By Jefferson S. Chase
This quantity analyzes the conflation of "Jewishness" and satiric humour bobbing up along side the authors M.G. Saphir, Ludwig Borne and Heinrich Heine, whose wit encouraged substantial public controversy within the interval 1820-1850. It additionally strains the effect of the assumption of Judenwitzon later conceptions of German literary and cultural heritage. Chase's inter-disciplinary technique, which mixes certain ancient study, humour concept and textual interpretation, describes Judenwitz as either a destructive stereotype and a favorable authorial process. the result's the tale of a discourse that provided Jewish writers an access into the German mainstream even as it programmed an antisemitic reaction. With its detailed concentration and technique, "Inciting Laughter" deals new views on questions of majority and minority id in German tradition.
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Extra info for Inciting Laughter: The Development of Jewish Humor in 19th Century German Culture
Beißende Ausfälle, wenn auch mit augenscheinlichen Unwahrheiten, blenden. This was an argument concerning not only taste, but politics. The word mob [Pöbel] invoked the image of a vandalous rabble and, with it, the specter of the Reign of Terror. Likewise, in M. G. 67 The pseudopatricianism of this attitude and its accompanying vocabulary should come as no surprise.
This type of attack proceeded in circles. Any incisiveness of humor was taken as proof of the author's scandalmongering intentions, while in turn such criticism of character was cited to argue for the basic illegitimacy of the author's work. The upshot of this logic was that any satiric humor could be rejected as culturally and morally dubious. Moreover, the censors' use of terms like traffic [Handel] and trade [Gewerbe] to describe Saphir's activities was at least latently antisemitic, drawing as it did on a stereotypical equation of Jewishness and ruthless 36 See Stümcke: "Berliner Theaterhändel," pp.
2, pp. 132-33. 26 Chapter 2 liches Theater, which, with its long tradition and affiliation with the royal court, was deemed prestigious but hopelessly stodgy. 13 Reflecting some years later on the meaning of these two institutions, Willibald Alexis would write: The court stage seemed to us to be a rusty machine, drained of all vitality by routine and stodginess. All those who felt creative desire in them turned to the new popular theater. We became devotees. The Byzantine times of the blues and the greens were renewed.