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Dissertations / Theses on the topic 'Jewish writers'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2024

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1

Cohen, Stephanie B. "Four contemporary Jewish women writers from Argentina." Thesis, Boston University, 2000. https://hdl.handle.net/2144/38020.

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Thesis (Ph.D.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
Until recently little attention has been paid to Latin American women writers and even less to those of them who are Jewish. This dissertation is an attempt to remedy that situation through the study of four contemporary Argentine Jewish women writers. My introduction explores theoretical issues relating to the specificity of both Jewish and women's writing. Chapter One considers the work of Alejandra Pizarnik (1936-1972). Although a Jew by birth, she shows very little overt Jewish influence in her work because she did not acknowledge her heritage. However, her background appears obliquely throughout her writing, for example, in many biblical references. Pizarnik's perspective on women is equally elusive, but nonetheless can be traced in her treatment of love and loss. Ana Maria Shua (1951- ), whose writing is the subject of the second chapter, is openly Jewish and unavowedly feminist. I study those aspects of her work that can be considered Jewish, such as her interest in the immigrant experience and her recounting of traditional Jewish folk tales. Although Shua does not admit to being a feminist, her books portray female dominance over men, particularly in El marido argentino promedio. Chapter Three centers on the writings of Manuela Fingueret (1945- ). Traditional customs, the Yiddish language and biblical references appear in her fiction and poetry. She depicts her female characters as strong and independent. Her poetry contains an element of eroticism, which she presents from a distinctively feminine perspective. The final chapter studies the work of Alicia Steimberg (1933- ). Steimberg's characters indicate contradictory feelings about being Jewish. Steimberg, like Shua, deals with the Jewish immigrant experience; she focuses on women, many of whom work outside the home. Steimberg's treatment of eroticism is idiosyncratically straightforward in its emphases. The dissertation's epilogue summarizes its conclusions and points the way for additional work to be done on Latin-American Jewish women writers.
2031-01-01

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2

Soloway, Jason A. "Negotiating a hyphenated identity, three Jewish-Canadian writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39887.pdf.

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3

Banauch, Eugen. "Fluid exile Jewish exile writers in Canada 1940 - 2006." Heidelberg Winter, 2007. http://d-nb.info/992549302/04.

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4

Spergel, Julie. "Canada's "second history": the fiction of Jewish Canadian women writers." Hamburg Kovač, 2009. http://d-nb.info/997540079/04.

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5

Burdekin, Hannah. "The ambivalent author : five German writers and their Jewish characters ; 1848 - 1914 /." Oxford [u.a.] : Lang, 2002. http://www.gbv.de/dms/bs/toc/356518051.pdf.

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6

Ross, Jonathan Maurice. "'Anti-Fascist' literature and writers of Jewish origin in the early German Democratic Republic." Thesis, King's College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397396.

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7

Weingarten, Laura Suzanne. "Homelands in exile : three contemporary Latin American Jewish women writers create a literary homeland /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2316.

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8

Dauber, Jeremy Asher. "Antonio's devils : writers of the Jewish Enlightenment and the birth of modern Hebrew and Yiddish literature /." Stanford (Calif.) : Stanford university press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39214879m.

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9

Strongson, Julie. "(Re)constructing a homeland reflective nostalgia in the works of contemporary Francophone North African Jewish women writers /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6775.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Comparative Literature. Title from t.p. of PDF. Includes bibliographical references. Also available in paper. Published by UMI Dissertation Services, Ann Arbor, Mich.

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10

Morse, Daniel Lee. "Not quite white : Jewish literary identity, new immigration and otherness in America, 1890-1930." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/9564.

