Choosing Hope can help us both affirm hope in times of trial and transmit our deepest hopes to the next generation.

The fourteen chapters in this anthology feature original analyses of contemporary German-language literary texts, films, political cartoons, cabaret, and other types of performance. The artworks display a wide spectrum of humor modes, such as irony, satire, the grotesque, Jewish humor, and slapstick, as responses to unification with the accompanying euphoria, but also alienation and dislocation. Kerstin Hensel’s Lärchenau, Christoph Hein’s Landnahme, and vignette collections by Jakob Hein (Antrag auf ständige Ausreise und andere Mythen der DDR) and Wladimir Kaminer (Es gab keinen Sex im Sozialismus) are interpreted as examples of the grotesque. The popular films Lola rennt, Sonnenallee, Herr Lehmann, NVA, Alles auf Zucker!, and Mein Führer—Die wirklich wahrste Wahrheit über Adolf Hitler are reexamined through the lens of traditional and more recent humor or comic book theories. The contributors focus on how each artwork enriches four prominent postwall German cultural trends: post-unification identity reconstruction, Vergangenheitsbewältigung (including Hitler humor), New German Popular Literature (Christian Kracht’s ironic subtexts), and immigrant perspectives (a “third voice” in the East-West binary reflected here pointedly in Eulenspiegel cartoons). To date, no other scholarly work provides as comprehensive an overview of the diverse strategies of humor used in the past two decades in German-speaking countries.

Blanche H. Gelfant's book Cross-Cultural Reckonings both demonstrates and questions the applicability of postmodern cultural and literary theories to realistic texts - to fiction and autobiographies valued for their truth. Drawing together an unusual combination of Russian, American, and Canadian writers, the various essays of this book provide new and original perspectives upon the puzzling issues of national identity, of historical change and continuity, of gender and the integrity of literary genres, the boundaries between text and context, and the underlying if overlooked conflicts between the postmodern critic's skepticism and a writer's belief in the transcendence of art and truth. To avoid the contingencies inherent in binary comparisons, the essays in this book seek a triadic form analogous to the triptych or polyptych of the visual arts. Multi-faceted, non-linear, and open-ended, such a form might allow the academic essay to recover a waywardness that traces back to Montaigne, cited in prefactory notes, and to the etymological meaning of the essay as an exagium or weighing, as an act of reckoning. A study at once elegant, erudite, and personal, Cross-Cultural Reckonings reckons with writers of different backgrounds and reputation in whom Gelfant discovers surprising affinities - among them the Russian writers Lydia Chukovskaya, Natalya Baranskaya, and Alexander Solzhenitsyn; Ethel Wilson, a highly reputed Canadian writer; the famous cross-cultural figure, Emma Goldman; and established as well as new or rediscovered American writers, such as Willa Cather, Saul Bellow, Arlene Heyman, and Meridel Le Sueur. These writers are discussed singly and in comparative essays, each of whichis discrete and self-contained, while all interconnect and reflect upon each other as exemplary demonstrations of cross-cultural literary criticism and the deferred final judgment that results from a weighing and reweighing of books.

Bernard Malamud gave his first interview in 1958, his last in 1986. During the intervening twenty-eight years he was formally interviewed at least forty times. This book collects twenty-eight of the best interviews, ranging from brief conversations with journalists to more extended and leisurely conversations with academics and writers. Winner of two National Book Awards and a Pulitzer Prize, this universally praised author of The Magic Barrel, The Fixer, The Natural, and many stories that are acclaimed among the masterpieces of American fiction appears in these interviews quite appropriately as an artist devoted more to his work than to discussing it. This collection includes interviews in which Malamud gives a commentary on each of his novels and on many of his short stories. What emerges from these encounters with this great author is a sense of Malamud's deep, lifetime commitment to his art and to a seriousness of purpose. Though there is very little domestic detail or literary gossip in Malamud's conversations, these interviews reveal the essence of a great writer that the multitudes of readers inspired by his books crave to find and retain.

From the catwalk to the shopping mall, from the big screen to the art museum, fashion plays an increasingly central role in contemporary culture. Fashion Cultures investigates why we are so fascinated by fashion and the associated spheres of photography, magazines and television, and shopping. Fashion Cultures: * re-addresses the fashionable image, considering the work of designers from Paul Smith to Alexander McQueen and Hussein Chalayan * investigates the radicalism of fashion photography, from William Klein to Corinne Day * considers fashion for the 'unfashionable body' (the old and the big), football and fashion, and geographies of style * explores the relationship between fashion and the moving image in discussions of female cinema icons - from Grace Kelly to Gwyneth Paltrow - and iconic male images - from Cary Grant to Malcolm X and Mr Darcy - that have redefined notions of masculinity and cool * makes a significant intervention into contemporary gender politics and theory, exploring themes such as spectacle, masquerade, and the struggle between fashion and feminism.