The Hebrew Orient

Jessica L. Carr

Description

In the decades before the establishment of the State of Israel, striking images of Palestine circulated widely among Jewish Americans. These images visualized "the Orient" for American viewers, creating the possibility for Jewish Americans to understand themselves through imagining "Oriental" counterparts. In The Hebrew Orient, Jessica L. Carr shows how images of the Holy Land made Jewish Americans feel at home in the United States by imagining "the Orient" as heritage. Carr's analyses of periodicals from Hadassah and the Zionist Organization of America, art calendars from the National Federation of Temple Sisterhoods, the Jewish Encyclopedia, and the Jewish exhibit at the 1933 World's Fair are richly illustrated. What emerges is a new understanding of the place of Orientalism in American Zionism. Creating a narrative about their origins, Jewish Americans looked east to understand themselves as Westerners.
List of Illustrations
Acknowledgments

Introduction

1. "The Orient" as Jewish Heritage

2. The Place of Relics and Pioneers: Periodicals of the Zionist Organization of America

3. Reviewing the Past: Jewish Art Calendars of the National Federation of Temple Sisterhoods

4. Reconstructing History: The Jewish Encyclopedia

5. Envisioning Citizenship: The Jewish Exhibit and Jewish Day at the 1933 World's Fair

6. Making a Difference: Maternalism in Hadassah's "Propaganda"

Conclusion

Notes
Bibliography
Index

Sujets

• Film
• History of religions
• Judaism
• Visual culture
• Película fotográfica

Informations

• Publié par: State University of New York Press
• Date de parution: 01 décembre 2020
• Nombre de lectures: 0
• EAN13: 9781438480848
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