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America’s ‘long early twentieth century’ (1890-1945) was a period of intense industrialization, urbanization, and immigration which fundamentally altered the character of the nation. Between 1900 and 1924, which saw the curtailing of immigration from southern and eastern Europe via the passage of the Johnson-Reed Immigration Act (successor to 1921’s stop-gap Emergency Quota Act), more than 14 million people flocked to the U.S. in search of economic opportunity, social equality, and freedom from religious and political oppression. Descendants of these ‘new immigrants,’ as they were called, were by the late twentieth century a staple of white American suburbia, but their progenitors were variously considered ‘off-white,’ ‘dark-white,’ or non-white, with attendant connotations of mental, physical, and moral inferiority. This research examines texts, authored by Jewish immigrants such as Abraham Cahan, Anzia Yezierska, Rose Cohen, and Mary Antin, which were published between 1890 and 1930, when the onset of the Great Depression saw a rise in anti-Semitism that contributed to the decline in popularity of ‘up by the bootstraps’ Americana whose narratives chronicled, ostensibly, social assimilation and cultural integration; it considers the ramifications of writing in English for a native audience, which frequently alienated Jewish immigrants from their peers, and analyzes the manner in which the United States’ shifting social mores coincided with—and facilitated—new immigrants’ reappraisal of religion, education, commerce, and family life in the ‘new world’ of the west. It argues that the ambivalence contained within many of these texts was both a reaction to nativist prejudices and an effort to expose misconceptions present on both sides of the wildly popular Americanization movement, as well as exploring the way that such narratives attempted the redefinition of American philanthropic, educational and civic paradigms—the preponderance of which passionately espoused rhetoric of equality while reinforcing the stratification of the United States’ class system—into modes of interaction that accommodated difference while seeking to establish common ground upon which could be built a more inclusive, multiethnic future. Finally, it addresses the continuing relevance of these works as texts which both predict and presage modern modes of social interaction and discusses their future in an evolving literary canon that has, historically speaking, been an agent of western patriarchal hegemony.

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11

Yu, Jianhua. "Immigrant life and its cultural implications in the fiction of Jewish immigrant writers of New York's Lower East Side : 1890-1930." Thesis, University of East Anglia, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293733.

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12

Brunwald, Jason. "Jewish writers of Montreal as innovators in the Canadian satirical tradition : a study of a selection of novels by Mordecai Richler and William Weintraub." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27301/27301.pdf.

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13

Loopstra, Jonathan Andrew. "In search of Hebraica Veritas a methodological study into the utilization and implication of Jewish writers in the Pentateuchal and textual criticism of the Histoire critique du Vieux Testament /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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14

Bar-Kochva, Sharon. "Les pseudonymes dans les littératures yiddish et hébraïque du milieu du XIXe siècle au milieu du XXe siècle." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCF001.

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Les littératures yiddish et hébraïque modernes sont étroitement liées par une histoire commune et partagent également de multiples traits stylistiques et thématiques. Or, une différence importante peut être remarquée quant à l’usage des pseudonymes dans les deux langues. Dans la littérature yiddish moderne, la pseudonymie est très importante, aussi bien du point de vue quantitatif que qualitatif, et une grande partie des plus importants auteurs yiddish sont connus principalement sous leur pseudonyme, alors que dans la littérature hébraïque moderne les noms de plume restent un phénomène relativement marginal. La présente recherche analyse la pseudonymie dans les deux littératures, dans le but d’expliquer cet écart. Nous commençons par une analyse des modes de construction des pseudonymes pour en constituer une typologie générale. Par la suite, nous nous concentrons sur les pseudonymes « durables », c'est-à-dire ceux qui accompagnent les auteurs sur le long terme et façonnent leur image publique, pour décrire en détail dans quelles circonstances et de quelles manières ils sont utilisés. Enfin, nous utilisons les informations recueillies pour démontrer que la pseudonymie est un phénomène social, et pour isoler les facteurs sociaux et historiques qui ont conduit à l’adoption de la pseudonymie comme l’une des « traditions inventées » de la littérature yiddish moderne
Modern Yiddish and Hebrew literatures are closely connected by a common long history, sharing many stylistic and thematic features. However, both literatures significantly differ in their use of pseudonyms. In Yiddish literature, authors’ pseudonyms appear rather frequently, and a significant number of the most important writers are known mainly in their pseudonyms, while in modern Hebrew literature pen names remained a relatively marginal occurrence. This research analyses pseudonymity in both literatures in order to explain this discrepancy. In the first chapter, the various patterns used in building pseudonyms are analysed, so to establish a general typology of the phenomenon. Subsequently, I focus on the "lasting" pseudonyms, namely those that accompany authors for a long time, shaping and determining their public image. In the second chapter I describe in detail under which circumstances and in what ways the "lasting" pseudonyms were created and used. Finally, in the last part the information analysed previously is utilised, clarifying that pseudonymity is actually a social phenomenon, and defining the social and historical factors that led to the adoption of pseudonymity as one of the "invented traditions" of modern Yiddish literature

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15

Costello, James Patrick. "A journey inside the writer's mind: a Jewish poet's perspective." Thesis, Boston University, 1998. https://hdl.handle.net/2144/27626.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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16

Porges, Reingard. "Theodor Wolff, the Writer in Exile 1933-1943." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1515.

