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Curious Daughters: Language, Literacy, and Jewish Female Desire in German and Yiddish Literature from 1793 to 1916

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Curious Daughters: Language, Literacy, and Jewish Female Desire in German and Yiddish Literature from 1793 to 1916 CURIOUS DAUGHTERS: LANGUAGE, LITERACY, AND JEWISH FEMALE DESIRE IN GERMAN AND YIDDISH LITERATURE FROM 1793 TO 1916 Lea H. Greenberg A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Carolina- Duke Graduate Program in German Studies. Chapel Hill 2021 Approved by: Ruth von Bernuth Eric Downing Stefani Engelstein Kata Gellen Jeffrey Grossman ©2021 Lea H. Greenberg ALL RIGHTS RESERVED ii ABSTRACT Lea H. Greenberg: Curious Daughters: Language, Literacy, and Jewish Female Desire in German and Yiddish Literature from 1793 to 1916 (Under the direction of Ruth von Bernuth) This dissertation examines the interplay of language politics and romantic politics in German and Yiddish literature confronting the challenges faced by Judaism in the long nineteenth century. The project brings into dialogue both German and Yiddish texts, from West Yiddish farces to the literature of a new German Jewish elite to the popular stories of Tevye the Dairyman. This diverse body of literature uses a concern with the sexual purity and loyalty of the Jewish daughter to encode anxieties toward Jewish assimilation into the non-Jewish world. Yet these works also share another layer of the daughter’s subversion: an act of rebellion in the form of a linguistic or cultural departure from tradition. Each of these texts depicts how the Jewish daughter’s adoption of European language and literacy operates in conjunction with her romantic transgressions. I read these works in conversation with the gendered discourse on Jewish language and the history of Jewish women in Europe; these dynamics create a framework for understanding an ambivalence toward new modes of Jewish life. By bearing the onus as cultural gatekeeper, the daughter figure blurs the lines between religious and social categories or explodes these dichotomies altogether. iii Dedicated to the memory of Jonathan M. Hess iv ACKNOWLEDGEMENTS I have been fortunate to have numerous exceptional and compassionate mentors in the Carolina- Duke Program. I am so grateful to have worked under the direction of both Ruth von Bernuth and Jonathan Hess, of blessed memory. Thank you to Ruth for your feedback, creativity, quick- thinking, humor, and kindness. Thank you for helping me tread paths in Jewish Studies and beyond, and for your enormous generosity and patience even in the most challenging of circumstances. We are heartbroken to have lost Jonathan, who is still a mentor of this dissertation if not on paper. I cherish everything that I learned from him and continue to learn from his work and character today. And for their unwavering support and clear insight, I am indebted to the members of my committee, Eric Downing, Stefani Engelstein, Kata Gellen, and Jeff Grossman. Thank you also to Andrea Cooper and Naomi Seidman for our fruitful conversations. It takes a village to raise a Ph.D., and I would like to thank the Carolina-Duke community for their efforts in doing so. In particular, thank you to Tin Wegel for her humor and honesty. Thank you to fellow graduate students who became dear friends: BethAnne Dorn, Natasza Gawlick, Emma Goehler, Annegret Oehme, Josh Shelly, Isabelle Wegmüller, and Leonie Wilms, to name a few. I am grateful for the generous financial support for my research from the Royster Society of Fellows, the Duke Center for Jewish Studies, the Carolina Center for Jewish Studies, the Council for European Studies, the Kenan Institute for Ethics, the Duke Graduate School, and the Berlin Program for Advanced German and European Studies. My final year was supported by v the Mellon/ACLS Dissertation Completion Fellowship from the American Council of Learned Societies. Thank you to my sweet friends who keep me afloat in North Carolina and in Berlin: Cara, Émilie, Lina, Megan, Miranda, Patrick, Rosa, and Susannah are among them. All of my love and gratitude goes to Leendert, who reminds me to be more patient and to read more books in hardcopy, and to my parents, Marta and Marc, who have always encouraged me to be a curious daughter. vi TABLE OF CONTENTS INTRODUCTION………………………………………………………………………………...1 I. On Relationships: German and Yiddish, German and Jewish, Christians and Jews…………………………………………………………………….….5 II. On Daughters…………………………………………………………………...……..10 III. On Gender and Jewish Language…………………………………..…………….….15 IV. Reading as Rebellion…………………………………..………………………...…..21 V. Defining Modernity..…………..…………………………………………………...…24 VI. The Daughters Ahead………………..………………………………………………27 VII. A Note on Transliteration and Translation…………………………………………31 CHAPTER 1: STAGING THEATRICAL AND LINGUISTIC ADAPTATION IN YIDDISH THEATER OF THE BERLIN HASKALAH…………………………………….33 I. Introduction………………………………………………………………………..