This thesis analyzes Rabi­ Yehuda Halevy synagogue, which Victor Babani designed and Francisco Canovas built from 1941 to 1942 in the Colonia Roma Sur of Mexico City. I focus on its formal characteristics, as well as its socio-historical context. I examine late-nineteenth century to mid-twentieth century life for Sephardic Jews in Mexico: their cause for immigration, experience in their new homeland, and relations with other Jewish groups and non-Jews in the city. I explore the use of style and iconography in the synagogue in relation to the history and prior employment of these architectural features. Defining "style" in the Rabi­ Yehuda Halevy demands an understanding of the employment of a particular formal language in the design of minority groups' architecture. The process of finding a style to portray national identity in Mexico was parallel to the Mexican Sephardim's use of architecture to articulate their own identity in the city.

The figure of the Wandering Jew in British Gothic literature has been generally regarded as a static and romantic Everyman who signifies religious punishment, remorse, and alienation. In that it fails to consider the fact that the legend of the Wandering Jew signalled a noteworthy historical shift from theological to racial anti-Semitism, this reading has overlooked the significance of this figure's specific ethno-religious aspect and its relation to the figure of the vampire. It has hindered, consequently, the recognition of the Wandering Jew's relevance to the "Jewish Question," a vital issue in the construction of British national identity. In this dissertation, I chronicle the "spectropoetics" of Gothic literature---how the spectres, of Jewish difference and Jewish assimilation haunt the British Gothic novel. I trace this "spectropoetics" through medieval anti-Semitism, and consider its significance in addressing anxieties about the Crypto-Jew and the Cabala's role in secret societies during two major historic events concurrent with the period of classic Gothic literature---the Spanish Inquisition, a narrative element featured in many Gothic works, and the French Revolution, a cataclysmic event to which many Gothic works responded. In the light of this complex of concerns, I examine the role of the Wandering Jew in five Gothic works---Matthew G. Lewis's The Monk (1795), William Godwin's St. Leon (1799), Charles Robert Maturin's Melmoth the Wanderer (1820), Joseph Sheridan Le Fanu's "Carmilla" (1872), and Brain Stoker's Dracula (1897). In my conclusion, I delineate the vampiric Wandering Jew's "eternal" role in addressing nationalist concerns by examining his symbolic preeminence in Nazi Germany.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A. in Religion)--Vanderbilt University, May 2006. / Title from title screen. Includes bibliographical references.

O objetivo desta tese de doutorado é verificar a presença judaica em textos diversos de Jorge Amado (1912-2001), sobretudo em romances, abrangendo suas duas fases, em articulação com sua leitura de mundo. Quanto ao método, a verificação se dá por meio de rastros/indícios do judeu na obra amadiana, considerando que a presença judaica em seus textos aparece mais como referência ou assunto do que personagem. O pensamento analógico é a tônica da tese. As reflexões têm como gatilho o rastro do judeu no texto, nas quais se articulam parte e todo, em mútua influência. Em relação aos resultados, a presença judaica nos trabalhos de Jorge Amado está ligada a um modo bastante monolítico de ver o judeu. Em geral, figuras judaicas são associadas à militância comunista, assim como se relacionam a um plano mítico/profético sobre o qual a cosmovisão amadiana também se assenta. A forma da obra de Jorge Amado, calcada em diálogo com expressões populares, guarda ecos da cultura judaico-cristã, com ênfase no pensamento escatológico e soteriológico. A conclusão é a de que o judeu no texto amadiano tem função metonímica, algo que se relaciona tanto com sua posição ideológica quanto com sua cosmovisão. Portanto, há um feixe de significados na presença judaica em Amado: de contestação à revelação. / The aim of this thesis is verify the Jewish presence in various texts produced by Jorge Amado (1912-2001), focusing in his novels, also covering the two moments of his career. This will be approached through his worldview. As for the method, the analysis is based on trails/signs of the Jew in Amados works as the Jewish presence in his texts comes up more as reference or subject than representation. The analog approach is applied in this thesis. Trails/signs of the Jew in the texts function as the triggers for the analysis, in which all the elements, being central or peripheral, are in mutual influence. As for the results, the Jewish presence in Amados works is related to a monolithic view of the Jew. In general, Jewish traces/characters are linked to Communist militancy, as well as they are related to a mythical/prophetical level on which Jorge Amados worldview also is based. Authors style pays tribute to popular expressions, reverberating Jewish-Christian culture, with emphasis on the eschatological and soteriological thinking. As for the conclusion, the Jew in Amado works function as a metonymy, something that is related to both his ideological position and his worldview. Therefore there are a number of meanings in the Jewish presence in Amado: from subversion to revelation.

