The Rise of Modern Yiddish Culture explores the transformation of Yiddish from a low-status vernacular to the medium of a complex modern culture. David Fishman examines the efforts of East European Jews to establish their linguistic distinctiveness as part of their struggle for national survival in the diaspora. Fishman considers the roots of modern Yiddish culture in social and political conditions in Imperial Tsarist and inter-war Poland, and its relationship to Zionism and Bundism. In so doing, Fishman argues that Yiddish culture enveloped all socioeconomic classes, not just the proletarian base, and considers the emergence, at the turn of the century, of a pro-Yiddish intelligentsia and a Yiddishist movement.As Fishman points out, the rise of Yiddishism was not without controversy. Some believed that the rise of Yiddish represented a shift away from a religious-dominated culture to a completely secular, European one; a Jewish nation held together by language, rather than by land or religious content. Others hoped that Yiddish culture would inherit the moral and national values of the Jewish religious tradition, and that to achieve this result, the Bible and Midrash would need to exist in modern Yiddish translation. Modern Yiddish culture developed in the midst of these opposing concepts.Fishman follows the rise of the culture to its apex, the founding of the Yiddish Scientific Institute (YIVO) in Vilna in 1925, and concludes with the dramatic story of the individual efforts that preserved the books and papers of YIVO during the destruction and annihilation of World War II and in postwar Soviet Lithuania. The Rise of Modern Yiddish Culture, like those efforts, preserves the cultural heritage of east European Jews with thorough research and fresh insights.

The phenomenal rise of Yiddish language and culture is one of the most interesting and colorful sagas of modern Jewish history. In this significant book, Dr. Goldsmith relates the growth of Yiddish to the explosion of Jewish literature, the surge of Zionism, and the popularity of Socialism that impacted upon the Jews of Europe, America, and Israel. Including a study of the major personalities associated with the first Yiddish Language Conference (1908, ) this is the first comprehensive work to explore a movement that affected the lives of millions of Jews before the Holocaust and continues to influence Jewish life throughout the world.

The vast majority of intellectual, religious, and national developments in modern Judaism revolve around the central idea of "Jewish culture." This book is the first synoptic view of these developments that organizes and relates them from this vantage point. The first Jewish modernization movements perceived culture as the defining trait of the outside alien social environment to which Jewry had to adapt. To be "cultured" was to be modern-European, as opposed to medieval-ghetto-Jewish. In short order, however, the Jewish religious legacy was redefined retrospectively as a historical "culture," with fateful consequences for the conception of Judaism as a human and not only a divinely mandated regime. The conception of Judaism-as-culture took two main forms: an integrative, vernacular Jewish culture that developed in tandem with the integration of Jews into the various nations of western-central Europe and America, and a national Hebrew culture which, though open to the inputs of modern European society, sought to develop a revitalized Jewish national identity that ultimately found expression in the revival of the Jewish homeland and the State of Israel. This is a large, complex story in which the author describes the contributions of Mendelssohn, Wessely, Krochmal, Zunz, the mainstream Zionist thinkers (especially Ahad Ha-Am, Bialik, and A.D. Gordon), Kook, Kaplan, and Dubnow to the formulation of the various versions of the modern Jewish cultural ideal.

At the beginning of the twentieth century, Yiddish was widely viewed, even by many of its speakers, as a corrupt form of German that Jews had to abandon if they hoped to engage in serious intellectual, cultural, or political work. Yet, by 1917, it was the dominant language of the Russian Jewish press, a medium for modern literary criticism, a vehicle for science and learning, and the foundation of an ideology of Jewish liberation. Challenging many longstanding historical conceptions about the founding of modern Yiddish, The Revolutionary Roots of Yiddish Scholarship, 1903-1917 investigates the origins of contemporary Yiddish scholarship. Trachtenberg reveals how, following the model set by other nationalist movements that were developing in the Russian empire, one-time revolutionaries such as the literary critic Shmuel Niger, the Marxist Zionist leader Ber Borochov, and the linguist Nokhem Shtif, dedicated themselves to the creation of a new branch of Jewish scholarship dedicated to their native language. The new “Yiddish science” was concerned with the tasks of standardizing Yiddish grammar, orthography, and word corpus, establishing a Yiddish literary tradition, exploring Jewish folk traditions, and creating an institutional structure to support their language's development. In doing so, the author argues, they hoped to reimagine Russian Jewry as a modern nation with a mature language and culture, and which deserved the same collective rights and autonomy that were being demanded by other nations in the empire.

This book is the first history of YIVO, an important center for Jewish culture and politics in the early twentieth century.

