DOCSLIB.ORG

That in the End We Go to Poetry for One Reason, So

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
That in the End We Go to Poetry for One Reason, So Let us remember…that in the end we go to poetry for one reason, so that we might more fully inhabit our lives and the world in which we live them, and that if we more fully inhabit these things, we might be less apt to destroy both. Christian Wiman [Blacks and Jews remain] “watchful of each other, mindful of hurts and wrongs, not forgiving, but still friends.” Emily Budick Copyright by Colleen H. McCallum-Bonar 2008 ABSTRACT Black Ashkenaz and the Almost Promised Land: Yiddish Literature and the Harlem Renaissance explores the relationship between African Americans and Eastern European immigrant Jews (Yiddish-speaking / Ashkenazic Jews) by examining the depictions of each in their respective literatures. The thrust of my project will address the representations of African Americans in Yiddish literature. An investigation of the depictions of Jews by Harlem Renaissance writers will contribute to the understanding of an African American/Yiddish interface in which attitudes towards each other are played out. This linkage of African American and Jewish history, traditions and reflections regarding identity, culture, and language appears at a significant point in the grand narrative of ethnicity and race ideology in the United States. For Yiddish writers, their works regarding African Americans revealed their projection of what it meant to be Black, just as those of Harlem Renaissance writers projected their concept of ii what it meant to be Jewish, all in a milieu which saw the redefinition of what it meant to be black, to be white, and to be American. Yiddish writers addressed concepts of Blackness and Jewishness with an understanding of what could be gained or lost; the push to become American, the opportunity for social, political and economic mobility and racial alterity was countered by the pull of conflict with respect to assimilation, American conceptualization of exclusion based upon race, and a Jewish consciousness which rejected both. iii DEDICATION For Jason, Sam, Matt, and Lisa iv ACKNOWLEDGMENTS I wish to express my sincere appreciation to the members of my committee; my advisor Prof. David Neal Miller, Prof. Neil G. Jacobs, and Prof. Bernd Fischer for their intellectual support, constructive criticism, and encouragement, which made this dissertation possible. I also wish to thank Mr. Jason M. Payne for his suggestions, comments, editorial assistance, and friendship. For her advice, encouragement, positive energy, and academic as well as emotional support, I would like to express my sincere gratitude to Ms. Karen Sobul. I would also like to acknowledge Mr. Sam Jordan and Mr. Kevin Herzner for their feedback and observations. I am grateful to Prof. Diane Birckbichler, Rebecca Bias, and The Foreign Language Center for their continued support. For her assistance in running the administrative gauntlet, I would like thank Ms. Brenda Hosey of the Department of Germanic Languages and Literatures. v To my husband Mr. Jon A. Bonar, I am deeply indebted for his patience, understanding, support, and encouragement, in addition to all of his technical and computer assistance. Finally, I would like to thank the McCallum and Bonar families, for their years of support and all of their encouragement. It is with all of them I share this achievement. vi VITA July 24, 1966 ………………………Born – Chicago, Illinois 1992 …………………………..……A.A. Riverside Community College, Riverside, California 1994 ………………………………..B.A. Language, University of California – Riverside Riverside, California 1995 – 1996………………………. Graduate Teaching Associate, Department of Near Eastern, Judaic, and Hellenic Languages and Literatures The Ohio State University 1996 – 1997 ……………………….Rheinische Friedrich Wilhelms Universität Bonn, Germany 1996 – 2005 ……………………….Graduate Teaching Associate, Department of Germanic Languages and Literatures, and Yiddish and Ashkenazic Studies Program The Ohio State University 2000 ………………………………. M.A. Department of Germanic Languages and Literatures and Yiddish and Ashkenazic Studies Program The Ohio State University 2005-2007 ………………………....Foreign Language Center, The Ohio State University vii 2007-2008 …………………………Lecturer, Department of Germanic Languages and Literatures, and Yiddish and Ashkenazic Studies Program The Ohio State University FIELDS OF STUDY Major Field: Germanic Languages and Literatures Specialization: Yiddish and Ashkenazic Studies Minor: African American and African Studies viii TABLE OF CONTENTS ABSTRACT ........................................................................................................... ii DEDICATION......................................................................................................iv ACKNOWLEDGMENTS ..................................................................................... v VITA ................................................................................................................... vii Chapters: INTRODUCTION................................................................................................. 1 The Blacksmiths ............................................................................................8 1. Black and White and Read All Over ......................................................37 Insights and Perspectives .........................................................................55 Diasporic Perceptions...............................................................................69 2. Literary Blacksmiths: Identity and Memory ............................................74 Zakhor and Jewish Memory.....................................................................83 African Americans and Memory ............................................................87 Connecting and Reflecting.....................................................................91 3. Images: Bodies, Beauty and Blackness............................................... 