This thesis studies identity among a group of Roman Catholic converts and accused heretics in Mexico City, called Crypto-Jews. The areas of identity that were examined in depth were, religious identity, gender identity, and racial identity. The records that exist for Crypto-Jews in Mexico City are limited but can be found among the records of the Holy Office of the Inquisition. In order to study the documents of the Office of the Inquisition in Mexico City, I had to travel to the University of California, Berkeley’s Bancroft Library. I was supported in this endeavor by the History Department at Utah State University during the Spring semester of 2017. While there, I found primary sources written by the Holy Office of the Inquisition that contained the Inquisition trial records of many accused Crypto-Jews. This thesis uses five Inquisition documents from the trials of Manuel de Lucena, Isabel de Carvajal, Leonor de Carvajal, Margarita Moreira, and Antonia Núñez. Other primary sources include a translated copy of Luis de Carvajal’s memoir. Through the study of these Inquisition documents, I have concluded that Crypto-Jewish identity was an amalgam of many cultural influences including Spanish, colonial, Roman Catholic, Jewish, and early medieval. The combination of these cultural influences was processed by Crypto-Jews to form a unique identity. This identity was specific to the people whose records I was able to study and is a unique contribution to the historical study of Crypto-Jews.

Like many before, this thesis uses the tragedy of the Holocaust as a historical comparison to an event occurring today, mainly in the Xinjiang region of the People’s Republic of China. Many historians have argued that comparisons to the Holocaust should be academically or intellectually prohibited. Many have stated that such an effort could minimize the perceived severity of or unintentionally raise other events to the level of the Jewish genocide. However, such comparisons should be permitted and are necessary to help prevent a similar atrocity from ever occurring again. There is much to be learned from Nazi policy and ideology that may be used to aid genocide prevention. Thus, this paper will discuss how policies or actions within two cases may be similar or different via comparative analysis. Such a discussion will be approached by examining basic principles of Nazi ideology and directly comparing them to the ideology of the Chinese Communist Party. The secondary portion of this research will evaluate a direct comparison of the policies of Nazi Germany and the People’s Republic of China regarding the respective minorities in question. Furthermore, this piece's preliminary assumption is that the two cases will be vastly different. Like many complex cases throughout history, few show literal parallels- especially those birthing from different cultures and spanning separate eras. This thesis fundamentally tackles the uncertainty of dissimilarity between the two cases aforementioned.

