种族的记忆，文学的救赎
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摘要
以索尔·贝娄、伯纳德·马拉默德、菲利普·罗斯和辛西娅·奥兹克为代表的美国犹太作家,在当今的美国文学界占有一席之地。作为第二代美国犹太移民,他们或成长于典型的犹太家庭,或接受过犹太的传统教育,但无一例外,都经历了美国的同化热潮和反犹主义。“同化”和“反犹主义”在他们的作品中都有所反映。与同时代的其他美国犹太小说家相比,奥兹克显得格外突出,她志愿为美国犹太文学代言,成为了捍卫犹太文学的最勇敢的斗士。
20世纪20年代到60年代,作为一个特殊的阶段,既见证了奥兹克由一个普通犹太女孩成长为一个成就斐然的犹太作家的过程,也记录下了美国同化政策的进展和影响。在社会结构同化方面,多数美国犹太人通过数年的努力已经上升为中产阶级。在文化同化方面,由于吸取了大量的美国主流文化价值观,他们的犹太教信仰、犹太文化价值观和行为规范降低至所谓的“象征性犹太教”。社会结构同化和文化同化不可避免地导致了身份同化。然而,美国犹太移民自觉融入美国社会的热情却没有使反犹主义势力减少对他们的歧视和迫害。在众多内因和外因的共同作用下,身份同化问题变得极为严重。到上个世纪60年代末,数以百万计的犹太裔美国人,摒弃了犹太传统,彻底抛弃了他们的犹太身份。
在文学界,犹太作家的犹太性也呈现出明显的弱化趋势。身份问题对于犹太作家来说变得尤为敏感。以索尔·贝娄、伯纳德·马拉默德、菲利普·罗斯为代表的一批作家,之所以被称为犹太作家,仅仅只是因为外界对他们进行了如是划分。事实上,他们大多抵制被称为犹太作家。在很多场合下,他们公开宣称自己只是恰巧身为犹太人的美国人,认为美国人是自己身份的第一性,然后才具有犹太性。同时,他们反复强调自己作为美国作家,关注的是全人类的普遍社会问题,而绝不是狭隘的犹太民族主义。在这些避忌犹太身份的作家眼中,奥兹克可谓特立独行。她乐于被称为犹太作家,并且以一个纯粹的犹太人的立场去观察世界。她的作品是对犹太民族精神的一种有力阐释,她提倡一种饱含犹太教价值观的“礼拜式文学”。本论文旨在探究“礼拜式文学”的特征以及奥兹克实现“礼拜式文学”的途径。本文作者将从奥兹克作品的文学主题、文论思想以及叙事技巧等三个方面阐述她的“礼拜式文学”,论证奥兹克作为新一代美国犹太作家所具有的独特的犹太性。
首先,本文作者通过援引以往评论家对奥兹克“礼拜式文学”的相关解释以及自己对奥兹克艺术的理解,对“礼拜式文学”进行了全新的定义,并强调“礼拜式文学”是特定历史条件下产生的一种感知。在反犹主义极为盛行的时代背景下,像奥兹克这样敢于逆同化潮流而行,承受着可能被指责为狭隘的巨大压力,而将作品中的主人公设计为犹太人或是直接触及犹太主题的小说家屈指可数。出于对犹太历史的深刻理解,奥兹克通过她笔下的犹太主人公们,反复探讨犹太主题,并散发出一种强烈的历史意识。奥兹克的作品成功地将当代犹太人所面临的困难融于历史框架之中,阐释了现代犹太人不寻常的生存状态,揭示了犹太教中关于“现在”和犹太人的“过去”——两者之间历史纽带的重大意义。本文作者认为奥兹克的“礼拜式文学”带有强烈的犹太民族主义色彩和显著的宗教特点,兼具族裔文学和流散文学的功能。
其次,本文归纳出奥兹克“礼拜式文学”的五个显著特征。第一,奥兹克的“礼拜式文学”体现在其自觉服务于宗教的创作意识。正如她在小说中表述的那样,她“依照传统的犹太价值观来衡量和诠释世界”。第二,奥兹克的“礼拜式文学”特质主要表现为其文学主题的宗教化。她的作品集中表现了犹太人的过去、“二战”犹太人大屠杀的重负,二战后犹太人的身份问题,以及希腊精神(异教)与犹太教文化之间的矛盾冲突。一个典型的奥兹克式的故事通常讲述美国犹太人是如何在对抗的意识形态中挣扎困惑、曲折前行,如何为自己的民族文化身份而焦虑,为抵御外来压力、诱惑以及为坚持自己的文化传统、宗教信仰而斗争。奥兹克一方面表达了对犹太族人的鼓励和期盼——想继续或者达成真正的犹太身份,就必须相信契约、选择犹太教,而克服与之对抗的一切异教诱惑和文化同化;另一方面又表现出对犹太人在现代社会中生存背景不可靠性的深刻关注。第三,奥兹克的小说处处体现了她对犹太历史的尊重。她将犹太民族的流浪史消解为文学的潜在媒质,在叙述犹太人的形体流浪时,更着重展现他们心灵深处的精神流浪。第四,从创作形式上讲,奥兹克的“礼拜式文学”作品趋于神秘主义的处理方式,在不同程度上再现了犹太哈拉哈式和阿嗄达式的叙事特点。最后,奥兹克通过其文学作品实施了宗教教化功能。她的作品,或敦促族人记忆犹太历史,或警醒族人免于异教化或同化,激励犹太人对犹太身份和犹太意识的坚持。
本文作者对奥兹克的礼拜式文学的理解,主要是通过解读其部分小说来实现的。解析奥兹克的“礼拜式文学”,首先从探究其宗教主题开始。奥兹克认为“与上帝立契约、融入历史、抵制偶像崇拜、区别于其他宗教、坚持学习”是犹太性的精髓所在。其中,对身份的坚持以及对历史的尊重——作为最为核心的两项,理所当然成为了奥兹克的写作重点,并在小说《围巾》中得到了充分的体现。奥兹克通过《围巾》沉痛地叙述了犹太女人罗莎是如何背负大屠杀的重创和阴影,最终在文化属性、母亲身份和阶级性的多重撕扯作用下,泯灭了自己的犹太性,走向了异教深渊。奥兹克认为,犹太人在任何情况下都不应该丧失自身的犹太性。女主人公罗莎在绝望之中丧失了自己的犹太身份,即使在心理上值得人们同情,在道德上也是不可饶恕的。本文作者认为罗莎只是众多犹太信徒异教化的一个缩影,继而从《围巾》中归纳出犹太人异教化的四个原因:其一,大屠杀摧毁了犹太人民的信仰,集中营里的苦难使他们丧失了同情心、摒弃了希望,令他们质疑上帝,放弃祈祷;其二,种族离散在客观上造成了犹太历史和犹太文化得不到有效的继承,犹太团体被迫分化,种族纽带惨遭断裂;其三,同化作用极大地冲击了犹太人的价值观和生存方式。为了追求美国“享乐主义”,犹太人付出了抛弃传统及律法的惨痛代价。其四,即本文作者所认为的最关键的原因,罗莎的异教化不单是大屠杀、族人分离或是同化等外伤所招致的,而是由罗莎思想中根深蒂固的等级观念和阶级意识造成的。这些以不同阶级为基础的冲突,才是撕裂分解犹太思想的罪魁祸首,也是“大屠杀后”犹太人背叛并出卖犹太性的最大根源。这也是奥兹克创作这部作品的主旨之一。