…..33 II. The Haskalah and the Politics of Language……...…………………………………...39 III. Halle-Wolfssohn’s Laykhtzin un fremelay………..……………………………….…44 IV. Euchel’s Reb Henoch…..………………………………………………………….…66 CHAPTER 2: BILDUNG AND FAILED CONVERSION IN FANNY LEWALD’S JENNY (1843)………………………………………………………...….81 I. Introduction……………………………………………………………………………81 . II. Fanny Lewald’s Jenny……………………………………………...…………………84 III. Verbürgerlichung in the Meier Family and the Role of Bildung………..………...…89 IV. Literature as a Space of Subversive Desire…………….………………………......101 vii V. An Attempted Conversion Narrative……...………………………………….……..106 VI. Literature as a Space of Denial……..……………………………………………....121 CHAPTER 3: LEOPOLD KOMPERT’S LOST DAUGHTERS………...………………….…129 I. Introduction………..……………………………………………………………........129 II. “Eine Verlorene”…………………………………………………………………….138 III. “Die Jahrzeit”……..…………………………………………………………….…..158 IV. Conclusion………………..…………………………………………….…………..172 CHAPTER 4: LESESUCHT AND HALBE BILDUNG IN KARL EMIL FRANZOS’S GHETTO FICTION……………………………………...………175 I. Introduction………………………………………………………………………..…175 II. The Daughter in the Precarious In-Between……………………………………...…182 III. “Der Shylock von Barnow”……..………………………………………………….184 IV. The Problem of Lesesucht……….…………………………………………...…….188 V. “Die halbe Bildung” and Reading Shakespeare………………………...……...……196 VI. The Stakes and Containment of Female Appetite……………………….…………206 VII. The Stakes of Male Learning and the Problem of the Uncle………………….…..211 VIII. Conclusion…………………...…………………………………...…………...….216 CHAPTER 5: FINDING TEVYE’S DAUGHTERS……………………………………..….…219 I. Introduction………………………………………………….……………………….219 II. The Tasks of Writing in Yiddish and of Writing Tevye ……..……………....……..223 III. Khave: The “First” Rebellious Daughter….…………………………….…...……..233 IV. Tevye’s Confession………..…..…………………..………………………...……..246 V. “Tevye’s daughters know how to talk”……..…………………………..…….……..252 VI. Conclusion………..……………………………………...…………...……...……..259 viii CONCLUSION………………………………………………………………………………....262 WORKS CITED……………..………………………………………………………………....268 ix INTRODUCTION In the spring of 2020, a large portion of the Netflix-viewing audience—held captive at home due to a pandemic—was captivated by the story of a curious daughter who leaves the Hasidic community and her new marriage in Brooklyn to begin a secular life in Berlin.1 During a time when housebound viewers were all the more susceptible to new forms of escapism, the online streaming platform released the miniseries adaptation of Deborah Feldman’s 2012 autobiography Unorthodox: The Scandalous Rejection of My Hasidic Roots.2 Both the memoir and its adaptation follow a rebellious Jewish daughter whose parents, like her, did not adhere to the norms of the ultra-orthodox community. Her parents are both outsiders to a degree (a mother from England who later leaves the fold and a father dealing with mental health issues), but she is kept anchored in Jewish tradition by the generation before, raised primarily by her grandmother. This daughter makes the break with orthodoxy that was eschewed or delayed for her father and mother, respectively, and attempts to rebuild a secular life of her own shortly after she acquiesces to an arranged marriage. The series Unorthodox gained global popularity as well as a hefty amount of criticism. Among its shortcomings was a trafficking in simple hero and villain tropes, in which the traditional, Hasidic world was bad, grey, and heartless, and the secular world of Berlin was good and welcoming, all drenched in bright golden hues. The series portrays the protagonist Esty’s 1 Maria Schrader, Unorthodox, Miniseries (Netflix, 2020). 2 Deborah Feldman, Unorthodox: The Scandalous Rejection of My Hasidic Roots (New York: Simon and Schuster, 2012). 1 abrupt entry into the secular world—and into the culture of partying and sexuality in Berlin no less—as relatively uncomplicated for a young woman who had spent her life in an insulated religious community. A more nuanced approach to this narrative might have accounted for the difficulties Esty would face deciphering the mores of young Berlin or reflected on the strength of ritual and familial ties in Brooklyn. Many of these critiques were articulated by members or former members of the Orthodox community such as Naomi Seidman and Frieda Vizel, who have both told their own OTD (off the derekh—that is, off the Orthodox path) stories publicly.3 The miniseries also departs from Feldman’s memoir in many ways, including the notable omission of Feldman’s intellectual rebellion as she secretly read secular literature—such as Pearl Abraham’s OTD novel The Romance Reader—and later enrolled in a writing program at Sarah Lawrence College. The contemporary works of Unorthodox
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