Yiddish Literature Under Surveillance: The Case of Soviet Ukraine gives a broad view on Soviet Jewish literary life, and on the repression suffered by Yiddish writers under Stalinist rule. It moves from the paradigm of writing almost exclusively about the most prominent authors, whose execution in Moscow on August 12, 1952 is tragically known as "The Night of Murdered Poets." Instead, the narrative is built as a group biography of five writers whose literary home was in Kyiv, the capital of Soviet Ukraine from 1934 to 1991. Those authors are as follows: Avrom Abchuk (arrested and executed in 1937), Chaim Gildin (arrested in 1940; died in a camp in 1943), Itsik Kipnis (arrested in 1949; released in 1955), Rive Balyasne (arrested in 1952; released in 1955), and Hirsh Bloshteyn, an enthusiastic agent of the secret police. In addition, this book is populated by other Yiddish, Ukrainian, and Russian literati. Kyiv was the primary fountainhead for Yiddish literary creativity in the early postrevolutionary period for seven decades and remained a leading Soviet Yiddish literary center, second in importance only to Moscow. Attention is paid to the victims’ rehabilitation, posthumous or otherwise, in the mid-1950s and onwards.

In The Censor, the Editor, and the Text, Amnon Raz-Krakotzkin examines the impact of Catholic censorship on the publication and dissemination of Hebrew literature in the early modern period. Hebrew literature made the transition to print in Italian print houses, most of which were owned by Christians. These became lively meeting places for Christian scholars, rabbis, and the many converts from Judaism who were employed as editors and censors. Raz-Krakotzkin examines the principles and practices of ecclesiastical censorship that were established in the second half of the sixteenth century as a part of this process. The book examines the development of censorship as part of the institutionalization of new measures of control over literature in this period, suggesting that we view surveillance of Hebrew literature not only as a measure directed against the Jews but also as a part of the rise of Hebraist discourse and therefore as a means of integrating Jewish literature into the Christian canon. On another level, The Censor, the Editor, and the Text explores the implications of censorship in relation to other agents that participated in the preparation of texts for publishing—authors, publishers, editors, and readers. The censorship imposed upon the Jews had a definite impact on Hebrew literature, but it hardly denied its reading, in fact confirming the right of the Jews to possess and use most of their literature. By bringing together two apparently unrelated issues—the role of censorship in the creation of print culture and the place of Jewish culture in the context of Christian society—Raz-Krakotzkin advances a new outlook on both, allowing each to be examined through the conceptual framework usually reserved for the other.

Jean Baumgarten's Introduction to Old Yiddish Literature, thoroughly revised from the first edition and translated into English, provides students and scholars of medieval, Renaissance, and early modern European cultures with an exemplary survey of the broad and deep literary tradition in Yiddish. Baumgarten conceives of his work as the study of an entire culture via its literature, and thus he conceives of literature in a broad sense: he begins with four chapters addressing pertinent issues of the larger cultural context of the literature and moves on to a consideration of the primary genres in which the culture is expressed (epic, romance, prose narrative, drama, biblical translation and commentary, ethical and moral treatises, prayers, and the broad range of literature of daily use - medical, legal, and historical). In the field of early Yiddish studies the book will be the standard of intellectual breadth and scholarly excellence for decades to come. In this second edition, the hundreds of text citations and bibliographical references that are the scholarly basis of the study have been verified, and the citations translated anew directly from the original source.

One of the essential pillars of Yiddish literature since its beginnings in the 13th century has been translation. In the 20th century, the desire to belong to world literature stimulated Yiddish intellectuals to translate works of foreign literature into Yiddish – in a brilliant display of literary force. With a focus on Yiddish cultural spaces in the Soviet Union and Poland, the present volume is devoted to the transnational and ‘translational’ state of Yiddish literature in various places and periods. Alongside reflections on the craft of translation, the volume includes accounts of literary translations and the practices of self-translation and collective, intermedial and cultural translation. Twelve scholarly contributions illuminate the function and meaning of translation for this minority language as a Jewish national language and for Yiddish literature as world literature.

