This dissertation explores the idea of the 1970s as a critical turning point for the representation of young Jewish women in American popular culture, specifically considering examples from popular literature, popular film, television, and comedy that undermine the validity of midcentury conceptions of the Jewish-American Princess (JAP) or Jewish Ugly Duckling. The introduction and first chapter establish the historical context of how stereotypes of Jewish women—including the JAP—came to be used as a means of mitigating assimilation-related anxieties, especially in light of the post-WWII Jewish ascent into the white suburban middle class. The dissertation then transitions into a deeper investigation of female-driven responses to these archetypes. With the rise of the contemporary Feminism movement, the sexual revolution, the Jewish New Wave of filmmaking, and the shift in emphasis from assimilation to multiculturalism within the American social consciousness, the 1970s provided a platform for Jewish female authors, entertainers, and filmmakers to directly respond to and reconceive the stereotypes of Jewish women honed during the midcentury period. The second, third, and fourth chapters each tackle a different facet of popular culture, looking specifically at how popular literature, film, television, and comedy produced by Jewish women confirmed, complicated, and challenged stereotypes of Jewish women, effectively shifting the cultural paradigm away from the JAP and towards a new understanding of Jewish female identity that undermined existing archetypes. In this way, the dissertation argues that Jewish female-driven popular literature, film, television, and comedy during this time period acted as a bridge between the more one-dimensional, often male-driven midcentury conceptions of the JAP and the more complex, nuanced images of young Jewish women in contemporary popular culture. Simply put, while the novels, films, and series that are explored here all draw from the hegemonic stereotypes of young Jewish women established in the 1950s and 1960s, they also articulate something new about Jewish women in their privileging of the Jewish woman’s voice, their re-conception of Jewish beauty, and their questioning of gender norms, and thus can be seen as the natural predecessors of modern popular cultural depictions of Jewish women.