奥兹克对于历史意识的诉求则是通过《嫉妒》体现的。这部短篇小说中的主人公一个通过苦苦挣扎保持历史性,一个试图通过创造历史,来达成全新历史条件下的犹太身份。奥兹克一方面对他们的热情以及勇于创新的精神寄予了希望,另一方面对他们由于没有领悟到犹太性的本质而招致的身份滑坡感到遗憾并发出哀叹。为了达到救赎的目的,奥兹克批判了爱德斯丁狭隘的民族主义,指出犹太人应该将个人历史和集体历史放在一起来实现身份的建造,而不是顾此失彼;也以奥斯特洛沃和汉娜为例说明了犹太人应该、也只能在自己种族所在的历史中实现身份诉求。
本文作者对奥兹克的文论思想也进行了深入的研究。奥兹克被批评界誉为具有“希腊人的头脑,犹太人的灵魂”的作家。她早年曾经一度挣扎于潘神和摩西、希腊文化和希伯来文化、魔法和律法的冲突之中。对于哈罗德提出的有关“文学是一种偶像制造”的命题,几乎所有的犹太作家都感到束手无策。而奥兹克对此进行了深刻的思索并最终巧妙地化解了作为犹太作家所背负的矛盾。正是在求解的过程中,奥兹克诞生了有关“礼拜式文学”的想法——一种以西方艺术为表达形式,具有救赎功能的犹太小说。奥兹克坚信,文学与为之服务的想象,可以化作一股反偶像崇拜的作用力,成为一种对犹太道德的深刻反映。
本文作者通过解读奥兹克的小说《吃人的银河系》来阐释奥兹克在对待这一问题上的思想发展过程。和奥兹克一样,主人公布里尔深刻感知到来自犹太文化和异教文化的冲突,陷入了文化困窘。于是他决定毕生致力于推崇一种可以融合两种文化的“双语课程”。本文作者认为,小说结局中布里尔的学生比乌拉的成功,实际上是对布里尔的一种嘲讽,布里尔的“双语课程”最终被证明只是一个不切实际的空想和野心。这部小说有力地支持了奥兹克文论中所表达的思想——那些企图将犹太价值观和后启蒙价值观融合的行为注定会失败。西方文明无法承载犹太文化,只有触及礼拜式,表现救赎的犹太文学才能在犹太族历史上永垂不朽。
然而,奥兹克的另一篇文论“Bialik's Hint”为我们解读《吃人的银河系》提供了另一个视角。它透视出两种文化互为补充的可能性以及奥兹克对此的乐观态度,以及体现出奥兹克蕴含其中的思想连贯性。从某种意义上说,海斯特的哲学和比乌拉的画,在礼拜式想像的指引下,奇迹般地融合了犹太文化和西方文化,让布里尔望尘莫及。本文作者认为,奥兹克的艺术,一如比乌拉的画,成功地融合两种文化中的精髓。在长达三十年的写作生涯中,奥兹克不断运用西方文化的形式—用英语写作,极尽想象之能事,创建了以犹太价值观为根本出发点的宗教小说,完美地融合律法与想象,贴上了奥兹克的“礼拜式”的标签。
礼拜式文学同样反映在奥兹克独特的叙事手法上。她采纳了西方的叙事技巧,只为服务于她根源于旧约和摩西十戒的正统思想。受到摩西律法铭言的启示,奥兹克的故事始终以犹太历史、传统和犹太人民的受难为主题,但是她没有刻板地以说教的方式教育读者,而是以不同的形式将其呈现出来。
奥兹克在《普特麦斯故事集》中运用圣经叙述的叙事手法,达成了现实与超现实世界的融合。大量的仿效和自反性叙述时刻提醒读者提防危险的艺术创造的倾向和偶像崇拜的渗透,呼吁在离散中的犹太人恪守道德和精神准则,在历史的发展中保持自身的文化身份。
通过对文学主题、文论思想以及叙事技巧等三方面的详细论证,本文作者再次重申了自己关于奥兹克的“礼拜式文学”的定义:礼拜式文学是建立在犹太历史(包括犹太族的历史遭遇)的基础上,包含了对犹太宗教和犹太思想的回溯,借助契约式想象,以犹太式英语写作的一种全新的文学规划。奥兹克企盼通过这种文学规划,对处于离散中的犹太人实旌救赎功能,对犹太文化进行复兴。
奥兹克曾经断言:“那些自觉记住和维护历史的意识,抵制当前短暂哄诱的犹太作家,会被人记住,将成为历史(至少是犹太史)上的一部分!”我们庆幸,犹太族在新时期的离散竟孕育出奥兹克这样一位“为希伯来价值体系,为犹太历史文化”摇旗呐喊的斗士。如同她在文论中所展望的那样,奥兹克独具匠心的“礼拜式文学”具有巨大的感召力:“一种礼拜式文学,拥有公羊的角的结构,给你找到突破口,光耀四方的力量”。目前,很多批评家都尊敬奥兹克,更欣赏她对美国文学传统做出的重要贡献,因为她使美国文学重新审视并主动融入犹太传统,极大程度地弥补了美国传统文学的缺失。
本论文肯定了奥兹克创作的卓越成就。奥兹克在20世纪的犹太文学领域树立了一种富有犹太精神的创作新风,在这个布满荆棘的世纪坚守了犹太的传统,并将它发扬光大!
In current American literary world, voices are prominently heard from the second generation of Jewish immigrants, represented by Saul Bellow, Bernard Malamud, Phillip Roth and Cynthia Ozick. These Jewish writers either grew up with a Jewish background or received an education in the Jewish tradition, but they had all experienced both assimilation and anti-Semitism, and that is why these two issues are always involved in their works. Among these Jewish writers, Cynthia Ozick is an extraordinary self-styled spokesperson of American Jewish literature and the most audacious writer of her age.
