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" A rhetoric of image and word: "
F. Melfi
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Latin Dissertation
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| Language of Document
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English
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| Record Number
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1113258
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| Doc. No
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TLpq304347567
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| Main Entry
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F. Melfi
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| Title & Author
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A rhetoric of image and word:\ F. Melfi
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| College
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The Jewish Theological Seminary of America
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| Date
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1996
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| student score
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1996
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| Degree
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Ph.D.
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| Page No
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243
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| Abstract
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usdMilgroym/Rimonusd (1922-1924) was a bilingual, Yiddish/Hebrew modernist magazine of art and literature published in Berlin from 1922 to 1924 by the historian Mark Wischnitzer (1882-1955) and the art historian Rachel Wischnitzer-Bernstein (1885-1989). I argue that the central purpose of this magazine is tied to the Wischnitzers' critique of the Enlightenment dichotomy of light and darkness. This led them to construct the magazine as a place of neutrality and inclusivity for all Jewish artists and writers, regardless of the language they spoke, their geographical origins and their ideological allegiances. The goal of this study is to understand usdMilgroym/Rimonusd in the cultural milieu in which it appeared and to identify and analyse the multiple purposes of the two general editors, the Wischnitzers. This study demonstrates that Milgroym and Rimon constitute one magazine, usdMilgroym/Rimon.usd Failure to recognize this fact defeats all attempts to define the nature and scope of the magazine. This study further shows how usdMilgroym/Rimon,usd understood as a modern version of the traditional Jewish illuminated manuscript, consciously grew within the polysystem defined by Russian and German models, and that, finally, the editors championed strategies for realizing an all-inclusive form of secularism. The historical and intellectual origins of the Wischnitzers' project can be traced back to their personal careers, breadth of scholarly interests, imagination and extraordinary critical openness, as well as to a revolutionary set of events, places and relationships. Historically, usdMilgroym/Rimonusd was the last link in a golden chain of a Jewish intellectual elite that emerged within the Russian liberal intelligentsia during the second half of the nineteenth century. A major catalyst for this Jewish intelligentsia was the St. Petersburg Group, animated by the historian Simon Dubnov. The editors of usdMilgroym/Rimonusd inherited therefore this Russian intellectual tradition as well as a Russian legacy of periodical text production via L. A. Sev, editor of the influential periodical Novyi Voskhod, and A. E. Kogan, a key figure in the St. Petersburg and Berlin periodical industry. I argue that usdMilgroym/Rimonusd was modeled on Kogan's emigre magazine published in Berlin and Paris called Zhar-Ptitsa (the Firebird). These personal and textual ties firmly locate the Jewish magazine within the Russian expatriate community then living in Berlin and particularly within that segment of the emigre and Soviet intelligentsia personified by Maxim Gorky, who envisioned the emergence around Zhar-Ptitsa of a unified Russian republic of art and letters stretching from Moscow to Paris. usdMilgroym/Rimonusd shared this agenda. In both magazines, a rhetoric of image and word works to define the necessary pre-conditions for a rebirth of their respective communities as well as the emergence of a unified European Russian and Jewish intellectual elite. Thus, this study also sheds light on the mutual and organic interactions between Russian and Jewish elites in Berlin during the 1920's.
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| Subject
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Communication and the arts
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Germany
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Hebrew
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Language, literature and linguistics
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Philosophy, religion and theology
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Social sciences
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