Shows how the earliest representations of Jewish characters on American stages mirrored treatment of Jewish Americans outside the playhouse

This book examines the charged but mostly overlooked presence of the sensational Jew in antebellum literature. This stereotyped character appears primarily in the pulpy sensation fiction of popular writers like George Lippard, Ned Buntline, Emerson Bennett, and others. But this figure also plays an important role in the sometimes sensational work of canonical writers such as Nathaniel Hawthorne, Edgar Allan Poe, and Walt Whitman. Whatever the medium, this character, always overdetermined, does consistent cultural work. This book contends that, as the figure who embodies money and capitalism in the antebellum imagination, the sensational Jew is the character who most fully represents a felt anxiety about the increasingly unstable nature of a range of social categories in the antebellum US, and the sense of loss and self-hatred so often lurking in the background of modern Gentile identity. Each chapter examines a different form of sensationalism (urban gothic; sentimental city mysteries; anti-Tom plantation narratives; etc.), and a different set of anxieties (threats to class status; collapsing regional identity; the uncertain status of Whiteness and other racial categories; etc.). Throughout, the sensational Jew acts both as a figure of proteophobia (fear of disorder and ambivalence), and as the figure who embodies in uncanny form a more fulfilling and socially coherent form of identity that predates the modern liberal selfhood of the post-Enlightenment world. The sensational Jew is therefore a revealing figure in antebellum culture, as well as an important antecedent to contemporary antisemitism in the US.

Considers the character of the “Stage Indian” in American theater and its racial and political impact Redface unearths the history of the theatrical phenomenon of redface in nineteenth- and twentieth-century America. Like blackface, redface was used to racialize Indigenous peoples and nations, and even more crucially, exclude them from full citizenship in the United States. Arguing that redface is more than just the costumes or makeup an actor wears, Bethany Hughes contends that it is a collaborative, curatorial process through which artists and audiences make certain bodies legible as “Indian.” By chronicling how performances and definitions of redface rely upon legibility and delineations of race that are culturally constructed and routinely shifting, this book offers an understanding of how redface works to naturalize a very particular version of history and, in doing so, mask its own performativity. Tracing the “Stage Indian” from its early nineteenth-century roots to its proliferation across theatrical entertainment forms and turn of the twenty-first century attempts to address its racist legacy, Redface uses case studies in law and civic life to understand its offstage impact. Hughes connects extensive scholarship on the “Indian” in American culture to the theatrical history of racial impersonation and critiques of settler colonialism, demonstrating redface’s high stakes for Indigenous and non-Indigenous alike. Revealing the persistence of redface and the challenges of fixing it, Redface closes by offering readers an embodied rehearsal of what it would mean to read not for the “Indian” but for Indigenous theater and performance as it has always existed in the US.

This volume addresses the political contexts in which nineteenth-century American literature was conceived, consumed, and criticized. It shows how a variety of literary genres and forms, such as poetry, drama, fiction, oratory, and nonfiction, engaged with political questions and participated in political debate.

An obsessive genealogist and descendent of one of the most prominent Jewish families since the American Revolution, Blanche Moses firmly believed her maternal ancestors were Sephardic grandees. Yet she found herself at a dead end when it came to her grandmother's maternal line. Using family heirlooms to unlock the mystery of Moses's ancestors, Once We Were Slaves overturns the reclusive heiress's assumptions about her family history to reveal that her grandmother and great-uncle, Sarah and Isaac Brandon, actually began their lives as poor Christian slaves in Barbados. Tracing the siblings' extraordinary journey throughout the Atlantic World, Leibman examines artifacts they left behind in Barbados, Suriname, London, Philadelphia, and, finally, New York, to show how Sarah and Isaac were able to transform themselves and their lives, becoming free, wealthy, Jewish, and--at times--white. While their affluence made them unusual, their story mirrors that of the largely forgotten population of mixed African and Jewish ancestry that constituted as much as ten percent of the Jewish communities in which the siblings lived, and sheds new light on the fluidity of race--as well as on the role of religion in racial shift--in the first half of the nineteenth century.

"Piecing together the forgotten story of Jean Carroll, the first Jewish female stand-up comedian, this book reveals the history of women in comedy, American Jews, and how stand-up found its feet"--

A new approach to thinking about the representation of the Other in Western society, The Jew’s Daughter: A Cultural History of a Conversion Narrative offers an insight into the gendered difference of the Jew. Focusing on a popular narrative of “The Jew’s Daughter,” which has been overlooked in conventional studies of European anti-Semitism, this innovative study looks at canonical and neglected texts which have constructed racialized and sexualized images that persist today in the media and popular culture. The book goes back before Shylock and Jessica in TheMerchant of Venice and Isaac and Rebecca in Ivanhoe to seek the answers to why the Jewish father is always wicked and ugly, while his daughter is invariably desirable and open to conversion. The story unfolds in fascinating transformations, reflecting changing ideological and social discourses about gender, sexuality, religion, and nation that expose shifting perceptions of inclusion and exclusion of the Other. Unlike previous studies of the theme of the Jewess in separate literatures, Sicher provides a comparative perspective on the transnational circulation of texts in the historical context of the perception of both Jews and women as marginal or outcasts in society. The book draws on examples from the arts, history, literature, folklore, and theology to draw a complex picture of the dynamics of Jewish-Christian relations in England, France, Germany, and Eastern Europe from 1100 to 2017. In addition, the responses of Jewish authors illustrate a dialogue that has not always led to mutual understanding. This ground-breaking work will provoke questions about the history and present state of prejudiced attitudes in our society.