Jewish Book Award Finalist: “Turns the fascinating life of Avrom Goldfaden into a multi-dimensional history of the Yiddish theater’s formative years.” —Jeffery Veidinger, author of Jewish Public Culture in the Late Russian Empire In this book, Alyssa Quint focuses on the early years of the modern Yiddish theater, from roughly 1876 to 1883, through the works of one of its best-known and most colorful figures, Avrom Goldfaden. Goldfaden (né Goldenfaden, 1840-1908) was one of the first playwrights to stage a commercially viable Yiddish-language theater, first in Romania and then in Russia. Goldfaden’s work was rapidly disseminated in print and his plays were performed frequently for Jewish audiences. Sholem Aleichem considered him as a forger of a new language that “breathed the European spirit into our old jargon.” Quint uses Goldfaden’s theatrical works as a way to understand the social life of Jewish theater in Imperial Russia. Through a study of his libretti, she looks at the experiences of Russian Jewish actors, male and female, to explore connections between culture as artistic production and culture in the sense of broader social structures. Quint explores how Jewish actors who played Goldfaden’s work on stage absorbed the theater into their everyday lives. Goldfaden’s theater gives a rich view into the conduct, ideology, religion, and politics of Jews during an important moment in the history of late Imperial Russia.

The Emergence of Modern Jewish Politics examines the political, social, and cultural dimensions of Zionism and Bundism, the two major political movements among East European Jews during the first half of the twentieth century.While Zionism achieved its primary aim—the founding of a Jewish state—the Jewish Labor Bund has not only practically disappeared, but its ideals of socialism and secular Jewishness based in the diaspora seem to have failed. Yet, as Zvi Gitelman and the various contributors to this volume argue, it was the Bund that more profoundly changed the structure of Jewish society, politics, and culture.In thirteen essays, prominent historians, political scientists, and professors of literature discuss the cultural and political contexts of these movements, their impact on Jewish life, and the reasons for the Bund's demise, and they question whether ethnic minorities are best served by highly ideological or solidly pragmatic movements.

Yiddish Paris explores how Yiddish-speaking emigrants from Eastern Europe in Paris in the 1920s and 1930s created a Yiddish diaspora nation in Western Europe and how they presented that nation to themselves and to others in France. In this meticulously researched and first full-length study of interwar Yiddish culture in France, author Nicholas Underwood argues that the emergence of a Yiddish Paris was depended on "culture makers," mostly left-wing Jews from Socialist and Communist backgrounds who created cultural and scholarly organizations and institutions, including the French branch of YIVO (a research institution focused on East European Jews), theater troupes, choruses, and a pavilion at the Paris World's Fair of 1937. Yiddish Paris examines how these left-wing Yiddish-speaking Jews insisted that even in France, a country known for demanding the assimilation of immigrant and minority groups, they could remain a distinct group, part of a transnational Yiddish-speaking Jewish nation. Yet, in the process, they in fact created a French-inflected version of Jewish diaspora nationalism, finding allies among French intellectuals, largely on the left.

Collects leading scholars' insight on the plays, production, music, audiences, and political and aesthetic concerns of modern Yiddish theater. While Yiddish theater is best known as popular entertainment, it has been shaped by its creators' responses to changing social and political conditions. Inventing the Modern Yiddish Stage: Essays in Drama, Performance, and Show Business showcases the diversity of modern Yiddish theater by focusing on the relentless and far-ranging capacity of its performers, producers, critics, and audiences for self-invention. Editors Joel Berkowitz and Barbara Henry have assembled essays from leading scholars that trace the roots of modern Yiddish drama and performance in nineteenth-century Eastern Europe and span a century and a half and three continents, beyond the heyday of a Yiddish stage that was nearly eradicated by the Holocaust, to its post-war life in Western Europe and Israel. Each chapter takes its own distinct approach to its subject and is accompanied by an appendix consisting of primary material, much of it available in English translation for the first time, to enrich readers' appreciation of the issues explored and also to serve as supplementary classroom texts. Chapters explore Yiddish theater across a broad geographical span--from Poland and Russia to France, the United States, Argentina, and Israel and Palestine. Readers will spend time with notable individuals and troupes; meet creators, critics, and audiences; sample different dramatic genres; and learn about issues that preoccupied both artists and audiences. The final section presents an extensive bibliography of book-length works and scholarly articles on Yiddish drama and theater, the most comprehensive resource of its kind. Collectively these essays illuminate the modern Yiddish stage as a phenomenon that was constantly reinventing itself and simultaneously examining and questioning that very process. Scholars of Jewish performance and those interested in theater history will appreciate this wide-ranging volume.