{"id":14677,"date":"2020-12-04T09:35:17","date_gmt":"2020-12-04T08:35:17","guid":{"rendered":"https:\/\/magazin.stadtsprachen.de\/de\/?post_type=stsp_text&p=14677"},"modified":"2020-12-19T13:10:34","modified_gmt":"2020-12-19T12:10:34","slug":"orientals-in-berlin","status":"publish","type":"stsp_text","link":"https:\/\/stadtsprachen.de\/de\/text\/orientals-in-berlin\/","title":{"rendered":"Orientals in Berlin"},"content":{"rendered":"

Keynote at \u201cParataxe Symposium VII: NahostBerlin<\/a>\u201d<\/strong><\/p>\n

Hebrew, Muslim, Jewish, Yiddish, Oriental, Arabic, Semitic \u2013 in Berlin of the 1920\u2019s, these concepts of identity, culture, race, faith, language and literary style were closely interconnected. While they were no less exoticizing and essentializing a century ago than they are today, it is worth inquiring whether these concepts were perhaps less restrictive, less reductive, less binary and more fluid within the hybrid and diasporic world of letters of the 1920\u2019s, than what they have become in the post-war West.<\/span><\/p>\n

Indeed, notwithstanding the manifold violence these concepts inflict in the present, their histories are not predetermined and far from being concluded. Their histories, parallel and intertwined, are still in the making. Their previous meanings, connotations and associations remain to be rediscovered, retrieved and reappropriated in order to question binary oppositions and subvert hegemonic discourses of division and conquest. This symposium, taking place in Berlin in 2020, seems like a suitable occasion to explore the hybrid, fluid and non-binary potential of these concepts, while providing glimpses into their historical contexts.<\/span><\/p>\n

In the European Christian imagination, both Jews and Arabs were considered for centuries, in varying degrees, oriental in character and essence. As a philological field rooted in the humanist tradition of the Renaissance, Orientalism was also entrenched in the study of Hebrew and Arabic, both declared Semitic. These languages, and the peoples, races and cultures they came to represent, were time and again depicted by orientalists as primordial and primitive; as authentic, but corrupt; as spiritual, exalted, and in tune with the purest of religious emotions, yet at the same time as base, cunning and false. The figure of the Semitic Oriental, be it an Arab or a Jew, was depicted in Christian culture as representing the past, but at the same time as unfaithful to its origins. As such, it was admired, detested, looked up to and looked down upon, at the one and the same time.<\/span><\/p>\n

However, long before the Christian orientalist gaze, Arabic and Hebrew were already subject to philologically purist and binary judgements by medieval Muslim and Jewish grammarians, who distinguished between the classical, pure and authentic languages of their Holy scriptures, and the supposedly corrupt post-scripturial vernaculars. If Arabic grammarians began to differentiate the Koranic Fus\u1e25a from the popular \u2018Amiyah as early as the 8th century, two centuries later Hebrew grammarians followed in their footsteps and similarly drew a line between the pure Biblical Hebrew and the impure vernacular Rabbinical Hebrew, intertwined as it were with layers of Aramaic and other influences from Greek, Latin, Persian, Arabic, etc.<\/span><\/p>\n

The desire that the Arab, the Jew, the Oriental, the Semitic, be faithful to their alleged origins and even restore the supposedly forsaken expression of their pure classical language, was shared \u2013 with certain variations \u2013 by the Arabic and Hebrew grammarians of the Middle Ages, by the Christian humanist school of the Renaissance, by the Christian Reformation, by the Jewish Enlightenment movement and by modern Orientalists.<\/span><\/p>\n

However, the impulse to purify, classify and distinguish has always been challenged by the diasporic hybridity, conceptual fluidity and non-binary queerness of life itself. Thus, as European crusaders rushed to conquer the Holy Land from the Muslims in the 11th century, massacring the Jewish communities on the Rhine along their way, a new vernacular began to emerge from the ruins : Yiddish, a Jewish-Germanic vernacular that would come to be the first language of the overwhelming majority of Jews in the world up until the Nazi Genocide.<\/span><\/p>\n