The years between the 1920s and the 1960s witnessed not only Ozick's growth as a notable Jewish writer but the whole process and success of America's assimilation as well. In structural assimilation, most American Jews became members of the American middle-class or professionals after years of efforts. With cultural assimilation, American Jews had sufficiently taken American dominant values whereas they adhered only symbolically to Judaism, Jewish cultural values and behavioral patterns. Those assimilations inevitably cause the identificational assimilation. Meanwhile, the force of anti-Semitism has never been weakened. As a result, over a million Jewish-born Americans had given up their Jewish heritage completely and stopped being Jewish by the end of the 1960s.
This attenuated Jewishness also showed up in literary circle, and the identity problem became a sensitive issue among the Jewish writers. Primarily, these writers were kept in the Jewish fold simply because of others' insistence that they belonged there. On many occasions, most Jewish writers declared that they were Americans who happened to be Jewish; they were writing as Americans for all humankind, instead of being so parochial as to write just for Jews. Unlike Bellow, Malamud or Roth who refuse the designation as American-Jewish writers, Cynthia Ozick not only prefers being called the Jewish writer, but also observes the world through the eyes of a deeply committed Jew. Her writing is a powerful expression of a Jewish ethos. She characterizes her claims as a call for a liturgical literature impregnated with the values of Judaism. This thesis explores by what means do Cynthia Ozick achieves her "Liturgical literature". The author of this thesis carries out analysis in three major branches: dominant themes, argumentations in essays, and narrative techniques, to illustrate Ozick's "Liturgical literature" from different angles, make a full understanding of Ozick's art, and explain Ozick's most prominent characteristic as an American Jewish writer.
Having demonstrated the previous relevant explanations by other critics while having her own understanding on Ozick's art, the author of this thesis defines "Liturgical literature" and claims that Ozick's "Liturgical literature" is "a type of perception" generated under a specific historical condition. It is believed that living and writing in an "assimilation trend" while facing ubiquitous anti-Semitism, Jewish writers risk parochialism by creating distinctive Jewish characters and touching particular Jewish themes. However, Ozick's stories earn this designation in virtue of a perspective shaped by her sense of religiosity, which intertwines with the feeling of Jewish national pride and the desire for defending Jewish national dignity. These stories succeed in placing contemporary Jewish problems within their historical framework, thus reflecting the unusual existing status of Jews and their modern spirit, as well as revealing the significance of the link between the present and the Jewish past. The author of this thesis believes that by all these racial traits did Ozick form her own style and the notable "Liturgical literature", which takes the same function as ethnic literature and Diaspora literature.
The author of this thesis mainly discusses five aspects of Ozick's "Liturgical literature": Firstly, Ozick writes self-consciously for her people and more generally, Judaism. This is supported by expressions in her fictions, namely "to judge and interpret the world according to traditional Jewish values." Secondly, having Judaism as the dominant force in her works, Ozick takes Jewish identity as her major theme. The author of this thesis finds that a typical Ozick-story reveals the status of the Jews' physical and spiritual exile, defines the Jewish post-Holocaust experience, and finds contemporary American Jews' beset by competing ideologies. Thirdly, since Ozick has to respond to history as proof of her faith, she pays homage to Jewish history in her writings. Ozick shapes her observations of the past and presents them into interpretable meaning. Fourthly, Ozick's writing, filled with Jewish Halakha and Aggadah, unfolds its affinity to Jewish Mysticism. Lastly, Ozick's literary writings have their ethical orientation and functions, through which Ozick arouses Jews from sinking down, urges them to keep the Jewish identity as well as Jewish consciousness.
To make thorough research on Ozick's "Liturgical literature", the author of this thesis carries out several case studies of Ozick's literary works. For the perspective of "dominant themes", the author argues that Jewish identity and historical consciousness are Ozick's main liturgical themes. At various points, Ozick expresses Jewishness as "originating in the covenant and history, resisting idolatry, making distinctions with other religions, and study". With the analysis of one of Ozick's fictions, The Shawl, the author of this thesis finds that Ozick attaches primary importance to Jewish identity and historical consciousness in it. The Shawl integrates Jewish identity with loyalty to the Jewish past, just as what is found in Holocaust rememberances. Rosa, originally a despairing mother who totally relied on the shawl to protect her baby Magda in Concentration Camp, turns out to be to be a pagan who violates the most fundamental precept of Jewish law thirty-five years later. The tensions between cultural, maternal, and class-based modes of identity are largely responsible for Rosa's paganizing. For Ozick, abandoning Jewishness under a despairing situation may be psychologically understandable but morally unforgivable. Ozick reveals the whole process of Jews' apostatizing reflected by her protagonist Rosa The author of this thesis makes reasoning on the betrayal of apostates like Rosa in the following four aspects: firstly, it is Holocaust that horribly destroys the faith of Jewish people. The suffering in Concentration Camp turns them into walking corpses with neither sympathy nor hope, and makes them question their God and their prayer. Moreover, it is Diaspora that inevitably breaks the heritage of Jewish history and literature. The cohesive communities are disintegrated, and the ethnic ties are weakened. In addition, it is the mass assimilation that greatly influences Jewish values and living styles. Due to the impact of "Hedonism" in the U.S. at that time, some Jews abandoned the tradition and sermon. But besides these external traumas, it is class snobbery that fatally leads the post-Holocaust betrayals of Jewish identity, which proves to be Ozick's motif.
With further exploration of "Envy", the author of this thesis figures out Ozick's appeal to historical consciousness. Ozick endows her characters in the story with either great struggle for historicity or attempt to reinvent history, so as to achieve the Jewish identity in the new historical environment. For one thing, Ozick pins her hope on this kind of people while showing great respect to their passionate and innovative endeavor; for another, Ozick bemoans their slippery slope of identity due to their failure of grasping the essence of Jewishness. For liturgical redemptive purpose, Ozick criticizes her protagonist Edelshtein's ultranationalism and gives an appropriate suggestion that a Jew should place collective history and personal history together for identity construction rather than struggle between one another. Moreover, Ozick takes Ostrover and Hannah as examples to reveal that a Jew should seek identity from his/her own racial history, not the goyish history.