L'objectif de la thèse est d'étudier le rapport entre «Juif» et «nation» dans le roman italien du XXe siècle à partir d'un événement historique précis: la déclaration Balfour de 1917. Celle-ci donnait aux Juifs le droit de créer un «foyer national Juif» en Palestine et d'y devenir progressivement l'ethnie majoritaire. La création d'un État ne se fera que trente ans plus tard. Une sorte de renoncement au principe de la déclaration Balfour ne se produira que dans les années 90, avec les accords d'Oslo. L'État d'Israël acceptera alors l'idée que dans le territoire de la Palestine mandataire puisse naître un État arabe-palestinien après la tentative avortée de 1948-49. Le chapitre d'ouverture introduit le thème de la relation entre le Juif et la nation italienne dans une perspective historique. La chapitre deux raconte les écrivains et les ouvrages consacrés à «l'intégration nationale» entre les années vingt et trente du XXe siècle. L'oeuvre centrale c'est «Jom Hakippurim» par Giuseppe Morpurgo (1924). Le chapitre trois se concentre sur la littérature populaire anti-juive et anti-sémite des années trente et quarante (l'ère fasciste). Les racines des romans anti-juifs sont les feuilletons du XIXe siècle, où le Juif est le caractère négatif par excellence. Le chapitre quatre analyse l'avant-garde littéraire juive italienne du XXe siècle, c'est-à-dire les écrivains Juifs consacrés à la crise de la subjectivité contemporaine: Adriano Grego, Giorgio Bassani, Giorgio Voghera, Antonio Debenedetti et Roberto Vigevani. Le chapitre cinq met l'accent sur la persécution des Juifs et sur les diverses formes romanesques entre les années quarante et quatre-vingt du XXe siècle. Le valeur littéraire des ces oeuvres c'est ne pas élevé, sauf que les cases de «La Storia» par Elsa Morante (1974) et «Se non ora, quando?» par Primo Levi (1982). Le chapitre six analyse la figure du Juif fasciste à travers quatre romans publiés dans les années soixante et quatre-vingt. Tous les personnages ne sont pas destinés a survivre à la «mort de la patrie» du Risorgimento italien. Le chapitre sept examine la figure du Juif errant à travers ses formes diverses (exotique, levantin, cosmopolite). Cette ligne est proche à le «Juif anomique», perce qu'elle joue sur le stéréotype par excellence: l'errance historique et ontologique du Juif pour des motifs religieux. Le chapitre huit se concentre sur la représentation d'Israël comme lieu de culte et espace politique. Cette ligne «chrétienne» n'a été pas visitée par des écrivains Juifs, qui n'ont montré pas des intérêt particulier pour l'histoire ancienne d'Israël, ni pour les événements biographiques de Jésus de Nazareth, ni, enfin, pour le nouvel État d'Israël. Le chapitre neuf analyse les romans de sujet Juif par Alberto Lecco et son réalisme tragique. Lecco s'interroge sur le problème de la conscience juive à travers les grands écrivains russes du XIXe siècle et la diaspora juive nord-américaine contemporaine. Les conclusions cherchent à fournir des réponses exhaustives aux différentes relations entre le Juif et la nation dans les romans italiens du XXe siècle. En l'absence d'une «nation italienne», l'imaginaire romanesque n'a pas proposé une «nationalisation parallèle» ou un «désir sioniste»: le Juif italien est toujours un Juif diasporique, «condamné» à son état de minorité nationale. Les «différences» historiques, religieuses, économiques et culturelles ont connu une difficile coexistence aux côtés du mythomoteur national. Cette condition explique pourquoi les historiens ont insisté sur le problème de l'intégration-assimilation-acculturation nationale des Juifs italiens, tandis que l'imaginaire romanesque l'a considéré comme un problème après tout d'une importance secondaire. / The aim of the thesis is to study the relationship between «Jew» and «nation» in the Italian novel of the twentieth century, departing from a specific historical event: the 1917 Balfour Declaration. This gave the Jews the right to create a «Jewish national home» in Palestine and to gradually become the majority ethnic group. The creation of a State will take thirty years later. A kind of surrender to the principle of the Balfour Declaration will happen in the 1990s through the Oslo agreements. The State of Israel accepts the very idea that in the territory of Mandatory Palestine a Palestinian-Arab state can be establish after the 1948-49 aborted attempt. The opening chapter introduces the theme of the relationship between the Jew and the Italian nation in a historical perspective. Chapter two tells the writers and books on «national integration» between 1920s and 1930s. The central novel is «Jom Hakippurim» by Giuseppe Morpurgo (1924). Chapter three focuses on popular anti-Jewish anti-Semite literature