000			03554nam a22003977a 4500
001			sulb-eb0012016
003			BD-SySUS
005			20160404144804.0
008			130516s2013 nyu o 00 0 eng d
020			_a9780823255092
020			_z9780823255061 (hardback)
020			_z0823255069
040			_aMdBmJHUP _cMdBmJHUP
050	0	0	_aNX456.5.M64 _bL48 2013
082	0	0	_a700/.4112 _223
100	1		_aLevi, Neil Jonathan, _d1967-
245	1	0	_aModernist form and the myth of Jewification _h[electronic resource] / _cNeil Levi.
250			_aFirst edition.
260			_aNew York : _bFordham University Press, _c2013. _e(Baltimore, Md. : _fProject MUSE, _g2015)
300			_a1 online resource (pages cm)
504			_aIncludes bibliographical references and index.
505	8		_aMachine generated contents note: -- Acknowledgments -- Introduction: Phobic Reading, Modernist Form, and the Figure of the Antisemite -- Part I: Modernist Form as Judaization -- 1. Genealogies: Judaization, Wagner, Nordau -- 2. Jews, Art, and History: The Nazi Exhibition of "Degenerate Art" as Historicopolitical Spectacle -- 3. Fanatical Abstraction: Wyndham Lewis's Critique of Modernist Form as Judaization in Time and Western Man -- Part II: Modernist Form and the Antisemitic Imagination -- 4. Straw Men: Projection, Personification, and Narrative Form in Ulysses -- 5. Images of the Bilderverbot: Adorno, Antisemitism, and the Enemies of Modernism -- 6. The Labor of Late Modernist Poetics: Beckett after Celine -- Notes -- Bibliography -- Index.
520			_a"This book argues that the antisemitic interpretation of modernist form as a symptom of a mobile, contagious Jewish spirit needs to be treated as integral to the history of European modernism. The notion of modernist form as Jewified lies at the heart of both a certain modernism's hostile reception, and its self-conception"-- _cProvided by publisher.
520			_a"Why were modernist works of art, literature, and music that were neither by nor about Jews nevertheless interpreted as Jewish? In this book, Neil Levi explores how the antisemitic fantasy of a mobile, dangerous, contagious Jewish spirit unfolds in the antimodernist polemics of Richard Wagner, Max Nordau, Wyndham Lewis, and Louis-Ferdinand Celine, reaching its apotheosis in the notorious 1937 Nazi exhibition "Degenerate Art." Levi then turns to James Joyce, Theodor W. Adorno, and Samuel Beckett, offering radical new interpretations of these modernist authors to show how each presents his own poetics as a self-conscious departure from the modern antisemitic imaginary. Levi claims that, just as antisemites once feared their own contamination by a mobile, polluting Jewish spirit, so too much of postwar thought remains governed by the fear that it might be contaminated by the spirit of antisemitism. Thus he argues for the need to confront and work through our own fantasies and projections not only about the figure of the Jew but also about that of the antisemite"-- _cProvided by publisher.
588			_aDescription based on print version record.
650		7	_aPHILOSOPHY / Aesthetics. _2bisacsh
650		7	_aLITERARY CRITICISM / European / German. _2bisacsh
650		7	_aRELIGION / Judaism / History. _2bisacsh
650		0	_aAntisemitism.
650		0	_aArt criticism.
650		0	_aModernism (Art)
655		7	_aElectronic books. _2local
710	2		_aProject Muse.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/books/9780823255092/
942			_2Dewey Decimal Classification _ceBooks
999			_c33307 _d33307