October 21 - October 22, 2018
12:00AM - 12:00AM
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2018-10-21 00:00:00
2018-10-22 00:00:00
Melton Center for Jewish Studies - Mann Conference: “'Below the Line?' The Feuilleton and Modern Jewish Cultures"
Sunday, Oct. 21, 4:00 p.m. - 6:00 p.m.168 Dulles Hall, 230 Annie & John Glenn Ave, Columbus, OH 43210(the Tuttle Park Place parking garage is closest) Monday, Oct. 22, 9:00 a.m. - 4:00 p.m.The Ohio Union, Hayes Cape Room, 3rd floor, 1739 N. High Street, Columbus, OH 43210(the Ohio Union SOUTH garage is next door to the Ohio Union) What is common to Heinrich Heine, Peretz Smolenskin, Mendele Mokher Sforim, Y.L. Gordon, Sholem Aleichem, Theodor Herzl, Nahum Sokolow, Vladimir Jabotinsky, David Frishman, Joseph Roth, Y.L. Peretz, Isaac Babel, Walter Benjamin, Nathan Alterman, Siegfried Kracauer, Ilya Ehernburg, Leah Goldberg, and Antoni Słonimski? They, and many other less well-known figures, were Jewish writers during the nineteenth and early twentieth centuries, who wrote feuilletons, often side by side with poems, novels, short stories, or philosophical and political works. Does the fact that these prominent Jewish figures wrote feuilletons in Hebrew, Yiddish, German, Russian and Polish makes these feuilletons Jewish? Is feuilleton a Jewish genre? The feuilleton has been a critical genre in the development of modern Jewish cultures, but it has been overlooked and undertheorized in both literary and historical studies. Over the course of the nineteenth century, the feuilleton became a major cultural and political genre in newspapers across Europe and beyond. It emerged, initially in France and soon after in Germany, as part of the expansion and transformation of the press. Entertaining articles, sketches, quasi-manifestoes and later serialized fiction and film reviews appeared “below the line,” distinguishing it from the official news of the day. These feuilletons were highly popular, encouraging potential readers to buy the paper and to keep buying it so that they could read the daily or weekly installments. By the early twentieth century, the feuilleton was a key site for discussions of national character, portraits of urban life, and cultural and aesthetic innovation and experimentation. It was also increasingly perceived as a Jewish form, by both Jewish and anti-Semitic writers. Feuilletons had been adopted by the Jewish press in Hebrew, Yiddish and Ladino relatively quickly, since their rise to prominence coincided with the rapid expansion of the Jewish press towards the end of the nineteenth century. But the feuilleton also came to be seen as “Jewish” in the non-Jewish press in Germany and throughout Eastern Europe. This symposium will focus more specifically on the Jewishness of the feuilleton by asking participants to contribute specific examples of the feuilleton that engage issues related to Jewish identity or the Jewishness of form. Click here for the schedule and participants (Note: meals listed are only for conference participants). Supported by the Diann and Thomas Mann Symposium Fund.
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Date Range
Add to Calendar
2018-10-21 00:00:00
2018-10-22 00:00:00
Melton Center for Jewish Studies - Mann Conference: “'Below the Line?' The Feuilleton and Modern Jewish Cultures"
Sunday, Oct. 21, 4:00 p.m. - 6:00 p.m.168 Dulles Hall, 230 Annie & John Glenn Ave, Columbus, OH 43210(the Tuttle Park Place parking garage is closest) Monday, Oct. 22, 9:00 a.m. - 4:00 p.m.The Ohio Union, Hayes Cape Room, 3rd floor, 1739 N. High Street, Columbus, OH 43210(the Ohio Union SOUTH garage is next door to the Ohio Union) What is common to Heinrich Heine, Peretz Smolenskin, Mendele Mokher Sforim, Y.L. Gordon, Sholem Aleichem, Theodor Herzl, Nahum Sokolow, Vladimir Jabotinsky, David Frishman, Joseph Roth, Y.L. Peretz, Isaac Babel, Walter Benjamin, Nathan Alterman, Siegfried Kracauer, Ilya Ehernburg, Leah Goldberg, and Antoni Słonimski? They, and many other less well-known figures, were Jewish writers during the nineteenth and early twentieth centuries, who wrote feuilletons, often side by side with poems, novels, short stories, or philosophical and political works. Does the fact that these prominent Jewish figures wrote feuilletons in Hebrew, Yiddish, German, Russian and Polish makes these feuilletons Jewish? Is feuilleton a Jewish genre? The feuilleton has been a critical genre in the development of modern Jewish cultures, but it has been overlooked and undertheorized in both literary