137 4. Harlem: Two Tales of a City, Or the Poetics of Place........................ 168 Engagement, Texts and Contexts ....................................................... 174 CONCLUSION ............................................................................................... 189 APPENDIX ...................................................................................................... 197 Poetry and Song .................................................................... 197 WORKS CITED................................................................................................ 214 BIBLIOGRAPHY .............................................................................................. 216 ix INTRODUCTION Black Ashkenaz and the Almost Promised Land is a project which reflects my interest in both Yiddish literature written in the United States and African American culture. My study can be viewed as an exploration of the literary and cultural convergence of Jewish Eastern European Yiddish-speaking immigrants and African Americans, in contact with one another for the very first time. This contact, in and on the pages of Yiddish writings, represents the genesis of the Black/Jewish discussion and dialogue in the United States. Traditionally, scholarship involving Jews and African Americans addresses their relationship in terms of their political and/or social alliance and the tension which inevitably comes with misunderstandings, miscommunication, and perhaps the realization of conflicting or competing goals. Whether the relationship perceived, invented or otherwise, pits them against each other or creates the notion of kinship, plays out in a narrative in which a great deal of investigation, exploration, and supposition has taken place. 1 In looking at Yiddish literature, specifically Yiddish poetry, I was struck by the number and kind of poems addressing African Americans and the representation of the Black experience in America. However, such connections between that experience and the Yiddish immigrant experience are typically overlooked by both African American and Yiddish critics. The implications of such literary connections in the American context, in terms of others writing others, offers multiple avenues of discussion, e.g. Jews writing Blackness as an experience vs. a color, or Blacks writing Jewishness as experiential and perceived in relationship to Biblical history, tradition, and the African continent. Thus, the concept of otherness becomes somehow governed by mutual intelligibility: Blacks and Jews as minority others able to translate, interpret, rewrite or, at the very least, understand each other’s otherness. My project first began with an interest in Yiddish literature, and more specifically, Yiddish poetry. I had come across poems in which African Americans were portrayed and became interested in the way in which they were depicted. I went from a handful of oblique references to forty some poems specifically addressing African Americans. The fact that that Blacks were represented at all in Yiddish 2 poetry attests to the level of engagement and interest between them and immigrant Yiddish-speaking Jews. Prior to my decision to research representations of African Americans in Yiddish poetry, I spent a great deal of time and effort in assembling such poems. I had recognized that there was no anthology of poems strictly addressing the depiction of African Americans, neither were there any collections of poetry addressing people of color. There were, however, anthologies addressing the American experience, and whether in Yiddish or translated into English, such works included
Load more

Recommended publications
  • The Black Arts Enterprise and the Production of African American Poetry
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett.
    [Show full text]
  • The Harlem Renaissance
    THE HARLEM RENAISSANCE P&L 863-Rama Ndiaye[Type text] Page 1 Curriculum Development Project OVERVIEW The Harlem Renaissance was a period in which black intellectuals, poets, musicians and writers explored their cultural identity. In a society where racism was prevalent African Americans lacked economic opportunities. The creation of art, music and poetry was not only a way to economically uplift the race but also to demonstrate racial pride. The cultural movement started at the end of the First World War and ended in the middle of the Great Depression in the 1930s. Many argue that the War expanded economic opportunity in Northern cities because of industrialization and the decrease of European immigrants coming into the United States. The Great Migration in the beginning of the 20th century also played a big role in the birth of the cultural movement. African Americans in the South were experiencing social, cultural and economic oppression so when they found opportunities to escape Jim Crow laws they took their chances. The lack of a political voice and the prevalent racial hatred led many African Americans to express themselves via artistic means. Alain Locke, an African American writer, was the first to come up with the term “New Negro” talking about a spur of young black artist who were going to change the African American culture by demonstrating that their people were not subservient, good for nothing cretins. Other intellectuals such as W.E.B. Du Bois and James Weldon Johnson aided in the expansion of the movement by being spokespeople for the literary youth.
