Publisher Description

Shlomo Sand was born in 1946, in a displaced person’s camp in Austria, to Jewish parents; the family later migrated to Palestine. As a young man, Sand came to question his Jewish identity, even that of a “secular Jew.” With this meditative and thoughtful mixture of essay and personal recollection, he articulates the problems at the center of modern Jewish identity. How I Stopped Being a Jew discusses the negative effects of the Israeli exploitation of the “chosen people” myth and its “holocaust industry.” Sand criticizes the fact that, in the current context, what “Jewish” means is, above all, not being Arab and reflects on the possibility of a secular, non-exclusive Israeli identity, beyond the legends of Zionism.

Before the USSR collapsed, ethnic identities were imposed by the state. This book analyzes how and why Jews decided what being Jewish meant to them after the state dissolved and describes the historical evolution of Jewish identities. Surveys of more than 6,000 Jews in the early and late 1990s reveal that Russian and Ukrainian Jews have a deep sense of their Jewishness but are uncertain what it means. They see little connection between Judaism and being Jewish. Their attitudes toward Judaism, intermarriage and Jewish nationhood differ dramatically from those of Jews elsewhere. Many think Jews can believe in Christianity and do not condemn marrying non-Jews. This complicates their connections with other Jews, resettlement in Israel, the United States and Germany, and the rebuilding of public Jewish life in Russia and Ukraine. Post-Communist Jews, especially the young, are transforming religious-based practices into ethnic traditions and increasingly manifesting their Jewishness in public.

Jewish choreographers have not only been vital contributors to American modern and postmodern dance, but they have also played a critical and unacknowledged role in American Jewish culture. This book delineates this rich history, demonstrating how, over the twentieth century, dance enabled American Jews to grapple with identity, difference, cultural belonging, and pride.

While battling negative stereotypes, American Jews carved out new roles for themselves within the first theatrical entertainments in America. Jewish citizens were active as performers, playwrights, critics, managers, and theatrical shareholders, and often tied their involvement in these endeavors to the patriotic rhetoric of the young republic as they struggled to establish themselves in the new nation. Examining play texts, theatrical reviews, political discourse, and public performances of Jewish rights and rituals, Hideous Characters and Beautiful Pagans argues that Jewish stage types shed light on our understanding of the status of Jewish Americans during a critical historical period. Using an eclectic range of sources including theatrical reviews, diaries, letters, cartoons, portraiture, tax records, rumors flying around the tavern, and more, Heather S. Nathans has listened for the echoes of vanished audiences who witnessed and responded to these stereotypes onstage, from the earliest appearance of Shylock on an American stage in 1752 to Jewish theater artists on the eve of the Civil War. The book integrates social, political, and cultural histories, with an examination of those texts (both dramatic and literary) that shaped the stage Jew.

A multifaceted exploration of what makes a home 'Jewish', materially and emotionally, and of what it takes to make Jews feel 'at home' in their environment.