of the 1930s and 1940s (the Fascist age). The roots of anti-Jewish novels are the 19th century feuilletons, where the Jew is the negative character par excellence. Chapter four analyzes the the XXth century Italian Jewish literary avant-garde, that is to say the Jewish writers devoted to the crisis of contemporary subjectivity: Adriano Grego, Giorgio Bassani, Giorgio Voghera, Roberto Antonio and Debenedetti Vigevani. Chapter five focuses on the persecution of Jews and the various forms of novels between the 1940s and 1980s. The literary value is not high, except the cases of «La Storia» by Elsa Morante (1974) and «Se non ora, quando?» by Primo Levi (1982). Chapter six analyzes the figure of the fascist Jew through four novels published in the 1960s and 1980s. All the characters are not intended to survive to the «death of the homeland» of Italian Risorgimento. Chapter Seven considers the figure of the Wandering Jew through its various forms (exotic, Levantine, cosmopolitan). This kind is close to the «anomic Jew», because it deals with the stereotype par excellence: the historical and ontological wandering Jew for religious reasons. Chapter eight focuses on the representation of Israel as a place of worship and policy. The «Christian» genre has not been visited by Jewish writers, who have shown particular interest neither in ancient history of Israel, nor in the life events of Jesus of Nazareth, nor in the new state of Israel. Chapter Nine analyzes the Jewish novels by Alberto Lecco and its tragic realism. Lecco examines the problem of Jewish consciousness through the 19th century great Russian writers and the contemporary Jewish diaspora in North America. The conclusions try to provide comprehensive answers to the various relationships between the Jew and the nation in the XXth century Italian novels. In the absence of an «Italian nation», the novelist imaginary did not propose a «parallel nationalization» or a «Zionist desire»: the Italian Jew is always a Diaspora Jew, «condemned» to his legal status of National minority. The historical, religious, economic and cultural «differences» experienced a difficult coexistence alongside the national mythomoteur. This condition explains why historians have emphasized the problem of national integration, assimilation, acculturation National by Italian Jews, while the novelist imagination was considered a problem of secondary importance.

Representações do Judeu na Cultura Brasileira: Imaginário e História resulta de uma ampla investigação na cultura brasileira oral, escrita, e na cultura de massa produzida no país, que buscou reunir e identificar as representações do judeu e os principais temas aos quais estão relacionadas, confrontando o Imaginário e a História nessas expressões culturais. Nossa análise demonstrou que, principalmente no que se refere às expressões da cultura oral, o judeu ainda aparece estreitamente associado à narrativa cristã do martírio de Cristo, e é lembrado como uma extensão do traidor arquetípico, Judas Iscariotes, ou de outro opositor a Jesus, Ahasverus, personagem no qual baseia-se o mito do Judeu Errante. A pesquisa etimológica de algumas palavras e ditados populares próprios da língua portuguesa indicou que velhas formas de preconceito contra o judeu, presentes na cultura brasileira desde o período colonial, permaneceram de alguma forma “intocadas". Com respeito à cultura literária, que incluiu peças teatrais e literatura, muitas figuras do Antigo Testamento emergem como fontes de inspiração a grandes autores ao longo dos séculos. O Romantismo no Brasil teve início com uma peça de Gonçalves Magalhães (1838) marcando, através da figura de Antonio José, a memória das perseguições e padecimentos de cristãos novos durante a Inquisição portuguesa, tema que persistiu inspirando autores brasileiros no século XX. Na poesia, a lenda do Judeu Errante foi revestida de novos significados. Embora nesse âmbito também ocorresse a associação do judeu com figuras representativas da oposição ao cristianismo, ou outras idéais pré-concebidas sobre o judeu nas relações econômicas, a maioria das representações do judeu nas expressões literárias, mormente a partir da segunda metade do século XX, apresentavam-se bem informadas e historicamente contextualizadas. Contemporaneamente, as imagens mais freqüentes do judeu na ficção da cultura de massa, isto é, na dramaturgia e no humor televisivos tendem a descrevê-lo sempre como recém-chegado ao país. Muitas vezes descrito como "eterno estrangeiro" nas interações sociais ali representadas, os personagens judeus parecem representar um tipo de fusão entre o imigrante real e a figura mítica do Judeu Errante, imagens que têm prevalecido por mais de três décadas na TV brasileira. No discurso