The Hebrew Orient
The Hebrew Orient
Palestine in Jewish American Visual Culture, 1901–1938
Jessica L. Carr
Cover art: “Mystic Safed” from the June–August 1934/5694 NFTS Art Calendar; used by permission.
Published by State University of New York Press, Albany
© 2020 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press, Albany, NY
www.sunypress.edu
Library of Congress Cataloging-in-Publication Data
Name: Carr, Jessica L., author.
Title: The Hebrew orient : Palestine in Jewish American visual culture, 1901–1938 / Jessica L. Carr
Description: Albany : State University of New York Press, [2020] | Includes bibliographical references and index.
Identifiers: ISBN 9781438480831 (hardcover : alk. paper) | ISBN 9781438480848 (ebook) |
Further information is available at the Library of Congress.
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Contents
List of Illustrations
Acknowledgments
Introduction
Chapter 1 “The Orient” as Jewish Heritage
Chapter 2 The Place of Relics and Pioneers: Periodicals of the Zionist Organization of America
Chapter 3 Reviewing the Past: Jewish Art Calendars of the National Federation of Temple Sisterhoods
Chapter 4 Reconstructing History: The Jewish Encyclopedia
Chapter 5 Envisioning Citizenship: The Jewish Exhibit and Jewish Day at the 1933 World’s Fair
Chapter 6 Making a Difference: Maternalism in Hadassah’s “Propaganda”
Conclusion
Notes
Bibliography
Index
Illustrations
I.1a, Images accompanying Ittamar Ben-Avi, “We Young
I.1b Palestinians: To the Jewish Youth of America”
1.1 Advertisement in The New Palestine
2.1 “Give Today and Build For Ever!”
2.2 “A Survivor of Old Palestine”
2.3 “To Liberate the Smaller Nationalities”
2.4 Baltimore Convention Number cover of The Maccabaean
2.5 “Herzl as Moses”
2.6 “Greetings to Dr. Weizmann”
2.7 “Son of the Ancient Race” and “Samaria from the South”
2.8 “HOW UNJEWISH!”
2.9 “Whither?” and “On the March”
2.10 “Weary Wanderers” and “Goluth”
2.11 “For Whom?”
2.12 “Zion: Out of the Jungle!”
2.13 “A Picturesque Group in Jerusalem: A Turkestan Jew, a Moroccan (Magrabi) Jew and a Yemenite Jew”
2.14 Yemenite Jew
2.15 “Primitive Arab Farming,” “Modern Jewish Farming Methods,” and “A Farm of the New Era”
2.16 “Images of Chassidism” and “Scenes of Palestine Life”
2.17 “Bringing Health to Palestine” and “Corps of Nurses, Hadassah Medical Organization”
3.1 Michelangelo’s Moses
3.2 In the Synagog
3.3 The Crowning of Esther
3.4 The Destruction of Jerusalem
3.5 Ezechiel
3.6 Jochebed
3.7 Jews Taken Captive into Babylon
3.8 Jeremiah on the Ruins of Jerusalem
3.9 By the Waters of Babylon
3.10 Midnight Prayer
3.11 Boris Schatz
3.12 The Boy David
3.13 Mystic Safed
3.14 Gypsy Arabs in Sephardic Quarter—Jerusalem
3.15 Old Jewish Quarter
3.16 David’s Tower in Jerusalem
3.17 Haluzah
3.18 Fervently We Invoke Thy Blessing
3.19 The Workers’ Village
4.1 “Court of Priests”
4.2 “Holy of Holies”
4.3 “The Temple at Jerusalem”
4.4 “Substructure of Temple of Herod, Now Called ‘Solomon’s Stables’ ”
4.5 “View of the Temple of Solomon”
4.6 “The Hereford Mappa Mundi, 1280, Showing Jerusalem in the Center of the World”
4.7 “Jerusalem—Modern”
4.8 “Zion Gate”
4.9 “A Typical Street in Jerusalem”
4.10 “General View of Rehoboth Colony, Palestine”
4.11 “Division of Fields in Modern Palestine”
4.12 “Plowing in Palestine”
4.13 “Bedouin Tent” and “Jews of Tunis in Native Costume”
4.14 “Tunisian Jewess”
4.15 “The Jewish Type Composite Portraits of Ten Jewish Boys, New York”
5.1 Stage as pictured in Chicago World’s Fair guidebook
5.2 “The Ark”
5.3 “Israel’s Contribution to Social Service”
5.4 “Israel’s Contribution to Agriculture”
5.5 “Russian Cossack, in Days of Czar, Beats a Jew”
5.6 “Dudele”
5.7 Americanization scene
5.8 Two postcards from the Oriental Village
6.1, “Join the Circle of Palestine’s Children”
6.2
6.3 “Interior of a Health Welfare Station”
6.4 Doorway to Life …
6.5 Hadassah Mothers the Children of Erez-Israel
6.6 Four girls eating at a table
6.7 Cover with return address and stamp
C.1 “Replica of Western Wall Planned in Kansas”
Acknowledgments
An earlier version of chapter 3 appeared in the American Jewish Archives Journal 66, nos. 1 and 2 (2014) with the title “Picturing Palestine: Visual Narrative in the Jewish Art Calendars of National Federation of Temple Sisterhoods.”
Images reprinted in The Hebrew Orient were scanned from the collections of the American Jewish Historical Society, Chicago Jewish Historical Society, Hadassah, University of Illinois at Chicago Special Collections, Women of Reform Judaism, and the YIVO Institute for Jewish Research.
Thank you to all of the research institutions who have made it possible for me to complete my book. This of course begins with the Indiana University library staff, particularly in the Wells and Fine Arts libraries, including everyone who sold me coffee and made me sushi or sandwiches. The staff at the American Jewish Archives and the Klau Library at Hebrew Union College are some of the most skilled and friendliest archivists and librarians anyone could ever hope to work with, and I am extraordinarily thankful for all that they did for me. Thanks to the Chicago Public Library, the Art Institute of Chicago, and Spertus for allowing me to view their materials, with a special thanks to the University of Illinois at Chicago library and special collections for being so cooperative and for their careful preservation of ephemera from 1933. Thank you to the excellent staff at the Center for Jewish History and the New York Public Library. Finally, thank you to State University of New York Press for bringing this book to the world, and especially to Rafael Chaiken for being the best editor imaginable. I received a fellowship as a scholar-in-residence with the Hadassah-Brandeis Institute at Brandeis University, where I wrote chapter 6 on Hadassah and benefited from conversations about my research and the study of gender with students, colleagues, and members of Hadassah.
Many colleagues over the years have influenced my ability to articulate what I want to say in this book. David Levenson convinced me that studying religion was the only, best path in life. Martin Kavka, the ineffable: teacher, mentor, friend, rock. Amanda Porterfield and John Corrigan guided me throughout my master’s in the American Religious History program at Florida State University. My dissertation committee was outstanding, and I owe them many thanks for helping me begin this project: Constance Furey and Sylvester Johnson were insightful readers. Jeff Veidlinger not only read carefully but also initiated me into the professional world of Jewish studies. Katie Lofton left Indiana but never left me, throughout graduate school or my career. Shaul Magid has remained an adviser, guide, and friend from my arrival at Indiana to the completion of my book. My fellow Religious Studies graduate students at Indiana University know the value of the Wheel: Geoffrey Goble, Diane Fruchtman, Aimee Hamilton, Erik Hammerström, Amy Hirschtick, Nicole Karapanagiotis, and Brad Storin. Jigga Jigsu enthralled me Jewish Studies at Indiana: Gabi Berlinger, Leah Cover, Joseph Hayden, Ilana McQuinn, Avi Lang, Allison Posner, Anya Quilitzsch, Sebastian Schulman, and Asya Schulman (honorary member). Kenyon College Religious Studies gave me my first professional home: Joseph Adler, Miriam Dean-Otting, Ennis Edmonds, Royal Rhodes, Vernon Schubel, and Mary Suydam. A special debt of gratitude goes to my department at Lafayette College for bringing me into their world: Rob Blunt, Brett Hendrickson, Youshaa Patel, Robin Rinehart, Herman Tull, and Eric Ziolkowski. Laura McKee has truly made my life run. Alex Hendrickson is chaplain to the stars. Thank you to Ilan Peleg and Bob Weiner for welcoming me to the Jewish Studies program. Many others have been constants, occasional, or some whom I barely know but who answered an email or question at a key moment that allowed me to keep going. Or maybe you just grew a plant, caught me for a laugh in the hallway, bought me a drink at a conference (the greatest gifts scholars offer to one another): Jennifer Adler, Mary Armstrong, Betsy Barre, Jessica Cooperman, Evie Dean-Olmsted, Shawntel Ensminger, Bianca Falbo, Jodi Eichler-Levine, Michelle Geoffrion-Vinci, Peter Gildenhuys, Alessandro Giovanelli, Rachel Gross, Liora Halperin, Sarah Imhoff, Jenna Weissman Joselit, Dov-Ber Kerler, Rebecca Kamholz, Ken Koltun-Fromm, Barbara Krawcowicz, Hartley Lachter, Nitzan Lebovic, Matthias Lehman, Nancy Levene, Laura Levitt, Samira Mehta, Owen McLeod, Eva Mroczek, George Panichas, Sarah Panter, Mike Pasquier, Josh Sanborn, Sasha Senderovich, Ben Schreier, Josh Schreier, Caleb Simmons, Ida Sinkevic, Josh Smith, Sarah Stein, Shayna Weiss, Steve Weitzman, and Wendy Wilson-Fall. It’s my great fortune to have Erin Corber and Devi Mays as my flowe