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

重铸傀儡：中欧犹太文化的构建，1808-2003

• 批准号: AH/F005423/1
• 负责人: Cathy Gelbin
• 金额: $ 3.29万
• 依托单位: University of Manchester
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF005423%2F1
• 关键词: Recasting; Golem; Construction; Central; European

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.

尽管由文字仪式驱动的人造泥人的概念最早出现在中世纪的犹太神秘主义中，但今天围绕这个人物讲述的一系列故事是它的世俗化的结果。这一过程始于17世纪，基督教作家第一次提到波兰-犹太人的傀儡故事(WUELFER和Arnold，1674年)，随后是德国-犹太人的来源。在格林1808年出版这个故事后，基督教作家如阿希姆·冯·阿尼姆(1812年)和E.T.A.霍夫曼(1822年)在确立傀儡作为受欢迎的文学人物并确立其在犹太文化中的真实地位方面发挥了决定性作用。在贝尔托尔德·奥尔巴赫(1837)之后，犹太作家开始以他们自己的文学变体和关于傀儡的民间故事作为回应，现在这个傀儡设定在讲德语的布拉格，同样在犹太民间传统中主张一个真实的基础。尤其是朱尔·罗森伯格的《傀儡故事》(1904)和查金·布洛赫(1919)出版的影响广泛的出版物，格尔松·肖勒姆(1933)将其揭露为一种文学发明，构成了当代将傀儡作为犹太民间主题的概念的蓝图。在德语环境中，傀儡现在是一个广为人知的普遍的犹太文化象征，它出现在一系列非犹太和犹太作家、诗人和电影制作人的作品中，包括古斯塔夫·迈林克(Gustav Meyrink，1915)和保罗·韦格纳(Paul Wegener，1920)，内利·萨克斯(Nelly Sachs，1949)和保罗·塞兰(Paul Celan，1962)，以及最近的本杰明·斯坦(Benjamin Stein，1995)和埃丝特·迪舍雷特(Esther Dischereit，1996)。到目前为止，批评文学已经注意到德国文化中普遍对傀儡的迷恋，但没有找到令人信服的解释，说明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傀儡进行了全面和分析的研究，揭示了非犹太人对犹太人在德语地区的看法在傀儡形象中的错综复杂的反映，以及非犹太人的犹太人形象在塑造德裔犹太人文化和身份方面所扮演的相互冲突的角色。