televisivo não-ficcional, foi observada uma descrição isenta de fatos históricos e informações relativas aos judeus e a Israel à audiência. / Representations of the Jew in Brazilian Culture: Imaginary and History results of a broad investigation into Brazilian oral, literary and mass culture, aiming at collecting and identifying representations of the Jew and the main themes they emerge associated with, while confronting Imaginary and History on these cultural expressions. Our analysis has shown that, mainly in oral cultural expressions, Jews still appear as very much related to the Christian narrative of Jesus’ martyrdom, they are mostly recalled either as an extension of the archetypical traitor, Judas Iscariot, or of another Christ’s opponent, Ahasverus, character on which the myth of the Wandering Jew is based. Etymological research of some terms and the occurrence of some popular sayings in Portuguese have proven that old forms of prejudice against Jews and New Christians have remained somehow “untouched" in Brazilian culture since the colonial period. In respect to literary expressions, which included both plays and literature, Old Testament Biblical characters and themes have appeared quite often in the written production of Brazilian authors along the centuries. Gonçalves Magalhães, precursor of Romanticism in the XIXth century, recorded, through Antonio José, o Poeta e a Inquisição (1838), the memory of persecutions and other probations imposed to New Christians during the Portuguese Inquisition, a theme which persisted as an inspiration to many great authors through the XXth century. In poetry, the legend of the Wandering Jew was provided with new meanings by Romantic poets. Though the same misleading association of Jews and anti-Christ figures or other pre-conceived ideas in the domain of economical relations would still eventually occur, most representations of the Jew in literary expressions, mainly after the second half of the XXth century, were well informed and put in its historical context. Contemporarily, images of the Jew in Brazilian mass culture fiction, that is, on TV dramas and humor, tend to depict him constantly as a “new comer". Described as an “ever stranger" element in social interactions, a typical Jewish character on TV seems to represent the fusion of the real Jewish immigrant and the mythical figure of the Wandering Jew, an image that has persisted along more than three decades on Brazilian TV. Documentaries, news and entertainment programs about Jews and Israel, broadcasted on TV have generally provided unbiased historical information to the audience.

Made available in DSpace on 2016-07-27T13:49:04Z (GMT). No. of bitstreams: 1 LUIZ ALBERTO BARBOSA.pdf: 1035047 bytes, checksum: 6404e0efba347ddfbd3479faca6cf1c5 (MD5) Previous issue date: 2006-08-31 / The present academic work deals with the presence of the Jewish element in the Brazilian socio cultural formation, giving a special emphasis in the process of cultural resistance that the Jews, who were obliged to convert to Christianity, had to face to be able to survive. This work detaches the continuity of the memory, either collective or individual, as the element of the cultural resistance for the marranos Jews in Brazil. The work speaks on the Judaism, the historical process of formation of the Jewish people in Israel and the diaspora at a first moment. Later it approaches the thematic of the Jewish-marrano presence in Brazil and its cultural resistance to a predominantly Christian society, having the memory as main element of resistance. Finally, it is looked to show which of the elements of the Jewish-marrano culture still are present today in the Brazilian society, with special approach in the movements of rescue of marranism that we find in Brazil. / O presente trabalho trata da presença do elemento judeu na formação sócio-cultural brasileira, dando uma especial ênfase no processo de resistência cultural que os judeus que foram obrigados a se converter ao Cristianismo tiveram que enfrentar para poder sobreviver. Destaca-se a continuidade da memória, seja ela coletiva ou individual, como o elemento de resistência cultural para os Judeus Marranos no Brasil. O trabalho fala sobre o Judaísmo, o processo histórico de formação do povo judeu em Israel e na Diáspora em um primeiro momento. Depois aborda a temática da presença judaico-marrana no Brasil e sua resistência cultural frente a uma sociedade predominantemente cristã, tendo a memória como elemento principal de resistência. Finalmente, procura-se mostrar quais os elementos da cultura judaicomarrana que ainda estão presentes na sociedade brasileira atual, com especial enfoque nos movimentos de resgate do Marranismo que encontramos por todo o Brasil.