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Double-Diaspora in the Literature and Film of Arab Jews

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Double-Diaspora in the Literature and Film of Arab Jews Double-Diaspora in the Literature and Film of Arab Jews Stephanie Schwartz Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the PhD degree in Classics and Religious Studies specializing in Canadian Studies Department of Classics and Religious Studies Faculty of Arts University of Ottawa © Stephanie Schwartz, Ottawa, Canada, 2012 i I dedicate this thesis to the memory of Fred Schwartz, Rebie Schwartz, Hymie Toulch and Harry Toulch. The intellectual and spiritual endeavor within was shaped, challenged, and enriched by your practical and loving examples in life and in passing. ii Abstract Inspired by the contrapuntal and relational critiques of Edward Said and Ella Shohat, this thesis conducts a comparative analysis of the literature and film of Arab Jews in order to deconstruct discourses on Jewish identity that privilege the dichotomies of Israel-diaspora and Arab-Jew. Sami Michael’s novel Refuge, Naim Kattan’s memoir Farewell, Babylon, Karin Albou’s film Little Jerusalem and b.h. Yael’s video documentary Fresh Blood: a Consideration of Belonging reveal the complexities and interconnections of Sephardic, Mizrahi and Arab Jewish experiences across multiple geographies that are often silenced under dominant Eurocentric, Ashkenazi or Zionist interpretations of Jewish history. Drawing from these texts, Jewish identity is explored through four philosophical themes: Jewish beginnings vs. origins, boundaries between Arab and Jew, the construction of Jewish identities in place and space, and, the concept of diaspora and the importance Jewish difference. As a double-diaspora, with the two poles of their identities seen as enemies in the ongoing conflict between Israel-Palestine, Arab Jews challenge the conception of a single Jewish nation, ethnicity, identity or culture. Jewishness can better be understood as a rhizome, a system without a centre and made of heterogeneous component, that is able to create, recreate and move through multiple territories, rather than ever settling in, or being confined to a single form that seeks to dominate over others. This dissertation contributes a unique theoretical reading of Jewish cultures in the plural, and includes an examination of lesser known Arab Jewish writing and experimental documentary in Canada in relation to Iraq, France and Israel. iii Acknowledgements I am grateful for the guidance and support of my co-supervisors at the University of Ottawa May Telmissany in the Department of Modern Languages and Emma Anderson in the Department of Religious Studies. To May, a constant source of inspiration and friendship throughout the past few years, who introduced me to the works of Deleuze and Guattari and Naim Kattan, shared her passion for Said, cinema, diaspora and, and in working with whom every project is an adventure and a pleasure, I am forever indebted. To Emma, who in addition to providing incredible feedback on the various incarnations of this project and being a beacon for how to navigate the academic highway, kept me smiling over the course of the work and encouraged me to really make it my own, I am also truly indebted. Without the generous support of the University of Ottawa Admission and Excellence Scholarships, and a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada (2008-2010) this research would not have been possible. I would also like to thank Agnes Meinhard, Director of The Centre for Voluntary Sector Studies at Ryerson University, Nahla Abdo in the Department of Sociology at Carleton University and May for each offering me the opportunity to work as a research assistant on their fascinating projects. In addition, thank you to Director of the Department of Religious Studies, Pierluigi Piovanelli for the opportunity to teach Religions of the World II at the University of Ottawa, and to Peter Sabor, Paul Yachnin and Trevor Ponech for allowing me to teach Theories of Difference and Poetics of the Image in the Department of English at McGill University. Thank you to all of my students and teaching assistants. I am sincerely obliged and appreciative of the intellectual challenges, comments and encouragements on this dissertation from Ella Shohat and especially for her pioneering work on Sephardic, Mizrahi and Arab Jews. I am also grateful for the comments and questions from Lori Beaman, Naomi Goldenberg and Peter Beyer. Thanks also to Pierluigi and Nahla who evaluated my comprehensive exams. Your knowledge and engagements have all truly enriched this project. The faculty and staff of the Department of Classics and Religious Studies have created an incredible environment for graduate research. In addition to the professors listed above I would like to acknowledge Theodore de Bryun for his warmth and willingness to answer a deluge of questions, Anne Valley, Rebecca Margolis and Pierre Anctil for helping shape the early ideas this thesis and the hard work and patience of the Department staff. My colleagues and friends have all influenced the ideas within (and kept me sane through the process). Thank you especially to Darryl Leroux, Shelly Nixon, Kathryn Carrière, Erica See, Joshua Ramisch, Shelly Colette, Alysse Rich, Ariella Meinhard, Graeme Lennon, Ilan Djivré, Lee Saliba, Sean Zio, Marie-Pierre Paquet, Bruno Daoust and to my friends and fellow grad students at UO. Thank you to David Koffman, Michele Byers, Sheryl Nestel, Randal Schnoor, The Association for Candian Jewish Studies and The Working Group on Jews/Multiculturalism/Canada. Thanks to the participants of the Edward Said discussion group, the Counterpoints conference and volume, to Walid El Khachab and to others who I’m sure I have forgotten to name. iv Sincerest love and thanks to my parents, Erica and Tarren, Josh, Bubi Mary, to my family and friends in Ottawa, Montreal, Toronto and Winnipeg. Thanks for sharing ideas, spare bedrooms and Shabbat dinners. Most importantly, I offer my great thanks and appreciation to b.h. Yael, Naim Kattan, Karin Albou and Sami Michael whose creative works continue to captivate and challenge me. v Table of Contents Abstract .................................................................................................................................. iii Introduction: History of the Mizrahim and the Concept of Arab Jew .......................... 1 Postcolonial Critique ............................................................................................................. 2 Mizrahim in Israeli History and Historiography ................................................................... 5 Mizrahi Resistance .............................................................................................................. 10 Sephardim, Mizrahim and the The Concept of Arab Jews ................................................. 13 Arab Jew as a Conceptual Tool ........................................................................................... 19 Critiques of the Concept of Arab Jew ................................................................................. 23 Methodology ....................................................................................................................... 26 Challenges and Limitations ................................................................................................. 29 The Four Research Sites ...................................................................................................... 30 1. Sami Michael’s Refuge ............................................................................................... 30 2. Naim Kattan’s Farewell, Babylon ............................................................................... 33 3. b.h. Yael’s Fresh Blood .............................................................................................. 37 4. Karin Albou’s Little Jerusalem ................................................................................... 40 Chapter One: Jewish Beginnings ............................................................................................. 44 Beginning in Babylon ......................................................................................................... 53 Beginning in Halakha ......................................................................................................... 62 Obstinate, Helpless Ido”: Beginning in Israel .................................................................... 69 Beginning as the Other ....................................................................................................... 75 Chapter Two: Arab and Jewish Boundaries ....................................................................... 82 Becoming-Enemy/Dancing on the Frontier ....................................................................... 88 Messy Boundaries and Orthodoxies: North Africans in Contemporary France .............. 100 1. Arabness and French North African Identity ............................................................ 101 2. French Republicanism and Minority Groups ............................................................ 102 3. The Position of North African Jews vis-à-vis Ashkenazi Jews in France ................ 106 4. Arab/Muslim and Jewish Boundaries in Postcolonial France ................................... 108 Lessons in Arab/Jewish/Muslim Boundaries from Baghdad ............................................ 111 He was and Arab, She was a Jew .....................................................................................
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