The word \u201cYiddish\u201d in Yiddish means \u201cJewish\u201d. Similarly, the word \u201cHebrew\u201d, in so many languages \u2013 including Hebrew \u2013, can also simply mean \u201cJewish\u201d. Yiddish is full of Hebrew words and is influenced by its morphology. Conversely, the different varieties of European Hebrew \u2013 Rabbinic, Hassidic, Maskilic, and Modern \u2013 are all heavily influenced by Yiddish, as demonstrated in the works of Lily Kahn. This linguistic situation of Yiddish and Hebrew in Europe has been so complex, that scholars of Judaism \u2013 even Jewish ones \u2013 often denied the fact that Yiddish ever existed as a language in its own right, calling it instead a corrupt dialect of German or a \u201cjargon\u201d, to use the term employed by Moses Mendelssohn in the 18th century when referring to his own mother tongue!<\/span><\/p>\n

20th-century Yiddish linguist and historian Max Weinreich is often cited for saying that \u201ca language is a dialect with an army and navy.\u201d Yiddish never had an army, nor a navy, but it does have many dialects and varieties: Old Yiddish, Western Yiddish, Lithuanian Yiddish, Polish Yiddish, Ukrainian Yiddish, Hassidic Yiddish, American Yiddish, and even Palestinian Yiddish \u2013 Yiddish that was spoken in Palestine since the 19th century \u2013, a Yiddish dialect, as Mordecai Kosover shown in his groundbreaking work, rich in Arabic words and structures.<\/span><\/p>\n

Nevertheless, in the 19th and 20th centuries, the term Yiddish came to be almost exclusively understood as referring to Oriental Yiddish, that is, the Yiddish of Eastern European Jewry. Accordingly, Yiddish-speaking Jews came to be doubly orientalized in Western Europe: first, for being Jews; and secondly, for being \u201cEastern Jews\u201d, Ostjuden in German or \u201cMizrahiyim\u201d in Hebrew, and this, many decades before the term \u201cMizrahim\u201d would come to designate in the State of Israel Jews of Arabic descent.<\/span><\/p>\n

But let us return to Berlin. Since the late 19th century, a large group of Yiddish-speaking Jewish emigrants from Eastern Europe, who settled mostly in today\u2019s Mitte, were deemed primitive, backward and obscurantist by Jews and non-Jews alike, who nevertheless saw them as the authentic carriers of Jewish tradition. While some German Jews like Martin Buber were enthralled and inspired by their arrival from Eastern Europe, others, who tended forcefully towards assimilation, sought to distance themselves from the newly arrived \u201cOstjuden\u201d.<\/span><\/p>\n

The 1920\u2019s saw a new wave of Jewish emigration from Eastern Europe: refugees from war-devastated Poland and from the Ukrainian civil war, often escaping pogroms of unprecedented scale. Among them were writers, artists, intellectuals, settling this time mostly in the new district of Charlottenburg. Joining German Jewish writers such as Alfred D\u00f6blin, Else Lasker-Sch\u00fcler and Franz Werfel, the newly arrived from Ostjuden created a vibrant literary scene in Yiddish, in Hebrew, in Russian, in German, founded publishing houses, literary magazines and flocked the city\u2019s literary caf\u00e9s. For this diverse polyglot milieu, Hebrew, Muslim, Jewish, Yiddish, Oriental, Arabic, Semitic were figures of artistic creation, which they reappropriated, subverted and played with in their works. Such was, for example, the extravagant orientalism of Lasker-Sch\u00fcller\u2019s poetic persona, including her extraordinary claim that her German poems were, in fact, Hebrew poems.<\/span><\/p>\n

Nevertheless, the orientalizing and exoticizing gaze in this literary scene was not free from discrimination and marginalization. An example of this is the figure of Jussuf Abbo, who embodied in the avant-garde literature of Berlin\u2019s 1920\u2019s all of the above-mentioned categories: Hebrew, Muslim, Jewish, Yiddish, Oriental, Arabic, Semitic. Jussuf Abbo was a Jewish Palestinian scultor and painter, born in Safed in 1890 and arrived in Berlin in 1911 to study art. Escaping Nazis Germany, he emigrated in 1935 to London, in which he spent the rest of his life. While his work has recently been rediscovered and exhibited, his role in Berlin\u2019s Jewish literary scene in the 1920\u2019s is less known. A close friend of Else Lasker-Sch\u00fcler and Yiddish writer Moyshe Kulbak, he too belonged to the Jewish literary and artistic milieu whose heart was the Romanisches Caf\u00e9 right across the Ged\u00e4chtniskirche near Kurf\u00fcrstendamm.<\/span><\/p>\n