The author of this thesis also tries to give an account of some argumentations in Ozick's essays. Being described as an author "with Greek mind and Jewish Soul", Ozick used to struggle between Pan and Moses, Hellenism and Hebraism, Magic and Law. Facing Harold Bloom's proposition that "Literature is idol", a common issue that all Jewish writers encountered and struggled, Ozick makes a deep meditation on it. In the process of exploring the answer to this issue, Ozick generated the idea of "Liturgical literature", a Jewish fiction which can maintain both its redemptive ethnic function and its western art modality. She assures the reader that literature, even the imagination that serves it, can be anti-idolatrous and forms a reflection of a certain kind of "moral seriousness", essentially "Jewish".
The Cannibal Galaxy is selected by the author of this thesis to demonstrate Ozick's mental development on this issue. Brill, the protagonist, has once encountered the dilemma and conflicts between Jewish literature and Western civilization, just like Ozick. He devotes himself to incorporating the two cultures into a "Dual Curriculum". The author of this thesis holds that the success of his "dullest student" Beulah exposes Brill's Dual Curriculum as a sham and forces its dreamy proponent to confront the emptiness of his ambitions. And that reflects Ozick's motif: any attempt to merge Jewish values into post-Enlightment ones have never succeeded, such "duality" is bound to end in mediocrity or cannibalism. Western Civilization can not sustain Jewish culture; only the Jewish literature that touches on the liturgical or the redemptive lasts permanently.
However, the author of this thesis suggests that a further reading of The Cannibal Galaxy in the light of Ozick's essay "Bialik's Hint" may interpret both Ozick's optimism about the possibilities of the mutual enrichment of counterposed cultures and an underlying continuity in her thinking. In a sense, Hester's philosophy and Beulah's paintings miraculously bring together Jewish and Western cultures, become products of a liturgical imagination, and are graven images that bear interpretation, which impose themselves powerfully upon the memory.
The author of this thesis holds that similar to Hester's philosophy and Beulah's paintings, Ozick's art can be described as a kind of perfect mixture; her writing is believed to be a proper "conciliation" of "Law" and "Imagination". Through 30 year's writing practice, Ozick indeed creates several ethnical fictions from a Jewish point of view which she once labeled "liturgical", under the cover of Christian language and imagination which symbolizes the Western civilization.
Along with Ozick's liturgical themes and argumentations, the author of this thesis discovers that there is an additional aspect, narrative techniques, which labels Ozick's writings as "liturgical". As a stylist, Ozick integrates some certain techniques from Jewish and non-Jewish culture, and forms her specific liturgical narration. Deeply rooted in the Old Testament and its Ten Commandments and greatly inspired by the ancient wisdom of Mosaic Law, Ozick's orthodox vision and morality is essentially tied to Jewish history and traditions, as well as to the suffering of the Jewish people. As a writer with sense of religion, Ozick takes the responsibility of promoting these spiritual truths, and pass on them to her people. However, far from creating orthodox or didactic effects, her literary modes vary from conventional realism to parable and fantasy.
The Puttermesser Papers is selected in this thesis for a case study of Ozick's narrative techniques. Drawing upon the traditions and lore of Judaism, Ozick conjures her Jewish magic to illuminate the moral dimensions of both fiction and contemporary reality. The stories in The Puttermesser Paper, through Ozick's skillful narrative techniques such as Biblical Narrative, parody and reflexivity in narration, convey the motif to the reader easily: with the dangerous tendency of artistic creativity and appreciation to become a kind of idolatry, it is urgent for Jews in Diaspora to keep the moral and spiritual obligation, to maintain their cultural identity and to see themselves within a living history.
Taking all the "dominant themes in Ozick's fictions, the argumentations in her essays and the narrative techniques in story-telling" into consideration, the author of this thesis reaffirms Ozick's literary works as "liturgical literature": a new kind of literary genre written in Judeo-English, but mainly based on Jewish history and the special historical encounter of Jews, which involves a turning to religious Judaism and Jewish ideas, employs historical covenanted imagination to carry out redemption in Diaspora and rekindle a cultural renaissance.
The author of this thesis notices that Ozick once asserted that "the self-conscious Jewish writer who remembers, who maintains an awareness of history against the blandishments of the momentary and the immediate, in turn will be remembered, will become a part of (at least Jewish) literary history." In fact, of any Jewish-American writer alive today or in the recent past, Ozick is considered to be the most vociferous and perhaps the only spokesperson of Jewish-Diaspora literature. With her writings that return to traditional Hebraic values, Ozick has already been remembered and gained broad respect. "Liturgical literature", as she wishes and has once claimed in essays, "has the configuration of the ram's horn: strength given to the inch-hole and the splendor spreads wide". Nowadays, most critics appreciate Ozick's contribution to expanding American literature and encouraging American literary tradition to be re-assimilated into the Jewish tradition.
With the analysis above, this thesis acknowledges the remarkable achievement that Ozick has made, as she has produced an appreciation of the moral richness in the 20th century Jewish literature, preserved Jewish tradition in the midst of the extraordinary challenges of that century, and spread it out into the air.