    [Show full text]
  • A History of American Civil War Literature Edited by Coleman Hutchison Frontmatter More Information
    Cambridge University Press 978-1-107-10972-8 - A History of American Civil War Literature Edited by Coleman Hutchison Frontmatter More information A HISTORY OF AMERICAN CIVIL WAR LITERATURE Th is book is the fi rst omnibus history of the literature of the American Civil War, the deadliest confl ict in U.S. history. A History of American Civil War Literature examines the way the war has been remembered and rewritten over time. Th is history incorporates new directions in Civil War historiography and cultural studies while giving equal attention to writings from both the northern and the southern states. Written by leading scholars in the fi eld, this book works to redefi ne the boundaries of American Civil War literature while posing a fundamental question: Why does this 150-year-old confl ict continue to capture the American imagination? Coleman Hutchison is an associate professor of English at Th e University of Texas at Austin, where he teaches courses in nineteenth-century U.S. literature and culture, bibliography and tex- tual studies, and poetry and poetics. He is the author of the fi rst literary history of the Civil War South, Apples and Ashes: Literature, Nationalism, and the Confederate States of America (2012) and the coauthor of Writing about American Literature: A Guide for Students (2014). Hutchison’s work has appeared in American Literary History, Common-Place, Comparative American Studies, CR: Th e New Centennial Review, Journal of American Studies, Th e Emily Dickinson Journal, PMLA , and Southern Spaces, among other venues.
    [Show full text]
  • Fighting Segregation, Teaching Multiculturalism: the Beginning of the Education/Instruccion Narrative of the 1970S Hartford Civil Rights Movement
    Trinity College Trinity College Digital Repository Papers and Publications Cities, Suburbs, and Schools Project 6-2010 Fighting Segregation, Teaching Multiculturalism: The Beginning of the Education/Instruccion Narrative of the 1970s Hartford Civil Rights Movement Jasmin Agosto Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/cssp_papers Part of the Education Commons Recommended Citation Agosto, Jasmin. “Fighting Segregation, Teaching Multiculturalism: The Beginning of the Education/ Instruccion Narrative of the 1970s Hartford Civil Rights Movement”. Educational Studies Senior Research Project, Hartford, Connecticut: Trinity College, 2010. Available from the Trinity College Digital Repository, Hartford, Connecticut (http://digitalrepository.trincoll.edu) FIGHTING SEGREGATION, TEACHING MULTICULTURALISM: The Beginning of the Education/Instrucción Narrative of the 1970s Hartford Civil Rights Movement REVISED June 8, 2010 Investigated by Aspiring Local Historian Jasmin E. Agosto For Educational Studies Senior Research Seminar Trinity College, Hartford, CT Fall/Spring 2009-10 PLEASE SEND COMMENTS to author at [email protected] Or Jasmin Agosto,39 Arnold Street, Hartford, CT 06106 WEB OF POWER: MAPPING INSTITUTIONAL RACISM The year was 1970. Three eager individuals gathered in a small recently bought storefront office space at 1170 Albany Avenue1 in the North End of Hartford. They were focused. They were determined to deeply investigate, unearth, and eliminate institutional racism in the city of Hartford. The first step was this map of where it was at – locating power. They cut pieces of paper with lists of the Boards of Directors of all the major corporations in Hartford – the insurance companies, the banks, the real estate agencies. Gluing names on the wall they realized that names were repeated on Boards across companies.