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Abstract This study examines the effect of exile on Theodor Wolff’s writings from 1933 to 1943. Wolff, a highly assimilated German Jew and renowned journalist and editor-in-chief of the ‘Berliner Tageblatt’ from 1906-1933, was one of the most influential cultural and liberal political commentators during World War I and the Weimar Republic. His political life and influence has been extensively researched, whereas his life in exile has not been explored. Enforced sudden exile in 1933 represented a turning point in Wolff’s life. Following the temporal sequence of Wolff’s ten years in exile, this study is divided into four chapters, starting with the early exile years from 1933 to 1936, followed by the immediate pre World War II period. The third chapter covers the German invasion and occupation of France in 1940. The last chapter sheds light on the two final years from 1942 to 1943. These four periods reflect his exile experience and gradual decline in living conditions, mood, and fundamental changes in his approach to writing. In exile Wolff devotes his time and effort to historical accounts and fiction – a difficult genre for a publicist and journalistic writer. He also embarks on autobiographical writings and during his final years in exile deals with the Jewish catastrophe unfolding in Nazi controlled Europe, raising issues concerning the so called ‘Jewish Problem’. This study draws attention to the effect exile had on an important German- Jewish writer, who in 1943 fell victim to the Holocaust. Wolff’s works, especially his exile writings survived the war and remain relevant today. The findings of this research provide some insight into a turbulent period in German and European history that drastically changed many lives. It also makes a significant contribution to the study of Theodor Wolff and to exile studies in general.

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17

Porges, Reingard. "Theodor Wolff, the Writer in Exile 1933-1943." University of Sydney, 2006. http://hdl.handle.net/2123/1515.

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Doctor of Philosophy
Abstract This study examines the effect of exile on Theodor Wolff’s writings from 1933 to 1943. Wolff, a highly assimilated German Jew and renowned journalist and editor-in-chief of the ‘Berliner Tageblatt’ from 1906-1933, was one of the most influential cultural and liberal political commentators during World War I and the Weimar Republic. His political life and influence has been extensively researched, whereas his life in exile has not been explored. Enforced sudden exile in 1933 represented a turning point in Wolff’s life. Following the temporal sequence of Wolff’s ten years in exile, this study is divided into four chapters, starting with the early exile years from 1933 to 1936, followed by the immediate pre World War II period. The third chapter covers the German invasion and occupation of France in 1940. The last chapter sheds light on the two final years from 1942 to 1943. These four periods reflect his exile experience and gradual decline in living conditions, mood, and fundamental changes in his approach to writing. In exile Wolff devotes his time and effort to historical accounts and fiction – a difficult genre for a publicist and journalistic writer. He also embarks on autobiographical writings and during his final years in exile deals with the Jewish catastrophe unfolding in Nazi controlled Europe, raising issues concerning the so called ‘Jewish Problem’. This study draws attention to the effect exile had on an important German- Jewish writer, who in 1943 fell victim to the Holocaust. Wolff’s works, especially his exile writings survived the war and remain relevant today. The findings of this research provide some insight into a turbulent period in German and European history that drastically changed many lives. It also makes a significant contribution to the study of Theodor Wolff and to exile studies in general.

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18

Kensky, Eitan Lev. "Facing the Limits of Fiction: Self-Consciousness in Jewish American Literature." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10716.

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This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination.
Near Eastern Languages and Civilizations

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19

Pedersen, Ena. "Henry William Katz : the life and work of a German-Jewish writer and journalist in exile, 1933-1945." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285425.

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20

Pilnik, Shay A. "A literary movement for the vanished world of Lithuanian Jewry : the work of the Yiddish writer Chaim Grade." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98573.

