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Exemplary Bodies: Constructing the Jew in Russian Culture, Since the 1880S BORDERLINES: RUSSIAN and EAST EUROPEAN – JEWISH STUDIES

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Exemplary Bodies: Constructing the Jew in Russian Culture, Since the 1880S BORDERLINES: RUSSIAN and EAST EUROPEAN – JEWISH STUDIES Exemplary Bodies: Constructing the Jew in Russian Culture, since the 1880s BORDERLINES: RUSSIAN AND EAST EUROPEAN – JEWISH STUDIES Editorial board: Mikhail Krutikov (University of Michigan) Harriet Murav (University of Illinois, Urbana-Champaign), Series Editor Alice Nakhimovsky (Colgate University) David Shneer (University of Denver) Anna Shternshis (University of Toronto) Exemplary Bodies: Constructing the Jew in Russian Culture, since the 1880s by Henrietta Mondry Boston 2010 Library of Congress Cataloging-in-Publication Data Mondry, Henrietta. Exemplary Bodies : constructing the Jew in Russian culture since the 1880s / by Henrietta Mondry. p. cm.—(Borderlines: Russian and East European Jewish studies) Includes bibliographical references and index. ISBN 978-1-934843-39-0 (hardback) ISBN 978-1-618110-26-8 (electronic) 1. Jews in popular culture—Russia (Federation) 2. Human body in popular culture— Russia (Federation) 3. Body image—Social aspects—Russia (Federation) 4. Russian literature—History and criticism. 5. Russia (Federation)—Intellectual life. 6. Russia (Federation)—Ethnic relations. I. Title. DS134.83.M66 2009 305.892'4047—dc22 2009026734 Copyright © 2009 Academic Studies Press. All rights reserved Effective November 11th, 2016, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. On the cover: Marc Chagall. The Red Jew (a fragment). 1915 © 2010 Artists Rights Society (ARS), New York / ADAGP, Paris Cover design by Ivan Grave Published by Academic Studies Press in 2010 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com “In a moment of tenderness my wife tells me that I look like a Viking, but it is flattery: another Jew, Kirk Douglas, plays Vikings in Hollywood” Alexander Melikhov. The Confession of a Jew. 2004. Acknowledgements I am indebted to several colleagues and friends for special support and advice during the work on this book. My first thanks go to the series editors, Harriet Murav and Alice Nakhimovsky for their invaluable comments on the content of the book and numerous points of detail. I am particularly grateful to Igor Nemirovsky for his unfailing support of my work. I greatly appreciate advice given to me by Sander Gilman, Elena Katz, and the late Joseph Sherman at various stages of this project. I acknowledge with gratitude the constant encouragement of my colleagues Alexandra Smith and Evgeny Pavlov. Special thanks are due to Sally Blundell and John Goodliffe for their editorial support in preparation of this book. The Skirball Fellowship at the Oxford Centre for Hebrew and Jewish Studies and the financial support of the University of Canterbury’s Oxford Exchange Fellowship helped me to conduct research at Oxford libraries and exchange ideas with colleagues at Oxford University. 66 A Note on Transliteration In transliterating Russian, I have used the Library of Congress system, except for personal names commonly appearing in English, such as “Leo Tolstoy” and “Alexander Nevsky.” In bibliographical references, however, I have used the conventional transliteration of personal names. 7 Contents Acknowledgements ...................................................................................................6 A Note on Transliteration...........................................................................................7 List of Illustrations ....................................................................................................9 Introduction ..............................................................................................................11 Chapter 1: Russian Anthropological and Biological Sciences and Jewish “Race,” 1860s-1930 ..................................................................................29 Chapter 2: Stereotypes of Pathology: The Medicalization of the Jewish Body by Anton Chekhov, 1880s ........................................................41 Chapter 3: Carnal Jews of the Fin-de-Siècle: Vasily Rozanov, the Jewish Body, and Incest .................................................................................64 Chapter 4: Ilya Ehrenburg and His Picaresque Jewish Bodies of the 1920s ..........88 Chapter 5: Criminal Bodies and Love of The Yellow Metal: The Jewish Male and Stalinist Culture, 1930s-1950s .........................................124 Chapter 6: Sadists’ Bodies of the Anti-Zionist Campaign Era: 1960s-1970s .......147 Chapter 7: Glasnost and the Uncensored Sexed Body of the Jew ........................168 