    [Show full text]
  • Native American Literature: Remembrance, Renewal
    U.S. Society and Values, "Contemporary U.S. Literature: Multicultura...partment of State, International Information Programs, February 2000 NATIVE AMERICAN LITERATURE: REMEMBRANCE, RENEWAL By Geary Hobson In 1969, the fiction committee for the prestigious Pulitzer Prizes in literature awarded its annual honor to N. Scott Momaday, a young professor of English at Stanford University in California, for a book entitled House Made of Dawn. The fact that Momaday's novel dealt almost entirely with Native Americans did not escape the attention of the news media or of readers and scholars of contemporary literature. Neither did the author's Kiowa Indian background. As news articles pointed out, not since Oliver LaFarge received the same honor for Laughing Boy, exactly 40 years earlier, had a so-called "Indian" novel been so honored. But whereas LaFarge was a white man writing about Indians, Momaday was an Indian -- the first Native American Pulitzer laureate. That same year, 1969, another young writer, a Sioux attorney named Vine Deloria, Jr., published Custer Died For Your Sins, subtitled "an Indian Manifesto." It examined, incisively, U.S. attitudes at the time towards Native American matters, and appeared almost simultaneously with The American Indian Speaks, an anthology of writings by various promising young American Indians -- among them Simon J. Ortiz, James Welch, Phil George, Janet Campbell and Grey Cohoe, all of whom had been only fitfully published at that point. These developments that spurred renewed -- or new -- interest in contemporary Native American writing were accompanied by the appearance around that time of two works of general scholarship on the subject, Peter Farb's Man's Rise to Civilization (1968) and Dee Brown's Bury My Heart At Wounded Knee (1970).
    [Show full text]
  • The Semitic Component in Yiddish and Its Ideological Role in Yiddish Philology
    philological encounters � (�0�7) 368-387 brill.com/phen The Semitic Component in Yiddish and its Ideological Role in Yiddish Philology Tal Hever-Chybowski Paris Yiddish Center—Medem Library [email protected] Abstract The article discusses the ideological role played by the Semitic component in Yiddish in four major texts of Yiddish philology from the first half of the 20th century: Ysroel Haim Taviov’s “The Hebrew Elements of the Jargon” (1904); Ber Borochov’s “The Tasks of Yiddish Philology” (1913); Nokhem Shtif’s “The Social Differentiation of Yiddish: Hebrew Elements in the Language” (1929); and Max Weinreich’s “What Would Yiddish Have Been without Hebrew?” (1931). The article explores the ways in which these texts attribute various religious, national, psychological and class values to the Semitic com- ponent in Yiddish, while debating its ontological status and making prescriptive sug- gestions regarding its future. It argues that all four philologists set the Semitic component of Yiddish in service of their own ideological visions of Jewish linguistic, national and ethnic identity (Yiddishism, Hebraism, Soviet Socialism, etc.), thus blur- ring the boundaries between descriptive linguistics and ideologically engaged philology. Keywords Yiddish – loshn-koydesh – semitic philology – Hebraism – Yiddishism – dehebraization Yiddish, although written in the Hebrew alphabet, is predominantly Germanic in its linguistic structure and vocabulary.* It also possesses substantial Slavic * The comments of Yitskhok Niborski, Natalia Krynicka and of the anonymous reviewer have greatly improved this article, and I am deeply indebted to them for their help. © koninklijke brill nv, leiden, ���7 | doi �0.��63/�45�9�97-��Downloaded34003� from Brill.com09/23/2021 11:50:14AM via free access The Semitic Component In Yiddish 369 and Semitic elements, and shows some traces of the Romance languages.
    [Show full text]
  • Anti-Americanism and Popular Culture
    2005 Anti-Americanism and Popular Culture. Budapest: Center for Policy Studies Working Papers. 38 pp. <http://cps.ceu.hu/papers.php>. © Central European University The views in this report are the author's own and do not necessarily reflect those of the Center for Policy Studies, Central European University or the Open Society Institute. CENTER FOR POLICY STUDIES CENTRAL EUROPEAN UNIVERSITY Nádor utca 9 H–1051 Budapest, Hungary [email protected] http://www.ceu.hu/cps Toby Miller Tisch School of the Arts New York University 721 Broadway, 12th Floor, New York, NY 10003 [email protected] 2005 Typesetting • Tamás Dombos ANTI-AMERICANISM AND POPULAR CULTURE ^ CONTENTS 1. Introduction 5 2. Key Terms I: Anti-Americanism 7 3. Key Terms II: Popular Culture 8 4. Cultural Dominance 10 5. Role of the State 15 6. Opposition 20 7. Conclusion and Recommendations 25 7.1 Recommendations 26 3 ANTI-AMERICANISM AND POPULAR CULTURE ^ Here’s the rub: America is at war against people it doesn’t know, because they don’t appear much on TV. Arundhati Roy (2001) “I like taxis. I was never good at geography and I learn things by asking the drivers where they come from.” “They come from horror and despair.” “Yes, exactly. One learns about the countries where unrest is occurring by riding the taxis here.” Don DeLillo (2003: 16) The core of globalization is to achieve economic hegemony of a few rich states, the United States of America in particular, as well as the hegemony of Western consumer culture, threatening the peoples’ cultures, methods of living and spiritual values.