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This thesis offers new perspectives on the Yiddish poet and novelist Chaim Grade, examining his reflections on the world of historic Lithuanian Jewry from the outset of his career through his post-Holocaust novels. Chapter one explores the gap between the historical reality of interwar Vilna and its literary representation in his novel Di agune and questions the widely accepted view of this work as a credible historical source.
Chapter two deals with Grade's depiction of his experience as a student in a Novaredok Musar yeshiva, contrasting the depiction of this yeshiva in the poem Musernikes (1938) and the novel Tsemakh atlas (1967). The writer's shift from a fierce condemnation of the Novaredok Yeshiva to a more moderate and affectionate view as a post-Holocaust writer is explained as the older Grade's attempt to reconcile his art and identity as a modern Jew with the religious world he had forsaken.

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21

Chung-ling, Shih, and 史宗玲. "Jewish Survival vs. Americanization:Dialogisms in Three American-Jewish Fiction Writers." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/77946333166810169374.

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博士
國立師範大學
英語學系
86
This dissertation mainly discusses a shared trait of "dual-track" Jewishness resulting from the dialogical interactions between both Jewish and Gentile cultural ideologies, as demonstrated in a host of literary works by Bernard Malamud, Philip Roth and Cynthia Ozick. These American-Jewish fiction writers,highly visible in the 1950s, 1960s and 1970s respectively, inscribe their dual-track" (Jewish and Gentile) creative courses and cultural traces in their works,thereby qualifying themselves as "dual-track" Jewish writers. The conflicts between Jewish affirmation and anti-Jewish liberation, Jewishadherence and anti-Jewish detachment, constitute the American-Jewry''s "dual-track" Jewishness as well as Jewish dialogisms. Malamud''s moral fictions raiseyou-live-for-me-and-I-live-for-you" existential dialogism," Roth''s protest ficitons demonstrate "ideological dialogism," based on the war between anti-Jewish individualism and Jewish ethnocentrism, and Ozick''s liturgical fictions illustrate "Judaic dialogism," deriving from some collision between Judaic and Christian cultures. When Malamud "moralizes" Jewishness, Roth "ideologizes" it and Ozick "Judaifies" it, they all approach it from a cross-ethnic, inter-cultural angle; namely, the Jewish vs. Gentile framework. In tackling the subject of "dual-track" Jewishness, they have rendered it, intheir own ways, a caution of or an acess to self-understanding, bringing frominter-ethnic contacts and cultural evolution rather than from a negative tabooor a damaging matter threatening the survival of modern American Jews on the whole.

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22

"Writing blackface: Black and Jewish writers in Jazz Age literature." Tulane University, 2004.

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The Jazz Age witnessed a convergence of social and aesthetic changes that informed the political, social and literary relationships between African-Americans and Jews. Coming into close contact with each other for the first time, African-Americans and Jews struggled to comprehend and represent the other group as their own perceptions and representations of themselves and the other group began to inform representations of 'the other' in popular culture I see the Jazz Age as a transitional period where artists, particularly Langston Hughes, Zora Neale Hurston and Fannie Hurst, struggle with their own sense of identity politics as the attempt to 'create' and represent themselves and 'the other' to a wide audience. It is my assertion that the 'New Negro' ethos and continued Jewish assimilation allowed these writers to enter a 'third space' of representation that, unlike W. E. B. DuBois' notion of the 'color-line,' does not 'fix' either the artist of 'the other's' identity, but rather allows for multiple movements that challenged these representations. The patronage system that allowed Hughes and Hurston to survive financially while writing in their early years, also restricted their artistic goals, as did conflicting notions of what constituted 'legitimate' African-American art. In their differing representations of Jews both as a social symbol and a religious group, Hughes and Hurston attempted to work out their own identity politics and, in Hurst's case, engage in a project of 'hybridizing' Judeo-Christian and African/Caribbean originary myths For novelist Fannie Hurst, ambivalent about her own identity as an assimilated Jew, representations of immigrant Jews and African-Americans allowed her to 'write' herself away from being identified too closely with stereotypes of Jews in order to be seen as more 'American.' In exploring these writer's representations and interpretations of 'the other,' I hope to interrogate notions of national and cultural identity and posit the Jazz Age as a time when possible representations of 'the other' informed each group's creation of itself
acase@tulane.edu

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23

Kirschner, Luz Angélica McClennen Sophia A. "Diaspora and representation Jewish Argentine, Turkish German, and Chinese American women writers /." 2008. http://etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-2487/index.html.

