The Image of the Fragile Ashkenazi Jew

Miri Freilich

Abstrakt

The article examines the various presentations of Ashkenazi Jews in Israeli fiction. Ashkenazi identity in Israel is controversial both in everyday life and in fiction. However, the literary and artistic manifestations of Ashkenazi Jews are quite different from their political and social image. Ashkenazi Jews are usually portrayed as the intellectual, economic, and professional elite, and also as those who were responsible for the inequality between Jews who immigrated to Israel from Europe and Jews from Arabic countries. They are depicted by the Israeli media as those who forced the oriental Jews to settle in remote towns in Israel, thus denying them the ability to move up the social ladder.

The arrogant, upper-middle-class Ashkenazi is often absent from Israeli literature. Israeli artists of Ashkenazi origin present themselves in autobiographical literature as “weak” or “problematic” and they add a “fragile” aspect to the Ashkenazi identity. The Ashkenazi Jew is depicted as an insecure figure who agonizes over fears and childhood traumas. The image of the “fragile Ashkenazi,” appears in some of the most prominent Israeli writing: Amos Oz’s A Tale of Love and Darkness, David Grossman’s A Horse Walks into a Bar, and Gila Almagor’s book and film Avia’s Summer.

Słowa kluczowe: Alona Frankel, Amos Oz, Ashkenazi Jews, David Grossman, diaspora Jews, Gila Almagor, Holocaust survivors, immigrants, Israel, Mapai, Midrasha Gallery, Mizrachi Jews, second generation, “Sabra, ” Yechazkel Rahamim, Zionism
References

Almagor, G. (1985), Hakaitz Shel Aviya [The Summer of Aviya], Tel Aviv.

Almagor, G. (2010), Kochavim Yesh Rak Bashamayim [Stars are Only in Heaven], Tel Aviv.

Cohen, E. (2002), The Moroccan Jews, The Negative of the Ashkenazi Jews, Tel Aviv.

Cohen, J. (1990), Voices of Israel: Essays on and Interviews with Yehuda Amichai, A. B. Yehoshua, T. Carmi, Aharon Appelfeld, and Amos Oz, New York.

Deri, D. (Director) (2017), The Ancestral Sin [Salach, Po Ze Eretz Israel], https://www.imdb.com/title/tt7193882.

Frankel, A. (2004), Yalda [A Girl], Tel Aviv.

Frankel, A. (2009), Naara [Teen Years], Tel Aviv.

Grossman, D. (1986), Ayen Erech Ahava [See Under: Love], Tel Aviv.

Grossman, D. (1991), Sefer hadikduk hapnimi [The Book of Internal Grammar], Tel Aviv.

Grossman, D. (2007), Confronting the Beast, at: https://www.theguardian.com/books/2007/sep/15/featuresreviews.guardianreview2.

Grossman, D. (2014), Sus Echad Nichnas le Bar [A Horse Walks into a Bar], Tel Aviv.

Grossman, D. (2018), Israel is Less a Home, at: https://www.haaretz.com/israel-news/fulltext-speechby-david-grossman-at-alternative-memorial-day-event-1.6011820.

Lipson, J. (2015), Ashkenazi Revolution: The Politics of Reaction, Heresy, and Suppression in 1960s Israel, Cambridge, MA.

Milner, I. (2003), Kiray avar [Past Present: Biography, Identity and Memory in Second Generation Literature], Tel Aviv (in Hebrew).

Oz, A. (1997), Hatzabar – Diyokan [The Sabra – a Portrait],Tel Aviv.

Oz, A. (2002), Sipur al Ahava VaChoshech [A Tale of Love and Darkness], Tel Aviv.

Rahamim, Y. (2004), Ha’ashkenazi Shelanu [Our Ashkenazi Boy], at: https://www.haaretz.co.il/literature/1.958222.

Schwartz, Y., Sapir, M. (2014), The Zionist Paradox: Hebrew Literature and Israeli Identity, Waltham.

Shabi, R. (2008), We Look Like the Enemy: The Hidden Story of Israel’s Jews from Arab Lands, New York.

Stuff, T. (2018), Amid Racism claims, state to open archives on Jewish North African immigration, Times of Israel, at: https://www.timesofisrael.com/amid-racism-claims-state-to-openarchives-onjewish-north-african-immigration.

Yablonka, H. (1994), Ahim Zarim [Alien Brethren, Survivors of the Holocaust: Israel After the War], Jerusalem.

Czasopismo ukazuje się w sposób ciągły on-line.
Pierwotną formą czasopisma jest wersja elektroniczna.