Este tese aborda a obra do escritor judeu austríaco Joseph Roth, buscando entender a crítica que ele faz à modernidade como resultante de um ponto de vista singular, determinado pelo encontro entre dois mundos: o mundo do tradicionalismo judaico no Leste europeu e o mundo da monarquia habsburga, em seus anos finais. Pretende-se demonstrar que é tomando como referência os parâmetros destes dois universos que Roth dirige um olhar cético para a modernidade e para o mundo pós-1ª. Guerra Mundial. Ao mesmo tempo, pretende-se demonstrar como o conceito de exílio está inextricavelmente ligado a uma obra crítica com relação a seu tempo, embasada na memória de dois mundos em extinção. Trata-se, porém, de um exílio que se configura mais como a expulsão de um tempo do que como uma simples expulsão geográfica - o que o torna, de certa maneira, mais trágico. O exílio é também uma das categorias centrais da reflexão mística e filosófica judaica, e neste sentido busco apontar para as coincidências entre o tema do exílio em Roth e nas doutrinas desta tradição. Ao conceito de exílio corresponde, como seu duplo e seu oposto, o conceito de Heimat (terra-mãe), que em Roth se torna uma categoria abstrata, pertencente ao universo da metafísica e da memória, e ,como tal, objeto de culto e paradigma, à luz dos quais ele interpreta a realidade do universo europeu entre-guerras. Diante do que foi discutido sobre os temas acima, conclui-se que esta Heimat imaginária afigura-se como uma das suas obsessões literárias, em torno da qual ele construirá uma obra que é, sobretudo, a tentativa de restauração de uma paisagem humana desaparecida e um retrato profundamente nostálgico da memória de uma civilização, ancorada na Idade Média, e sepultada pelo tempo e pelas guerras. / This thesis discusses the oeuvre of the Jewish Austrian writer Joseph Roth, and aims at an understanding of his critique of modernity, which is seen as a result of a unique point of view, determined by the encounter between two worlds: the traditional world of Eastern European Jewry on one hand and the world of the final years of the Habsburg Monarchy on the other. I try to show that Roth takes a skeptical look at modernity and at post-World War I Europe using the paradigms of these two lost worlds.At the same time I aim at demonstrating how the concept of exile is deeply rooted in his critique of modernity. However he is dealing with an exile in time here, as opposed to a purely geographical exile - an exile that is far more tragic, since it is irreversible. Exile is also a core theme in traditional Jewish mystical and philosophical thought and I try to point to coincidences in the treatment of this topic in Roth and in traditional Jewish doctrines.The concept of exile has the idea of Heimat or homeland as its opposite, and in Roth Heimat becomes an abstract category, pertaining to the universe of metaphysics and memory, in the light of which he interprets European civilization of the 1920´s and 1930´s.I conclude by showing how this fictive Heimat turns into one of his literary obsessions, around which he will build an oeuvre, which is, more then anything else, an attempt at restoring a vanished human landscape, anchored in the Middle Ages and buried by time and by wars.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-19T10:47:57Z No. of bitstreams: 1 Fernando Gross.pdf: 2092294 bytes, checksum: 54bc2c82d21d2de44ce2e97da0dbd268 (MD5) / Made available in DSpace on 2018-01-19T10:47:57Z (GMT). No. of bitstreams: 1 Fernando Gross.pdf: 2092294 bytes, checksum: 54bc2c82d21d2de44ce2e97da0dbd268 (MD5) Previous issue date: 2017-12-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The study presented here welcomes literary and historical-theological motif belonged to the biblical narrative on the exodus. Repeatedly, that is, in fourteen scenes, the texts of the book of Exodus refer to the "heart of the pharaoh", which is mentioned twenty times. In ten moments, it is described how the Lord, the God of Israel, acts with the heart of the pharaoh (Ex 4,21; 7,3; 9,12,14; 10,1,20,27; 11,10; 14,4,8). In four moments, it is contemplated how the pharaoh leads with his heart (Ex 7,23, 8,11,28; 9,34). And in six other moments, it is narrated how the heart of the pharaoh reacts to the events (Ex 7,13,14,22; 8,15; 9,7,35). Moreover, different verbs indicate different movements of the pharaoh's heart. Thus, the study presented in this Dissertation seeks to understand, in its first part, what the biblical narrative reflects on the heart of who ruled Egypt. In the second part, the present study analyzes how the Jewish tradition, throughout the history, continued the reflection on the heart of the pharaoh / O estudo aqui apresentado acolhe um motivo literário e histórico-teológico pertencente à narrativa bíblica sobre o êxodo. Repetidamente, ou seja, em quatorze cenas, os textos do livro do Êxodo se referem, pois, ao “coração do faraó”, sendo que este é mencionado por vinte vezes. Em dez momentos, se descreve como o Senhor, Deus de Israel, age com o coração do faraó (Ex 4,21; 7,3; 9,12.14; 10,1.20.27; 11,10; 14,4.8). Em quatro momentos, se contempla como o faraó mexe com seu coração (Ex 7,23; 8,11.28; 9,34). E, em outros seis momentos, narra-se como o coração do faraó reage aos acontecimentos (Ex 7,13.14.22; 8,15; 9,7.35). Mais ainda, diferentes verbos indicam movimentos diversos do coração do faraó. Assim sendo, o estudo apresentado nesta Dissertação procura compreender, em sua primeira parte, o que a narrativa bíblica reflete sobre o coração de quem governava o Egito. Na segunda parte, por sua vez, o presente estudo analisa como a tradição judaica, no decorrer da história, continuou a reflexão sobre o coração do faraó

Thesis (Ph. D.)--University of California, Los Angeles, 2004. / Includes bibliographical references (p. 222-229). Also available on the Internet.

Soviet writer Vasilii Grossman has been renowned in the West as a dissident author of Life and Fate, which multiple sources, including The New York Times have called "arguably the greatest Russian novel of the 20th century." Grossman, however, was not a dissident, but an official state writer attempting to publish for a Soviet audience. Grossman's work was criticized by Soviets as being "too Jewish", while Jewish scholars have called it "not Jewish enough." And, despite his modern critical acclaim, little scholarship on Grossman exists. In my thesis, I explore these paradoxes. I argue that Grossman attempts to reinterpret traditional state ideas of Sovietness into a more inclusive, democratic version by creating heroes from traditionally marginalized groups. To do this, he reinterprets and inverts traditional tropes of the Socialist Realist genre. Genric limitations on his worldview, however, prevent this vision from being completely realized in the course of his work. I trace Grossman's work from his early short fiction to his Khruschev era novels and show how this trope develops during his career as a Soviet writer and citizen.