    [Show full text]
  • Bridging the “Great and Tragic Mekhitse”: Pre-War European
    לקט ייִ דישע שטודיעס הנט Jiddistik heute Yiddish Studies Today לקט Der vorliegende Sammelband eröffnet eine neue Reihe wissenschaftli- cher Studien zur Jiddistik sowie philolo- gischer Editionen und Studienausgaben jiddischer Literatur. Jiddisch, Englisch und Deutsch stehen als Publikationsspra- chen gleichberechtigt nebeneinander. Leket erscheint anlässlich des xv. Sym posiums für Jiddische Studien in Deutschland, ein im Jahre 1998 von Erika Timm und Marion Aptroot als für das in Deutschland noch junge Fach Jiddistik und dessen interdisziplinären אָ רשונג אויסגאַבעס און ייִדיש אויסגאַבעס און אָ רשונג Umfeld ins Leben gerufenes Forum. Die im Band versammelten 32 Essays zur jiddischen Literatur-, Sprach- und Kul- turwissenschaft von Autoren aus Europa, den usa, Kanada und Israel vermitteln ein Bild von der Lebendigkeit und Viel- falt jiddistischer Forschung heute. Yiddish & Research Editions ISBN 978-3-943460-09-4 Jiddistik Jiddistik & Forschung Edition 9 783943 460094 ִיידיש ַאויסגאבעס און ָ ארשונג Jiddistik Edition & Forschung Yiddish Editions & Research Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Band 1 לקט ִיידישע שטודיעס ַהנט Jiddistik heute Yiddish Studies Today Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Yidish : oysgabes un forshung Jiddistik : Edition & Forschung Yiddish : Editions & Research Herausgegeben von Marion Aptroot, Efrat Gal-Ed, Roland Gruschka und Simon Neuberg Band 1 Leket : yidishe shtudyes haynt Leket : Jiddistik heute Leket : Yiddish Studies Today Bibliografijische Information Der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliografijie ; detaillierte bibliografijische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © düsseldorf university press, Düsseldorf 2012 Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urhe- berrechtlich geschützt.
    [Show full text]
  • JUL 15 and the History of YIVO CECILE KUZNITZ | Delivered in English
    MONDAY The Rise of Yiddish Scholarship JUL 15 and the History of YIVO CECILE KUZNITZ | Delivered in English As Jewish activists sought to build a modern, secular culture in the late nineteenth century they stressed the need to conduct research in and about Yiddish, the traditionally denigrated vernacular of European Jewry. By documenting and developing Yiddish and its culture, they hoped to win respect for the language and rights for its speakers as a national minority group. The Yidisher visnshaftlekher institut [Yiddish Scientific Institute], known by its acronym YIVO, was founded in 1925 as the first organization dedicated to Yiddish scholarship. Throughout its history, YIVO balanced its mission both to pursue academic research and to respond to the needs of the folk, the masses of ordinary Yiddish- speaking Jews. This talk will explore the origins of Yiddish scholarship and why YIVO’s work was seen as crucial to constructing a modern Jewish identity in the Diaspora. Cecile Kuznitz is Associate Professor of Jewish history and Director of Jewish Studies at Bard College. She received her Ph.D. in modern Jewish history from Stanford University and previously taught at Georgetown University. She has held fellowships at the US Holocaust Memorial Museum, the Oxford Centre for Hebrew and Jewish Studies, and the Center for Advanced Judaic Studies at the University of Pennsylvania. In summer 2013 she was a Visiting Scholar at Vilnius University. She is the author of several articles on the history of the YIVO Institute for Jewish Research, the Jewish community of Vilna, and the field of Yiddish Studies. English-Language Bibliography of Recent Works on Yiddish Studies CECILE KUZNITZ Baker, Zachary M.