Chapter 8: The Repatriated Body: A Russian Jewish Woman Writer in Israel, or the Corporeal Fantasy of Dina Rubina, 1990s to the Present ........................188 Chapter 9: The Jewish Patient: Alexander Goldstein and the Postmodern Russian Jewish Body in Israel, 2000s ......................................208 Chapter 10: The “Real” Jewish Bodies of Oligarchs: Important Jewish Personalities and Post-Soviet Corporophobia ......................232 Chapter 11: The Post-Soviet Assault on the Jew’s Body: The New Racial Science ....................................................................................244 Conclusion ............................................................................................................271 Bibliography .........................................................................................................277 Index of Names .....................................................................................................293 Index of Subjects ..................................................................................................298 9 List of Illustrations Afanasy Fet. Photograph in the 1860s. .......................................................25 Afanasy Fet. Photograph from 1891. ...........................................................26 Afanasy Fet. Drawing by E.S. Selivacheva Superimposed on Fet's Handwriting. .................................................................................27 Ilya Repin's Portrait of Afanasy Fet (1881). ...............................................28 Ehrenburg's Portrait by Adolf Hoffmeister (1927). ..................................122 White Army Propaganda Poster of Trotsky (1919). .................................123 Stills from "Seekers of Happiness" (1936). ..............................................145 “Medical Examination in Birobidzhan” (1934). .......................................146 “The First Surgical Operation” (1963). ....................................................165 “Ham Saw His Father's Nakedness” (1963). ............................................165 “Abraham Stretched Forth his Hand” (1963). ..........................................166 “The Lord Slew all the Firstborn in the Land of Egypt” (1963). ..............166 “Zionists Serving Fascists” (1963). ..........................................................167 10 Introduction “A Jew’s face is his passport” Vasily Rozanov. 1904.1 How does one recognize a Jew in Russia? What makes a Jew visible in Russia and its successor state, the Soviet Union? According to a famous Russian folk “witticism” a surname is not a real indicator of a person’s ethnic origins — one cannot, therefore, trust the identity document that states a person’s ethnicity. Such folk wisdom materialized in Russia in the proverb: “You beat a person on his mug, not on his passport,” implying that, to recognize a member of a different race, including a Jew, you must look to the physical characteristics written on that person’s face. This proverb, used in turn-of-the-century tsarist Russia, was popular in Soviet Russia and is still widely used in Russia today.2 But are Jews a different race? Do Russian Jews all look like a race apart from their Russian and quasi-Russian neighbors? The Case of Afanasy Fet There is an extraordinary case in the history of the Russian literary élite that encapsulates the subject of Jewish origins and the way in which Jewishness was seen to be reflected in the physical body. This case concerns the famous Russian poet Afanasy Fet (1820–1890).3 Born to a Russian father from the gentry class and a German-born mother whose first husband’s surname was Foeth or Voeth, Afanasy Fet was considered by his circle of friends to be Jewish. This circle included such major personalities as Ivan Turgenev and Leo Tolstoy, whose country estates were situated not far from the Fets’ property.4 The mystery surrounding the ethnic origins of Fet’s mother (née Carlotta Becker) and his biological father (Foeth or Voeth) has never been resolved, due to the lack of documentary evidence.5 Previous rumors claimed that the missing documents pertaining to the alleged “Jewish origins” of Fet’s mother were buried with Fet in accordance with his wishes.6 The mystery surrounding this saga did not prevent even the well-known skeptic Ilya 1111 Introduction Ehrenburg from accepting this rumor as evidence of Fet’s Jewish origins, and in his famous chronicle People, Years, Life (1960–1965), he confirmed that Fet was a Jew, repeating the story of the documents in Fet’s coffin.7 Fet’s contemporaries liked to discuss the story of Fet’s parents—how, during a military campaign, the Russian officer Shenshin met and fell in love with a beautiful Jewess who was married at the
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