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24

Wasson, Kirsten Anna. "Daughters of promise, mothers of revision three Jewish American immigrant writers and cultural inscriptions of identity /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/27062675.html.

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25

Krishnamoorthy, Kaushalya. "India and the exile experience as mirrored in the writings of Jewish exiles and Indian writers /." 2003. http://wwwlib.umi.com/dissertations/fullcit/3116509.

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26

Nordmann, Julia. "Childhood Bonds--Günter Grass, Martin Walser and Christa Wolf as Writers of the Hitler Youth Generation in Post-1945 and Post-1989 Germany." Thesis, 2012. https://doi.org/10.7916/D8BK19GC.

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Since the fall of the Berlin Wall, public discourse in German society has been repeatedly riven by debates prompted by three leading figures of the literary scene: Günter Grass, Martin Walser, and Christa Wolf. The tremendously emotional controversies regarding Wolf's purported cowardice as a GDR-writer, Walser's alleged anti-Semitism, and Grass's membership in the Waffen-SS served to confirm the significance of these writers, which, I argue, stems not only from their literary merits, but also from their status as former members of the Hitler Youth. Building upon Sigrid Weigel's claim that generations in post-war Germany act as symbols of the country's relationship to the Nazi past, my dissertation elucidates the process by which Grass, Walser, and Wolf were adopted--and adopted themselves--as proxies for a "better Germany." The biographies of these three writers, I argue, came to represent the overarching political goal of both post-war German states: the successful transition from an intimate association with the Nazi regime - in the authors' case, their associations with the Hitler Youth - to a full embrace of democratic values. The conflation of the writers' biographies with national identity explains their authority and popularity in both German societies. It also explains why the process of detachment from these writers as political figures began after 1990 as national identity changed after reunification. With the waning of the Hitler Youth generation's dominance in the public sphere, a re-evaluation of the writers' political and literary work, set against the backdrop of their generational identity, is long overdue. In four chapters, this dissertation examines key moments in the careers of Grass, Walser, and Wolf. I emphasize the striking similarities between the generational discourse of the two West-German writers and the East-German writer, while pointing out where their shared generational background led to distinct political agendas. I show that the literary output, self-understanding, and public reception of arguably the three most significant writers in the post-war Germanies cannot be understood without a consideration of this mutual historical-biographical legacy. My dissertation thus rewrites an important part of post-1945 and post-1989 cultural history.

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27

Garciová, Denisa. "Dílo Jiřího Mordechaje Langera." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-304265.

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This thesis introduces Jiří Mordechai Langer, who was Czech Jewish author. Through the data of his biography describes his mental focus and some of the aspects of his works, which is inspired by it. The thesis is focused on his first book of poetry Piyutim ve-shire Yedidut, which is written in Hebrew and was published in Prague in 1929. The thesis contents translation of poetry into Czech language, description of language and form. The author describes also main topics of Langer's poetry and its place among other works by Jiří M. Langer and in tradition of Hebrew literature. Influence of Hebrew literature and Hasidism, which she finds out in the book, shows for better understanding on concrete passages. Key words Jiří Langer, jewish writers in 20th century, poetry, translation

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28

Kňavová, Darja. "Postava Golema u německých a českých autorů." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-327833.

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Tato diplomová práce se zabývá postavou Golema v dílech německých a českých autorů. V první kapitole se zaměřuji na Prahu na přelomu 19. a 20. století, kde se tomuto tématu věnovali hlavně němečtí, převážně židovští autoři. Jejich tvorba je označována pojmem "pražská německá literatura". Vedle nich o Golemovi píší i čeští spisovatelé. V druhé kapitole přibližuji dobu za vlády Rudolfa II., kdy žil rabi Löw, který podle pověsti Golema stvořil a oživil šémem. Poslední kapitola je věnována obecným informacím o oživlé hliněné postavě. Následně zde analyzuji jednotlivá díla předem vybraných autorů. Po zhodnocení sedmi bodů, na které jsem se ve své práci zaměřila, uvádím výsledky této analýzy. V některých případech uchopili autoři jednotlivé situace velice podobně, v některých se značně odlišovali. Právě odlišnost přístupu a pestré variace zpracování dotváří Golemův mysteriozní obraz.

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