This volume is designed to assist university faculty and students studying and teaching about antisemitism, racism, and other forms of prejudice. In contrast with similar volumes, it is organized around specific concepts instead of chronology or geography. It promotes conversation about antisemitism across disciplinary, geographic, and thematic lines rather than privileging a single methodological paradigm, a specific academic field, or an overarching narrative. Its twenty-one chapters by leading scholars in diverse fields address the relationship to antisemitism of concepts ranging from Anti-Judaism to Zionism. Each chapter not only traces the history and major scholarly debates around a key concept; it also presents an original argument, points to avenues for further research, and exemplifies a method of investigation.

In Beyond Chutzpah, Norman Finkelstein moves from an iconoclastic interrogation of the new anti-Semitism to a meticulously researched expos of the corruption of scholarship on the Israel-Palestine conflict, especially in the work of Alan Dershowitz. Pointing to a consensus among historians and human rights organizations on the factual record, Finkelstein argues that so much controversy continues to swirl around the conflict because apologists for Israel contrive it. This paperback edition includes a new preface examining recent developments in the Israel-Palestine conflict and the misuse of anti-semitism, and a new chapter analysing the controversy surrounding Israel's construction of the West Bank wall.

No-one doubts that Gustav Mahler's tenure at the Vienna Court Opera from 1897-1907 was made extremely unpleasant by the antisemitic press. The great biographer, Henry-Louis de La Grange, acknowledges that 'it must be said that antisemitism was a permanent feature of Viennese life'. Unfortunately, the focus on blatant references to Jewishness has obscured the extent to which 'ordinary' attitudes about Jewish difference were prevalent and pervasive, yet subtle and covert. The context has been lost wherein such coded references to Jewishness would have been immediately recognized and understood. By painstakingly reconstructing 'the language of antisemitism', Knittel recreates what Mahler's audiences expected, saw, and heard, given the biases and beliefs of turn-of-the-century Vienna. Using newspaper reviews, cartoons and memoirs, Knittel eschews focusing on hostile discussions and overt attacks in themselves, rather revealing how and to what extent authors call attention to Mahler's Jewishness with more subtle language. She specifically examines the reviews of Mahler's Viennese symphonic premieres for their resonance with that language as codified by Richard Wagner, though not invented by him. An entire chapter is also devoted to the Viennese premieres of Richard Strauss's tone poems, as a proof text against which the reviews of Mahler can also be read and understood. Accepting how deeply embedded this way of thinking was, not just for critics but for the general population, certainly does not imply that one can find antisemitism under every stone. What Knittel suggests, ultimately, is that much of early criticism was unease rather than 'objective' reactions to Mahler's music - a new perspective that allows for a re-evaluation of what makes his music unique, thought-provoking and valuable.