Taking stock of Yiddish literature in 1939, critic Shmuel Niger highlighted the increasing number and importance of women writers. However, awareness of women Yiddish writers diminished over the years. Today, a modest body of novels, short stories, poems and essays by Yiddish women may be found in English translation online and in print, and little in the way of literary history and criticism is available. This collection of critical essays is the first dedicated to the works of Yiddish women writers, introducing them to a new audience of English-speaking scholars and readers.

This is the most comprehensive account to date of literary politics in Nazi Germany and of the institutions, organizations and people who controlled German literature during the Third Reich. Barbian details a media dictatorship-involving the persecution and control of writers, publishers and libraries, but also voluntary assimilation and pre-emptive self-censorship-that began almost immediately under the National Socialists, leading to authors' forced declarations of loyalty, literary propaganda, censorship, and book burnings. Special attention is given to Nazi regulation of the publishing industry and command over all forms of publication and dissemination, from the most presitigious publishing houses to the smallest municipal and school libraries. Barbian also shows that, although the Nazis censored books not in line with Party aims, many publishers and writers took advantage of loopholes in their system of control. Supporting his work with exhaustive research of original sources, Barbian describes a society in which everybody who was not openly opposed to it, participated in the system, whether as a writer, an editor, or even as an ordinary visitor to a library.

This “rich and poignant” history traces Jewish radicals from their Eastern European roots through years of hope, Nazi resistance, and beyond—“with fascinating asides on Spain and Palestine” (Noam Chomsky). Jewish radicals manned the barricades on the avenues of Petrograd and the alleys of the Warsaw ghetto; they were in the vanguard of those resisting Franco and the Nazis. They originated in Yiddishland, a vast expanse of Eastern Europe that, before the Holocaust, ran from the Baltic Sea to the western edge of Russia and incorporated hundreds of Jewish communities with a combined population of 11 million people. Within this territory, revolutionaries arose from the Jewish misery of Eastern and Central Europe; they were raised in the fear of God and taught to respect religious tradition but were caught up in the great current of revolutionary utopian thinking. Socialists, Communists, Bundists, Zionists, Trotskyists, manual workers and intellectuals, they embodied the multifarious activity and radicalism of a Jewish working class that glimpsed the Messiah in the folds of the red flag. Today, the world from which they came has disappeared, dismantled and destroyed by the Nazi genocide. After this irremediable break, there remain only survivors, and the work of memory for red Yiddishland. This book traces the struggles of these militants, their singular trajectories, their oscillation between great hope and doubt, their lost illusions—a red and Jewish gaze on the history of the 20th century. “Nowadays we know more and more about the Nazi Genocide . . . we have much less knowledge about the everyday life which preceded the horror and was so brutally terminated.” —Shlomo Sand, author of The Invention of the Jewish People

With contributions from a dozen American and European scholars, this volume presents an overview of Jewish writing in post--World War II Europe. Striking a balance between close readings of individual texts and general surveys of larger movements and underlying themes, the essays portray Jewish authors across Europe as writers and intellectuals of multiple affiliations and hybrid identities. Aimed at a general readership and guided by the idea of constructing bridges across national cultures, this book maps for English-speaking readers the productivity and diversity of Jewish writers and writing that has marked a revitalization of Jewish culture in France, Germany, Austria, Italy, Great Britain, the Netherlands, Hungary, Poland, and Russia.

The Poetics of the Avant-garde in Literature, Arts, and Philosophy presents a range of chapters written by a highly international group of scholars from disciplines such as literary studies, arts, theatre, and philosophy to analyze the ambitions of avant-garde artists. Together, these essays highlight the interdisciplinary scope of the historic avant-garde and the interconnectedness of its artists. Contributors analyze topics such as abstraction and estrangement across the arts, the imaginary dialogue between Lev Yakubinsky and Mikhail Bakhtin, the problem of the “masculine ethos” in the Russian avant-garde, the transformation of barefoot dancing, Kazimir Malevich’s avant-garde poetic experimentations, the ecological imagination of the Polish avant-garde, science-fiction in the Russian avant-garde cinema, and the almost forgotten history of the avant-garde children’s literature in Germany. The chapters in this collection open a new critical discourse about the avant-garde movement in Europe and reshape contemporary understandings of it.