As a literary figure, Abbo appears in at least three different literary works in that period: in Kulbak\u2019s epic Yiddish poem, Disner Tshayld Harlod, the semi-autobiographical protagonist spends his nights in Berlin\u2019s Charlottenburg district with Abbo, \u201ca dreamy Arab \/ a tender sculptor with Lebanon hands \/ a short curly-haired fellow \/ who yearns with clay to the Orient\u201d. Dovid Bergelson, the most prominent Yiddish writer in Berlin at the time, parodied Kulbak\u2019s poem in his short-story \u201cMit eyn nakht veyniker\u201d (\u201cOne Night Less\u201d), in which a graphomaniac poet fails to write an epic poem about the German capital. There, the protagonist\u2019s friend is referred to bluntly as \u201cthe hairy painter Babo\u201d. Even more than Kulbak and Bergelson, it was Else Lasker-Sch\u00fcler who immortalized her friend in a German poem entitled \u201cJussuff Abbu\u201d, a poem particularly abundant in orientalist imagery, in which Arabic and Hebrew constitute key-representations of Abbo\u2019s orientalizing depiction.<\/span><\/p>\n

While Lasker-Sch\u00fcler\u2019s poem belongs to her openly admitted oriental literary posture, Kulbak\u2019s and Bergelson\u2019s depiction of Abbo can be interpreted as an attempt to distance themselves from the oriental label, without subverting it or rejecting its validity. As much as German Jews branded Jewish emigrants from Eastern Europe as Ostjuden to mitigate their own oriental status, so did Kulbak and Bergelson too resorted to orientalize their Palestinian Jewish colleague Jussuf Abbo with the same aim. This shift of the oriental marker from Ostjude to the Arab-Jew foreshadowed the later re-definition of the term \u201cMizrahi\u201d in the future State of Israel, in which Yiddish-speaking Jews of Eastern European descent obtained cultural hegemony by negating their own oriental status, mainly by means of suppressing their mother tongue \u2013 Yiddish \u2013, but also by re-attaching the oriental label to the Arab-Jewish emigrants.<\/span><\/p>\n

Today, Berlin accomodates again a literary, cultural and political scene, in which concepts such as Hebrew, Muslim, Jewish, Yiddish, Oriental, Arabic, Semitic await new meanings, connotations and associations. Examining the ways in which these concepts intersected and interacted with one another in the past \u2013 here in Berlin and elsewhere \u2013 provides precious lessons for the present and reveals the pitfalls to be avoided.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Keynote at \u201cParataxe Symposium VII: NahostBerlin\u201d Hebrew, Muslim, Jewish, Yiddish, Oriental, Arabic, Semitic \u2013 in Berlin of the 1920\u2019s, these concepts of identity, culture, race, faith, language and literary style were closely interconnected. While they were no less exoticizing and essentializing a century ago than they are today, it is worth inquiring whether these concepts […]<\/p>\n","protected":false},"featured_media":14504,"template":"","categories":[20,12],"class_list":["post-14677","stsp_text","type-stsp_text","status-publish","has-post-thumbnail","hentry","category-issue-16","category-non-fiction"],"yoast_head":"\nOrientals in Berlin - stadtsprachen<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/stadtsprachen.de\/de\/text\/orientals-in-berlin\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:locale:alternate\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Orientals in Berlin - stadtsprachen\" \/>\n<meta property=\"og:description\" content=\"Keynote at \u201cParataxe Symposium VII: NahostBerlin\u201d Hebrew, Muslim, Jewish, Yiddish, Oriental, Arabic, Semitic \u2013 in Berlin of the 1920\u2019s, these concepts of identity, culture, race, faith, language and literary style were closely interconnected. 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