Este tese aborda a obra do escritor judeu austríaco Joseph Roth, buscando entender a crítica que ele faz à modernidade como resultante de um ponto de vista singular, determinado pelo encontro entre dois mundos: o mundo do tradicionalismo judaico no Leste europeu e o mundo da monarquia habsburga, em seus anos finais. Pretende-se demonstrar que é tomando como referência os parâmetros destes dois universos que Roth dirige um olhar cético para a modernidade e para o mundo pós-1ª. Guerra Mundial. Ao mesmo tempo, pretende-se demonstrar como o conceito de exílio está inextricavelmente ligado a uma obra crítica com relação a seu tempo, embasada na memória de dois mundos em extinção. Trata-se, porém, de um exílio que se configura mais como a expulsão de um tempo do que como uma simples expulsão geográfica - o que o torna, de certa maneira, mais trágico. O exílio é também uma das categorias centrais da reflexão mística e filosófica judaica, e neste sentido busco apontar para as coincidências entre o tema do exílio em Roth e nas doutrinas desta tradição. Ao conceito de exílio corresponde, como seu duplo e seu oposto, o conceito de Heimat (terra-mãe), que em Roth se torna uma categoria abstrata, pertencente ao universo da metafísica e da memória, e ,como tal, objeto de culto e paradigma, à luz dos quais ele interpreta a realidade do universo europeu entre-guerras. Diante do que foi discutido sobre os temas acima, conclui-se que esta Heimat imaginária afigura-se como uma das suas obsessões literárias, em torno da qual ele construirá uma obra que é, sobretudo, a tentativa de restauração de uma paisagem humana desaparecida e um retrato profundamente nostálgico da memória de uma civilização, ancorada na Idade Média, e sepultada pelo tempo e pelas guerras. / This thesis discusses the oeuvre of the Jewish Austrian writer Joseph Roth, and aims at an understanding of his critique of modernity, which is seen as a result of a unique point of view, determined by the encounter between two worlds: the traditional world of Eastern European Jewry on one hand and the world of the final years of the Habsburg Monarchy on the other. I try to show that Roth takes a skeptical look at modernity and at post-World War I Europe using the paradigms of these two lost worlds.At the same time I aim at demonstrating how the concept of exile is deeply rooted in his critique of modernity. However he is dealing with an exile in time here, as opposed to a purely geographical exile - an exile that is far more tragic, since it is irreversible. Exile is also a core theme in traditional Jewish mystical and philosophical thought and I try to point to coincidences in the treatment of this topic in Roth and in traditional Jewish doctrines.The concept of exile has the idea of Heimat or homeland as its opposite, and in Roth Heimat becomes an abstract category, pertaining to the universe of metaphysics and memory, in the light of which he interprets European civilization of the 1920´s and 1930´s.I conclude by showing how this fictive Heimat turns into one of his literary obsessions, around which he will build an oeuvre, which is, more then anything else, an attempt at restoring a vanished human landscape, anchored in the Middle Ages and buried by time and by wars.

The main task of diploma thesis titled The character of King David in the literary works of Jewish German authors is a reflection of the biblical character of David in selected works. It classifies perspectives of particular Jewish German authors in belles-lettres and reference literature and compares their approaching methods. The goal is to evaulate particular interpretations and attributes of the biblical King David, one of the most beloved although inconsistent figures of all times. The diploma thesis is divided into three parts; comparison of two mainly followed litterary works and a personal short reflection of the David's charakter. Powered by TCPDF (www.tcpdf.org)

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The present project draws a comparison between the literature and thought of Hasidic Rabbi Nachman of Braslav (1772–1810) and Argentine writer and public intellectual Jorge Luis Borges (1899–1986). It is organized around two components of their writing—a discursive self-positioning at “the edge” of tradition and a “cabbalistic” stylization of their narratives. The dissertation contextualizes these components within late eighteenth century Enlightenment ideology and emancipation policies, and mid-twentieth century political ideologies of Nazism and Fascism, respectively. The dissertation is bookended by a close comparative reading of their stories. It finds that each in his moment is greatly implicated in questions of resituating Jews and Judaism within broader society, and argues that the effort to aesthetically represent the changing social location of Jews is linked to their understanding of their respective literary projects more broadly. Finally, the study illuminates their shared conceptualization of modern Judaism as a literary model. The dissertation’s broader intervention in the filed of early modern and modern literature relates to the dynamic of rupture and continuity that is so central to categorizations of modern writing. It demonstrates that the fault lines of the rupture from tradition, vis-à-vis which modern literature has been constructed, was already present—poetically and discursively—in the “tradition” from which it purportedly departs. By combining the study of diverse geographies, histories, languages, cultures and genres, the present study articulates a comparative frame that challenges conventional categorizations of modern writing.