    [Show full text]
  • Th Trsformtion of Contmpora Orthodoxy
    lïayr. Soloveitchik Haym Soloveitchik teaches Jewish history and thought in the Bernard Revel Graduate School and Stern College for Woman at Yeshiva University. RUP AN RECONSTRUCTION: TH TRSFORMTION OF CONTMPORA ORTHODOXY have occurred within my lifetime in the comniunity in which This essayI live. is The an orthodoxyattempt to in understand which I, and the other developments people my age,that were raised scarcely exists anymore. This change is often described as "the swing to the Right." In one sense, this is an accurate descrip- tion. Many practices, especially the new rigor in religious observance now current among the younger modern orthodox community, did indeed originate in what is called "the Right." Yet, in another sense, the description seems a misnomer. A generation ago, two things pri- marily separated modern Orthodoxy from, what was then called, "ultra-Orthodoxy" or "the Right." First, the attitude to Western culture, that is, secular education; second, the relation to political nationalism, i.e Zionism and the state of IsraeL. Little, however, has changed in these areas. Modern Orthodoxy stil attends college, albeit with somewhat less enthusiasm than before, and is more strongly Zionist than ever. The "ultra-orthodox," or what is now called the "haredi,"l camp is stil opposed to higher secular educa- tion, though the form that the opposition now takes has local nuance. In Israel, the opposition remains total; in America, the utili- ty, even the necessity of a college degree is conceded by most, and various arrangements are made to enable many haredi youths to obtain it. However, the value of a secular education, of Western cul- ture generally, is still denigrated.
    [Show full text]
  • The Ethics of Eating Animals in Tudor and Stuart Theaters
    ABSTRACT Title of dissertation: THE ETHICS OF EATING ANIMALS IN TUDOR AND STUART THEATERS Rob Wakeman, Doctor of Philosophy, 2016 Dissertation directed by: Professors Theresa Coletti and Theodore B. Leinwand Department of English, University of Maryland A pressing challenge for the study of animal ethics in early modern literature is the very breadth of the category “animal,” which occludes the distinct ecological and economic roles of different species. Understanding the significance of deer to a hunter as distinct from the meaning of swine for a London pork vendor requires a historical investigation into humans’ ecological and cultural relationships with individual animals. For the constituents of England’s agricultural networks – shepherds, butchers, fishwives, eaters at tables high and low – animals matter differently. While recent scholarship on food and animal ethics often emphasizes ecological reciprocation, I insist that this mutualism is always out of balance, both across and within species lines. Focusing on drama by William Shakespeare, Ben Jonson, and the anonymous authors of late medieval biblical plays, my research investigates how sixteenth-century theaters use food animals to mediate and negotiate the complexities of a changing meat economy. On the English stage, playwrights use food animals to impress the ethico-political implications of land enclosure, forest emparkment, the search for new fisheries, and air and water pollution from urban slaughterhouses and markets. Concurrent developments in animal husbandry and theatrical production in the period thus led to new ideas about emplacement, embodiment, and the ethics of interspecies interdependence. THE ETHICS OF EATING ANIMALS IN TUDOR AND STUART THEATERS by Rob Wakeman Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Advisory Committee: Professor Theresa Coletti, Co-Chair Professor Theodore B.
    [Show full text]
  • Frank O'hara's Oranges : Poetry, Painters and Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2001 Frank O'Hara's oranges : poetry, painters and painting. Karen Ware 1973- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ware, Karen 1973-, "Frank O'Hara's oranges : poetry, painters and painting." (2001). Electronic Theses and Dissertations. Paper 1531. https://doi.org/10.18297/etd/1531 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky August 2001 FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Approved on by the following Reading Committee: Thesis MrectO'r 11 DEDICATION This thesis is dedicated to Clare Pearce, because I promised, and to Kyle, through all things. III ACKNOWLEDGMENTS Many amazing individuals have taken a seat in the roller coaster construction of this long-awaited project.
    [Show full text]