20世纪20年代到60年代,作为一个特殊的阶段,既见证了奥兹克由一个普通犹太女孩成长为一个成就斐然的犹太作家的过程,也记录下了美国同化政策的进展和影响。在社会结构同化方面,多数美国犹太人通过数年的努力已经上升为中产阶级。在文化同化方面,由于吸取了大量的美国主流文化价值观,他们的犹太教信仰、犹太文化价值观和行为规范降低至所谓的“象征性犹太教”。社会结构同化和文化同化不可避免地导致了身份同化。然而,美国犹太移民自觉融入美国社会的热情却没有使反犹主义势力减少对他们的歧视和迫害。在众多内因和外因的共同作用下,身份同化问题变得极为严重。到上个世纪60年代末,数以百万计的犹太裔美国人,摒弃了犹太传统,彻底抛弃了他们的犹太身份。
在文学界,犹太作家的犹太性也呈现出明显的弱化趋势。身份问题对于犹太作家来说变得尤为敏感。以索尔·贝娄、伯纳德·马拉默德、菲利普·罗斯为代表的一批作家,之所以被称为犹太作家,仅仅只是因为外界对他们进行了如是划分。事实上,他们大多抵制被称为犹太作家。在很多场合下,他们公开宣称自己只是恰巧身为犹太人的美国人,认为美国人是自己身份的第一性,然后才具有犹太性。同时,他们反复强调自己作为美国作家,关注的是全人类的普遍社会问题,而绝不是狭隘的犹太民族主义。在这些避忌犹太身份的作家眼中,奥兹克可谓特立独行。她乐于被称为犹太作家,并且以一个纯粹的犹太人的立场去观察世界。她的作品是对犹太民族精神的一种有力阐释,她提倡一种饱含犹太教价值观的“礼拜式文学”。本论文旨在探究“礼拜式文学”的特征以及奥兹克实现“礼拜式文学”的途径。本文作者将从奥兹克作品的文学主题、文论思想以及叙事技巧等三个方面阐述她的“礼拜式文学”,论证奥兹克作为新一代美国犹太作家所具有的独特的犹太性。
首先,本文作者通过援引以往评论家对奥兹克“礼拜式文学”的相关解释以及自己对奥兹克艺术的理解,对“礼拜式文学”进行了全新的定义,并强调“礼拜式文学”是特定历史条件下产生的一种感知。在反犹主义极为盛行的时代背景下,像奥兹克这样敢于逆同化潮流而行,承受着可能被指责为狭隘的巨大压力,而将作品中的主人公设计为犹太人或是直接触及犹太主题的小说家屈指可数。出于对犹太历史的深刻理解,奥兹克通过她笔下的犹太主人公们,反复探讨犹太主题,并散发出一种强烈的历史意识。奥兹克的作品成功地将当代犹太人所面临的困难融于历史框架之中,阐释了现代犹太人不寻常的生存状态,揭示了犹太教中关于“现在”和犹太人的“过去”——两者之间历史纽带的重大意义。本文作者认为奥兹克的“礼拜式文学”带有强烈的犹太民族主义色彩和显著的宗教特点,兼具族裔文学和流散文学的功能。
其次,本文归纳出奥兹克“礼拜式文学”的五个显著特征。第一,奥兹克的“礼拜式文学”体现在其自觉服务于宗教的创作意识。正如她在小说中表述的那样,她“依照传统的犹太价值观来衡量和诠释世界”。第二,奥兹克的“礼拜式文学”特质主要表现为其文学主题的宗教化。她的作品集中表现了犹太人的过去、“二战”犹太人大屠杀的重负,二战后犹太人的身份问题,以及希腊精神(异教)与犹太教文化之间的矛盾冲突。一个典型的奥兹克式的故事通常讲述美国犹太人是如何在对抗的意识形态中挣扎困惑、曲折前行,如何为自己的民族文化身份而焦虑,为抵御外来压力、诱惑以及为坚持自己的文化传统、宗教信仰而斗争。奥兹克一方面表达了对犹太族人的鼓励和期盼——想继续或者达成真正的犹太身份,就必须相信契约、选择犹太教,而克服与之对抗的一切异教诱惑和文化同化;另一方面又表现出对犹太人在现代社会中生存背景不可靠性的深刻关注。第三,奥兹克的小说处处体现了她对犹太历史的尊重。她将犹太民族的流浪史消解为文学的潜在媒质,在叙述犹太人的形体流浪时,更着重展现他们心灵深处的精神流浪。第四,从创作形式上讲,奥兹克的“礼拜式文学”作品趋于神秘主义的处理方式,在不同程度上再现了犹太哈拉哈式和阿嗄达式的叙事特点。最后,奥兹克通过其文学作品实施了宗教教化功能。她的作品,或敦促族人记忆犹太历史,或警醒族人免于异教化或同化,激励犹太人对犹太身份和犹太意识的坚持。
本文作者对奥兹克的礼拜式文学的理解,主要是通过解读其部分小说来实现的。解析奥兹克的“礼拜式文学”,首先从探究其宗教主题开始。奥兹克认为“与上帝立契约、融入历史、抵制偶像崇拜、区别于其他宗教、坚持学习”是犹太性的精髓所在。其中,对身份的坚持以及对历史的尊重——作为最为核心的两项,理所当然成为了奥兹克的写作重点,并在小说《围巾》中得到了充分的体现。奥兹克通过《围巾》沉痛地叙述了犹太女人罗莎是如何背负大屠杀的重创和阴影,最终在文化属性、母亲身份和阶级性的多重撕扯作用下,泯灭了自己的犹太性,走向了异教深渊。奥兹克认为,犹太人在任何情况下都不应该丧失自身的犹太性。女主人公罗莎在绝望之中丧失了自己的犹太身份,即使在心理上值得人们同情,在道德上也是不可饶恕的。本文作者认为罗莎只是众多犹太信徒异教化的一个缩影,继而从《围巾》中归纳出犹太人异教化的四个原因:其一,大屠杀摧毁了犹太人民的信仰,集中营里的苦难使他们丧失了同情心、摒弃了希望,令他们质疑上帝,放弃祈祷;其二,种族离散在客观上造成了犹太历史和犹太文化得不到有效的继承,犹太团体被迫分化,种族纽带惨遭断裂;其三,同化作用极大地冲击了犹太人的价值观和生存方式。为了追求美国“享乐主义”,犹太人付出了抛弃传统及律法的惨痛代价。其四,即本文作者所认为的最关键的原因,罗莎的异教化不单是大屠杀、族人分离或是同化等外伤所招致的,而是由罗莎思想中根深蒂固的等级观念和阶级意识造成的。这些以不同阶级为基础的冲突,才是撕裂分解犹太思想的罪魁祸首,也是“大屠杀后”犹太人背叛并出卖犹太性的最大根源。这也是奥兹克创作这部作品的主旨之一。
奥兹克对于历史意识的诉求则是通过《嫉妒》体现的。这部短篇小说中的主人公一个通过苦苦挣扎保持历史性,一个试图通过创造历史,来达成全新历史条件下的犹太身份。奥兹克一方面对他们的热情以及勇于创新的精神寄予了希望,另一方面对他们由于没有领悟到犹太性的本质而招致的身份滑坡感到遗憾并发出哀叹。为了达到救赎的目的,奥兹克批判了爱德斯丁狭隘的民族主义,指出犹太人应该将个人历史和集体历史放在一起来实现身份的建造,而不是顾此失彼;也以奥斯特洛沃和汉娜为例说明了犹太人应该、也只能在自己种族所在的历史中实现身份诉求。
本文作者对奥兹克的文论思想也进行了深入的研究。奥兹克被批评界誉为具有“希腊人的头脑,犹太人的灵魂”的作家。她早年曾经一度挣扎于潘神和摩西、希腊文化和希伯来文化、魔法和律法的冲突之中。对于哈罗德提出的有关“文学是一种偶像制造”的命题,几乎所有的犹太作家都感到束手无策。而奥兹克对此进行了深刻的思索并最终巧妙地化解了作为犹太作家所背负的矛盾。正是在求解的过程中,奥兹克诞生了有关“礼拜式文学”的想法——一种以西方艺术为表达形式,具有救赎功能的犹太小说。奥兹克坚信,文学与为之服务的想象,可以化作一股反偶像崇拜的作用力,成为一种对犹太道德的深刻反映。
本文作者通过解读奥兹克的小说《吃人的银河系》来阐释奥兹克在对待这一问题上的思想发展过程。和奥兹克一样,主人公布里尔深刻感知到来自犹太文化和异教文化的冲突,陷入了文化困窘。于是他决定毕生致力于推崇一种可以融合两种文化的“双语课程”。本文作者认为,小说结局中布里尔的学生比乌拉的成功,实际上是对布里尔的一种嘲讽,布里尔的“双语课程”最终被证明只是一个不切实际的空想和野心。这部小说有力地支持了奥兹克文论中所表达的思想——那些企图将犹太价值观和后启蒙价值观融合的行为注定会失败。西方文明无法承载犹太文化,只有触及礼拜式,表现救赎的犹太文学才能在犹太族历史上永垂不朽。
然而,奥兹克的另一篇文论“Bialik's Hint”为我们解读《吃人的银河系》提供了另一个视角。它透视出两种文化互为补充的可能性以及奥兹克对此的乐观态度,以及体现出奥兹克蕴含其中的思想连贯性。从某种意义上说,海斯特的哲学和比乌拉的画,在礼拜式想像的指引下,奇迹般地融合了犹太文化和西方文化,让布里尔望尘莫及。本文作者认为,奥兹克的艺术,一如比乌拉的画,成功地融合两种文化中的精髓。在长达三十年的写作生涯中,奥兹克不断运用西方文化的形式—用英语写作,极尽想象之能事,创建了以犹太价值观为根本出发点的宗教小说,完美地融合律法与想象,贴上了奥兹克的“礼拜式”的标签。
礼拜式文学同样反映在奥兹克独特的叙事手法上。她采纳了西方的叙事技巧,只为服务于她根源于旧约和摩西十戒的正统思想。受到摩西律法铭言的启示,奥兹克的故事始终以犹太历史、传统和犹太人民的受难为主题,但是她没有刻板地以说教的方式教育读者,而是以不同的形式将其呈现出来。
奥兹克在《普特麦斯故事集》中运用圣经叙述的叙事手法,达成了现实与超现实世界的融合。大量的仿效和自反性叙述时刻提醒读者提防危险的艺术创造的倾向和偶像崇拜的渗透,呼吁在离散中的犹太人恪守道德和精神准则,在历史的发展中保持自身的文化身份。
通过对文学主题、文论思想以及叙事技巧等三方面的详细论证,本文作者再次重申了自己关于奥兹克的“礼拜式文学”的定义:礼拜式文学是建立在犹太历史(包括犹太族的历史遭遇)的基础上,包含了对犹太宗教和犹太思想的回溯,借助契约式想象,以犹太式英语写作的一种全新的文学规划。奥兹克企盼通过这种文学规划,对处于离散中的犹太人实旌救赎功能,对犹太文化进行复兴。
奥兹克曾经断言:“那些自觉记住和维护历史的意识,抵制当前短暂哄诱的犹太作家,会被人记住,将成为历史(至少是犹太史)上的一部分!”我们庆幸,犹太族在新时期的离散竟孕育出奥兹克这样一位“为希伯来价值体系,为犹太历史文化”摇旗呐喊的斗士。如同她在文论中所展望的那样,奥兹克独具匠心的“礼拜式文学”具有巨大的感召力:“一种礼拜式文学,拥有公羊的角的结构,给你找到突破口,光耀四方的力量”。目前,很多批评家都尊敬奥兹克,更欣赏她对美国文学传统做出的重要贡献,因为她使美国文学重新审视并主动融入犹太传统,极大程度地弥补了美国传统文学的缺失。
