Entangled Stories: The Red Jews in Premodern Yiddish and German Apocalyptic Lore

“Far, far away from our areas, somewhere beyond the Mountains of Darkness, on the other side of the Sambatyon River…there lives a nation known as the Red Jews.” The Red Jews are best known from classic Yiddish writing, most notably from Mendele's Kitser masoes Binyomin hashlishi (The Brief Travels of Benjamin the Third). This novel, first published in 1878, represents the initial appearance of the Red Jews in modern Yiddish literature. This comical travelogue describes the adventures of Benjamin, who sets off in search of the legendary Red Jews. But who are these Red Jews or, in Yiddish, di royte yidelekh? The term denotes the Ten Lost Tribes of Israel, the ten tribes that in biblical times had composed the Northern Kingdom of Israel until they were exiled by the Assyrians in the eighth century BCE. Over time, the myth of their return emerged, and they were said to live in an uncharted location beyond the mysterious Sambatyon River, where they would remain until the Messiah's arrival at the end of time, when they would rejoin the rest of the Jewish people. This article is part of a broader study of the Red Jews in Jewish popular culture from the Middle Ages through modernity. It is partially based on a chapter from my book, Umstrittene Erlöser: Politik, Ideologie und jüdisch-christlicher Messianismus in Deutschland, 1500–1600 (Göttingen: Vandenhoeck & Ruprecht, 2011). Several postdoctoral fellowships have generously supported my research on the Red Jews: a Dr. Meyer-Struckmann-Fellowship of the German Academic Foundation, a Harry Starr Fellowship in Judaica/Alan M. Stroock Fellowship for Advanced Research in Judaica at Harvard University, a research fellowship from the Heinrich Hertz-Foundation, and a YIVO Dina Abramowicz Emerging Scholar Fellowship. I thank the organizers of and participants in the colloquia and conferences where I have presented this material in various forms as well as the editors and anonymous reviewers of AJS Review for their valuable comments and suggestions. I am especially grateful to Jeremy Dauber and Elisheva Carlebach of the Institute for Israel and Jewish Studies at Columbia University, where I was a Visiting Scholar in the fall of 2009, for their generous encouragement to write this article. Sue Oren considerably improved my English. The style employed for Romanization of Yiddish follows YIVO's transliteration standards. Unless otherwise noted, translations from the Yiddish, Hebrew, German, and Latin are my own. Quotations from the Bible follow the JPS translation, and those from the Babylonian Talmud are according to the Hebrew-English edition of the Soncino Talmud by Isidore Epstein

The Jewish community of Odessa from 1794-1871 : social characteristics and cultural development.

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Shallow Graves: Toward a Philosophical Comedy of Tears Over the Serial Dying of Gods

Recent debates about the legacy (and, sometimes, surpassing) of Derridean philosophy have often oriented themselves around questions of a new austerity in relation to the implicit philosophical functioning of God. Indeed, an increasing philosophical vigilance about the death or nonexistence of God has begun to be presented as a hallmark of recent criticisms of earlier receptions of Derrida and, by way of messianic structures of time, of Derridean politics as well. We argue that the inflating value of atheism in recent texts operates most effectively within a broader forgetfulness of the many modes in which a serial dying of gods constitutes a more fundamental quality of the religio-political archive than the stability or life of these gods. We find, moreover, there to be something comical about a reconfiguration of the ontotheological archive around a tableau of serially dying Gods, this God who cannot stabilize or maintain for long any system of divine life support. Most importantly, we find that our sense of comedy is itself indicative of important shifts within the stylistics of Derridean discussions of auto-immunity and supplement which have yet to be worked through with any real seriousness. In this respect, our reflections pair Bergson's reflections on the universe as a ‘machine for the manufacture of gods’ with Bergson's explorations of comedy as a fundamentally mechanical affair. The serially dying gods of our religious and philosophical traditions are best understood in the same modes as Bergson's comedy, often marked by an automatism of everyday mechanisms of life which outlive their useful functioning