and historical studies. Over the course of the nineteenth century, the feuilleton became a major cultural and political genre in newspapers across Europe and beyond. It emerged, initially in France and soon after in Germany, as part of the expansion and transformation of the press. Entertaining articles, sketches, quasi-manifestoes and later serialized fiction and film reviews appeared “below the line,” distinguishing it from the official news of the day. These feuilletons were highly popular, encouraging potential readers to buy the paper and to keep buying it so that they could read the daily or weekly installments. By the early twentieth century, the feuilleton was a key site for discussions of national character, portraits of urban life, and cultural and aesthetic innovation and experimentation. It was also increasingly perceived as a Jewish form, by both Jewish and anti-Semitic writers. Feuilletons had been adopted by the Jewish press in Hebrew, Yiddish and Ladino relatively quickly, since their rise to prominence coincided with the rapid expansion of the Jewish press towards the end of the nineteenth century. But the feuilleton also came to be seen as “Jewish” in the non-Jewish press in Germany and throughout Eastern Europe. This symposium will focus more specifically on the Jewishness of the feuilleton by asking participants to contribute specific examples of the feuilleton that engage issues related to Jewish identity or the Jewishness of form. Click here for the schedule and participants (Note: meals listed are only for conference participants). Supported by the Diann and Thomas Mann Symposium Fund.
Humanities Institute
huminst@osu.edu
America/New_York
public
Sunday, Oct. 21, 4:00 p.m. - 6:00 p.m.
168 Dulles Hall, 230 Annie & John Glenn Ave, Columbus, OH 43210
(the Tuttle Park Place parking garage is closest)
Monday, Oct. 22, 9:00 a.m. - 4:00 p.m.
The Ohio Union, Hayes Cape Room, 3rd floor, 1739 N. High Street, Columbus, OH 43210
(the Ohio Union SOUTH garage is next door to the Ohio Union)
What is common to Heinrich Heine, Peretz Smolenskin, Mendele Mokher Sforim, Y.L. Gordon, Sholem Aleichem, Theodor Herzl, Nahum Sokolow, Vladimir Jabotinsky, David Frishman, Joseph Roth, Y.L. Peretz, Isaac Babel, Walter Benjamin, Nathan Alterman, Siegfried Kracauer, Ilya Ehernburg, Leah Goldberg, and Antoni Słonimski?
They, and many other less well-known figures, were Jewish writers during the nineteenth and early twentieth centuries, who wrote feuilletons, often side by side with poems, novels, short stories, or philosophical and political works. Does the fact that these prominent Jewish figures wrote feuilletons in Hebrew, Yiddish, German, Russian and Polish makes these feuilletons Jewish? Is feuilleton a Jewish genre? The feuilleton has been a critical genre in the development of modern Jewish cultures, but it has been overlooked and undertheorized in both literary and historical studies.
Over the course of the nineteenth century, the feuilleton became a major cultural and political genre in newspapers across Europe and beyond. It emerged, initially in France and soon after in Germany, as part of the expansion and transformation of the press. Entertaining articles, sketches, quasi-manifestoes and later serialized fiction and film reviews appeared “below the line,” distinguishing it from the official news of the day. These feuilletons were highly popular, encouraging potential readers to buy the paper and to keep buying it so that they could read the daily or weekly installments.
By the early twentieth century, the feuilleton was a key site for discussions of national character, portraits of urban life, and cultural and aesthetic innovation and experimentation. It was also increasingly perceived as a Jewish form, by both Jewish and anti-Semitic writers. Feuilletons had been adopted by the Jewish press in Hebrew, Yiddish and Ladino relatively quickly, since their rise to prominence coincided with the rapid expansion of the Jewish press towards the end of the nineteenth century. But the feuilleton also came to be seen as “Jewish” in the non-Jewish press in Germany and throughout Eastern Europe.
This symposium will focus more specifically on the Jewishness of the feuilleton by asking participants to contribute specific examples of the feuilleton that engage issues related to Jewish identity or the Jewishness of form.
Click here for the schedule and participants (Note: meals listed are only for conference participants).
Supported by the Diann and Thomas Mann Symposium Fund.