本论文肯定了奥兹克创作的卓越成就。奥兹克在20世纪的犹太文学领域树立了一种富有犹太精神的创作新风,在这个布满荆棘的世纪坚守了犹太的传统,并将它发扬光大!
In current American literary world, voices are prominently heard from the second generation of Jewish immigrants, represented by Saul Bellow, Bernard Malamud, Phillip Roth and Cynthia Ozick. These Jewish writers either grew up with a Jewish background or received an education in the Jewish tradition, but they had all experienced both assimilation and anti-Semitism, and that is why these two issues are always involved in their works. Among these Jewish writers, Cynthia Ozick is an extraordinary self-styled spokesperson of American Jewish literature and the most audacious writer of her age.
The years between the 1920s and the 1960s witnessed not only Ozick's growth as a notable Jewish writer but the whole process and success of America's assimilation as well. In structural assimilation, most American Jews became members of the American middle-class or professionals after years of efforts. With cultural assimilation, American Jews had sufficiently taken American dominant values whereas they adhered only symbolically to Judaism, Jewish cultural values and behavioral patterns. Those assimilations inevitably cause the identificational assimilation. Meanwhile, the force of anti-Semitism has never been weakened. As a result, over a million Jewish-born Americans had given up their Jewish heritage completely and stopped being Jewish by the end of the 1960s.
This attenuated Jewishness also showed up in literary circle, and the identity problem became a sensitive issue among the Jewish writers. Primarily, these writers were kept in the Jewish fold simply because of others' insistence that they belonged there. On many occasions, most Jewish writers declared that they were Americans who happened to be Jewish; they were writing as Americans for all humankind, instead of being so parochial as to write just for Jews. Unlike Bellow, Malamud or Roth who refuse the designation as American-Jewish writers, Cynthia Ozick not only prefers being called the Jewish writer, but also observes the world through the eyes of a deeply committed Jew. Her writing is a powerful expression of a Jewish ethos. She characterizes her claims as a call for a liturgical literature impregnated with the values of Judaism. This thesis explores by what means do Cynthia Ozick achieves her "Liturgical literature". The author of this thesis carries out analysis in three major branches: dominant themes, argumentations in essays, and narrative techniques, to illustrate Ozick's "Liturgical literature" from different angles, make a full understanding of Ozick's art, and explain Ozick's most prominent characteristic as an American Jewish writer.
Having demonstrated the previous relevant explanations by other critics while having her own understanding on Ozick's art, the author of this thesis defines "Liturgical literature" and claims that Ozick's "Liturgical literature" is "a type of perception" generated under a specific historical condition. It is believed that living and writing in an "assimilation trend" while facing ubiquitous anti-Semitism, Jewish writers risk parochialism by creating distinctive Jewish characters and touching particular Jewish themes. However, Ozick's stories earn this designation in virtue of a perspective shaped by her sense of religiosity, which intertwines with the feeling of Jewish national pride and the desire for defending Jewish national dignity. These stories succeed in placing contemporary Jewish problems within their historical framework, thus reflecting the unusual existing status of Jews and their modern spirit, as well as revealing the significance of the link between the present and the Jewish past. The author of this thesis believes that by all these racial traits did Ozick form her own style and the notable "Liturgical literature", which takes the same function as ethnic literature and Diaspora literature.
