Recasting the Golem: The Construction of Central European Jewish Culture, 1808-2003

虽然“魔像”这个概念最早出现在中世纪的犹太神秘主义中，但围绕这个人物所讲述的一系列故事源于它的世俗化。这个过程开始于17世纪，由基督教作家第一次提到波兰犹太人的魔像故事（Wuelfer和Arnold 1674），随后是德国犹太人的来源。在格林1808年出版这个故事之后，基督教作家阿希姆·冯·阿尼姆（1812年）和E.T.A.霍夫曼（1822年）等人在将魔像确立为一个流行文学人物和维护其在犹太文化中的真实地位方面发挥了决定性作用。在贝特霍尔德·奥尔巴赫（Berthold Auerbach, 1837）之后，犹太作家开始以他们自己的文学变体和民间故事来回应，这些故事现在以布拉格的德语区为背景，同样主张犹太人民间传统的真实基础。尤其是尤德尔·罗森伯格的《魔像》（1904年）和查吉姆·布洛赫（1919年）出版的影响广泛的《魔像》（Gershom Scholem， 1933年），构成了当代犹太民间主题的“魔像”概念的蓝图。如今，在德语语境中，石像已成为广为人知的犹太文化象征，它出现在许多非犹太和犹太作家、诗人和电影制片人的作品中，包括古斯塔夫·梅林克（1915年）和保罗·韦格纳（1920年）、内莉·萨克斯（1949年）和保罗·塞兰（1962年），以及最近的本杰明·斯坦（1995年）和埃丝特·迪斯切雷特（1996年）。迄今为止，批评文学已经注意到德国文化中对魔像的广泛迷恋，但却没有找到令人信服的解释，为什么这个主题在犹太文化的表现中无处不在。该项目首次对德语文学和电影中的魔像进行了全面和分析性的研究，揭示了非犹太人对德语地区犹太人的看法在魔像中的复杂反映，以及非犹太人对犹太人的形象在塑造德国犹太人文化和身份方面所起的相互矛盾的作用。

Although the concept of the Golem as an artificial man of clay animated by a ritual of words first appeared in medieval Jewish mysticism, the range of tales told around this figure today result from its secularisation. This process began during the seventeenth century with the first mention by Christian authors of a Polish-Jewish Golem tale (Wuelfer and Arnold 1674), followed later by German-Jewish sources. After Grimm's 1808 publication of this tale, Christian authors such as Achim von Arnim (1812) and E.T.A. Hoffmann (1822) played a decisive role in establishing the Golem as a popular literary figure and asserting its authentic status within Jewish culture. Following Berthold Auerbach (1837), Jewish authors began to respond with their own literary variations and folktale stories on the Golem, now set in the German-speaking realm of Prague and equally asserting an authentic base in Jewish folk traditions. In particular Judl Rosenberg's Golem stories (1904) and their widely influential publication by Chajim Bloch (1919), which Gershom Scholem (1933) exposed as a literary invention, have constituted the blueprint for the contemporary conception of the Golem as a Jewish folk motif. The Golem is now a widely known and pervasive symbol of Jewish culture in the German-speaking context, and it has made appearances in works by a wide range of non-Jewish and Jewish writers, poets and film makers including Gustav Meyrink (1915) and Paul Wegener (1920), Nelly Sachs (1949) and Paul Celan (1962), as well as more recently Benjamin Stein (1995) and Esther Dischereit (1996). Critical literature to date has noted the widespread fascination with the Golem in German culture without finding a convincing explanation for the omnipresence of this theme in representations of Jewish culture. Offering the first comprehensive and analytical study of the Golem in German-speaking literature and film, the proposed project sheds light on the intricate reflections of the non-Jewish perception of Jews in the German-speaking lands in the Golem figure and the conflicting role that non-Jewish images of Jews have played in the shaping of German-Jewish culture and identity.