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  • 1
    Language: English
    Year of publication: 2021
    Titel der Quelle: Shofar; an Interdisciplinary Journal of Jewish Studies
    Angaben zur Quelle: 39,2 (2021) 188-227
    Keywords: Agnon, Shmuel Yosef, ; Agnon, Shmuel Yosef, Criticism and interpretation ; Hebrew fiction, Modern History and criticism ; Jews in literature ; Dogs in literature ; Antisemitism in literature ; Holocaust, Jewish (1939-1945) Influence
    Abstract: In this article, I offer a reading of Agnon's work, and especially his classic Zionist novel Tmol shilshom (Only Yesterday), from the perspective of cultural and historical analysis. It is my contention that cultural reading will significantly enhance the scholarship of racism and antisemitism that his works address. Reading Tmol shilshom in this fashion affords theoretical and cultural insight into the genealogy and assimilation experiences of the beast (the dog) and the Jew—two figures that challenge the idea of the modern nation by contesting the very possibility of abstraction and symbolism that the national and humanistic imagination enables. I offer a tentative look at the way in which discourse performs identity through violence, that is, differentiation and exclusion. I seek to show that the novel Tmol shilshom, written during the Holocaust, combines the colonial experience with the Jewish one, employing a signifier that never renders a coherent symbol and therefore always highlights difference, reluctant to be submerged by any worldview.
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  • 2
    Language: English
    Year of publication: 2020
    Titel der Quelle: AJS Review
    Angaben zur Quelle: 44,1 (2020) 1-21
    Keywords: Fauda (Television program) ; Television ; Arab-Israeli conflict Television and the conflict ; Arab-Israeli conflict Religious aspects ; Judaism ; Arab-Israeli conflict Religious aspects ; Islam ; National characteristics, Israeli ; Special forces (Military science) ; Israel Ethnic relations
    Abstract: In its first season, Israeli television thriller Fauda proclaimed an utter symmetry between Israel “proper” and its Occupied Territories, by humanizing Hamas militants and treating them as equals to the Israeli characters. Throughout the story the Jewish warrior's body becomes a site for the detonation of explosives and a potential vehicle for suicide bombings, in a false but intriguing reenactment of the trauma of the second intifada, which has been repressed in Israeli consciousness. In this unwitting manifestation of Jewish martyrdom, the façade of the rule of law in the State of Israel is dismantled in what seems like a religious battle between clans. The discourse of pain in the series suggests a stream of constant retribution in a vicious circle that can never historicize the allegedly eternal conflict and work through its traumatic residues. Nonetheless, this dynamic of retribution and martyrdom also informs a multilayered structure whereby the secular, modern Jew returns to his roots by engaging with Arabness in the theatre of mistaʿaravim: in becoming Arab he also becomes, finally, a Jew.
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