The author of this thesis mainly discusses five aspects of Ozick's "Liturgical literature": Firstly, Ozick writes self-consciously for her people and more generally, Judaism. This is supported by expressions in her fictions, namely "to judge and interpret the world according to traditional Jewish values." Secondly, having Judaism as the dominant force in her works, Ozick takes Jewish identity as her major theme. The author of this thesis finds that a typical Ozick-story reveals the status of the Jews' physical and spiritual exile, defines the Jewish post-Holocaust experience, and finds contemporary American Jews' beset by competing ideologies. Thirdly, since Ozick has to respond to history as proof of her faith, she pays homage to Jewish history in her writings. Ozick shapes her observations of the past and presents them into interpretable meaning. Fourthly, Ozick's writing, filled with Jewish Halakha and Aggadah, unfolds its affinity to Jewish Mysticism. Lastly, Ozick's literary writings have their ethical orientation and functions, through which Ozick arouses Jews from sinking down, urges them to keep the Jewish identity as well as Jewish consciousness.
To make thorough research on Ozick's "Liturgical literature", the author of this thesis carries out several case studies of Ozick's literary works. For the perspective of "dominant themes", the author argues that Jewish identity and historical consciousness are Ozick's main liturgical themes. At various points, Ozick expresses Jewishness as "originating in the covenant and history, resisting idolatry, making distinctions with other religions, and study". With the analysis of one of Ozick's fictions, The Shawl, the author of this thesis finds that Ozick attaches primary importance to Jewish identity and historical consciousness in it. The Shawl integrates Jewish identity with loyalty to the Jewish past, just as what is found in Holocaust rememberances. Rosa, originally a despairing mother who totally relied on the shawl to protect her baby Magda in Concentration Camp, turns out to be to be a pagan who violates the most fundamental precept of Jewish law thirty-five years later. The tensions between cultural, maternal, and class-based modes of identity are largely responsible for Rosa's paganizing. For Ozick, abandoning Jewishness under a despairing situation may be psychologically understandable but morally unforgivable. Ozick reveals the whole process of Jews' apostatizing reflected by her protagonist Rosa The author of this thesis makes reasoning on the betrayal of apostates like Rosa in the following four aspects: firstly, it is Holocaust that horribly destroys the faith of Jewish people. The suffering in Concentration Camp turns them into walking corpses with neither sympathy nor hope, and makes them question their God and their prayer. Moreover, it is Diaspora that inevitably breaks the heritage of Jewish history and literature. The cohesive communities are disintegrated, and the ethnic ties are weakened. In addition, it is the mass assimilation that greatly influences Jewish values and living styles. Due to the impact of "Hedonism" in the U.S. at that time, some Jews abandoned the tradition and sermon. But besides these external traumas, it is class snobbery that fatally leads the post-Holocaust betrayals of Jewish identity, which proves to be Ozick's motif.
With further exploration of "Envy", the author of this thesis figures out Ozick's appeal to historical consciousness. Ozick endows her characters in the story with either great struggle for historicity or attempt to reinvent history, so as to achieve the Jewish identity in the new historical environment. For one thing, Ozick pins her hope on this kind of people while showing great respect to their passionate and innovative endeavor; for another, Ozick bemoans their slippery slope of identity due to their failure of grasping the essence of Jewishness. For liturgical redemptive purpose, Ozick criticizes her protagonist Edelshtein's ultranationalism and gives an appropriate suggestion that a Jew should place collective history and personal history together for identity construction rather than struggle between one another. Moreover, Ozick takes Ostrover and Hannah as examples to reveal that a Jew should seek identity from his/her own racial history, not the goyish history.
The author of this thesis also tries to give an account of some argumentations in Ozick's essays. Being described as an author "with Greek mind and Jewish Soul", Ozick used to struggle between Pan and Moses, Hellenism and Hebraism, Magic and Law. Facing Harold Bloom's proposition that "Literature is idol", a common issue that all Jewish writers encountered and struggled, Ozick makes a deep meditation on it. In the process of exploring the answer to this issue, Ozick generated the idea of "Liturgical literature", a Jewish fiction which can maintain both its redemptive ethnic function and its western art modality. She assures the reader that literature, even the imagination that serves it, can be anti-idolatrous and forms a reflection of a certain kind of "moral seriousness", essentially "Jewish".
The Cannibal Galaxy is selected by the author of this thesis to demonstrate Ozick's mental development on this issue. Brill, the protagonist, has once encountered the dilemma and conflicts between Jewish literature and Western civilization, just like Ozick. He devotes himself to incorporating the two cultures into a "Dual Curriculum". The author of this thesis holds that the success of his "dullest student" Beulah exposes Brill's Dual Curriculum as a sham and forces its dreamy proponent to confront the emptiness of his ambitions. And that reflects Ozick's motif: any attempt to merge Jewish values into post-Enlightment ones have never succeeded, such "duality" is bound to end in mediocrity or cannibalism. Western Civilization can not sustain Jewish culture; only the Jewish literature that touches on the liturgical or the redemptive lasts permanently.
However, the author of this thesis suggests that a further reading of The Cannibal Galaxy in the light of Ozick's essay "Bialik's Hint" may interpret both Ozick's optimism about the possibilities of the mutual enrichment of counterposed cultures and an underlying continuity in her thinking. In a sense, Hester's philosophy and Beulah's paintings miraculously bring together Jewish and Western cultures, become products of a liturgical imagination, and are graven images that bear interpretation, which impose themselves powerfully upon the memory.
The author of this thesis holds that similar to Hester's philosophy and Beulah's paintings, Ozick's art can be described as a kind of perfect mixture; her writing is believed to be a proper "conciliation" of "Law" and "Imagination". Through 30 year's writing practice, Ozick indeed creates several ethnical fictions from a Jewish point of view which she once labeled "liturgical", under the cover of Christian language and imagination which symbolizes the Western civilization.
Along with Ozick's liturgical themes and argumentations, the author of this thesis discovers that there is an additional aspect, narrative techniques, which labels Ozick's writings as "liturgical". As a stylist, Ozick integrates some certain techniques from Jewish and non-Jewish culture, and forms her specific liturgical narration. Deeply rooted in the Old Testament and its Ten Commandments and greatly inspired by the ancient wisdom of Mosaic Law, Ozick's orthodox vision and morality is essentially tied to Jewish history and traditions, as well as to the suffering of the Jewish people. As a writer with sense of religion, Ozick takes the responsibility of promoting these spiritual truths, and pass on them to her people. However, far from creating orthodox or didactic effects, her literary modes vary from conventional realism to parable and fantasy.
The Puttermesser Papers is selected in this thesis for a case study of Ozick's narrative techniques. Drawing upon the traditions and lore of Judaism, Ozick conjures her Jewish magic to illuminate the moral dimensions of both fiction and contemporary reality. The stories in The Puttermesser Paper, through Ozick's skillful narrative techniques such as Biblical Narrative, parody and reflexivity in narration, convey the motif to the reader easily: with the dangerous tendency of artistic creativity and appreciation to become a kind of idolatry, it is urgent for Jews in Diaspora to keep the moral and spiritual obligation, to maintain their cultural identity and to see themselves within a living history.
Taking all the "dominant themes in Ozick's fictions, the argumentations in her essays and the narrative techniques in story-telling" into consideration, the author of this thesis reaffirms Ozick's literary works as "liturgical literature": a new kind of literary genre written in Judeo-English, but mainly based on Jewish history and the special historical encounter of Jews, which involves a turning to religious Judaism and Jewish ideas, employs historical covenanted imagination to carry out redemption in Diaspora and rekindle a cultural renaissance.
The author of this thesis notices that Ozick once asserted that "the self-conscious Jewish writer who remembers, who maintains an awareness of history against the blandishments of the momentary and the immediate, in turn will be remembered, will become a part of (at least Jewish) literary history." In fact, of any Jewish-American writer alive today or in the recent past, Ozick is considered to be the most vociferous and perhaps the only spokesperson of Jewish-Diaspora literature. With her writings that return to traditional Hebraic values, Ozick has already been remembered and gained broad respect. "Liturgical literature", as she wishes and has once claimed in essays, "has the configuration of the ram's horn: strength given to the inch-hole and the splendor spreads wide". Nowadays, most critics appreciate Ozick's contribution to expanding American literature and encouraging American literary tradition to be re-assimilated into the Jewish tradition.
With the analysis above, this thesis acknowledges the remarkable achievement that Ozick has made, as she has produced an appreciation of the moral richness in the 20th century Jewish literature, preserved Jewish tradition in the midst of the extraordinary challenges of that century, and spread it out into the air.
引文
1 Cf. Victor Strandberg, Greek mind/ Jewish Soul, Madison: The University of Wisconsin Press, 1994.
2 The O. Henry Award is named after the American master of the form, O. Henry, first presented in 1919. It is an annual collection of the year's twenty best stories published in U.S. and Canadian magazines, written in the English language. The O. Henry Prize Stories is dedicated to a writer who has made a major contribution to the art of the short story. Ozick gained this award by "Usurpation (Other People's Stories)"in 1975, "The Shawl" in 1981,"Rosa" in 1983, "Puttermesser Paired" in 1992.
3 The author of the thesis forms Ozick's biography part mainly following the biographical line and employing some events as Victor Strandberg provided in Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994. pp. 3-12.; Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, pp. 1-7; Joseph, Lowin, "Cynthia Ozick", Paula Hyman and Deborah Dash Moore eds., Jewish Women in America. NY: Routledge, 1997.
[1]Cynthia Ozick,"A Drugstore in Winter," in Ozick,Art and Ardor,New York:E.P Dutton,Inc,1988,p.301.
[2]Cynthia Ozick,"A Drugstore in Winter," in Ozick,Art and Ardor,New York:E.P Dutton,Inc.,1988,p.301.
[3]Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.2.
[4]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.4.
[5]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.4.
[6]Eve Ottenberg,"The Rich Vision of Cynthia Ozick",The New York Times Magazine(10.April,1983),p.62.
[7]http://www.jewishvirtuallibrary.org/jsource/biography/Ozick.html,(Accessed,02.07,2008)
[8]Eve Ottenberg,"The Rich Vision of Cynthia Ozick",The New York Times Magazine(10.April,1983),p.4.
[9]Cynthia Ozick,"Letters to Victor Stranberg"(6/6/1990).The comment on childhood reading is cited from Conversations with Reynolds Price,ed.Jefferson Humphreys(Jackson and London:University Press of Mississippi,1991),p.195.James B.Duke Professor of English at Duke University and a distinguished novelist,poet,dramatist and essayist,is the author of more than thirty books,including the recent novel Noble Norfleet (2002).
1 Cf. Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 4.
5 Cynthia Ozick, "A Drugstore in Winter," in Ozick, Art and Ardor, New York: E.P Dutton, Inc, 1988, p. 301..
[1]Cynthia Ozick,"A Drugstore in Winter," in Ozick,Art and Ardor,New York:E.P Dutton,Inc,1983,p.302.
[2]Cynthia Ozick,"Letters to Victor Stranberg"(6/6/1990),in Victor Strandberg,Greek Mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.6.
[3]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.6.
[4]Elaine M.Kauvar,Contemporary Literature 26,no.4(Winter 1985),p.385.
[5]NYTBR,2 December 1979,p.59.
[1]Joseph Lowin,Paula Hyman and Deborah Dash Moore eds.Jewish Women in America.NY:Routledge,1997.
[2]"the gods" here refers to Henry James,W.H Audern and Marianne Moore.Ozick was embrassed to be ignore of the house on the north side of the Square where Henry James was born;the nearby dwelling places of W.H.Auden and Marianne Moore.
[3]Thomas Wolfe,(1900-1938),was an important American novelist of the 20th century.He wrote four lengthy novels,plus many short stories,dramatic works,and novel fragments.He is known for mixing highly original,poetic,rhapsodical,and impressionistic prose with autobiographical writing.His books,written during the Great Depression,depict the variety and diversity of American culture.His representative works includes Look Homeward,Angel(1929),Of Time and the River(1935),You Can't Go Home Again(1940)
[4]Cf.Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.3
[5]Cynthia Ozick,"Letters to Victor Stranberg"(1/14/82),in Victor Strandberg,Greek Mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994.
2 Eve Ottenberg, "The Rich Vision of Cynthia Ozick," The New York Times Magazine (10. April, 1983), p. 63
3 Cynthia Ozick,"The Seam of the Snial", Metaphor and Memory, New York: Knopf, 1989, p. 109-110.
4 Cf. Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 5.
5 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 5.
[1]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.191.
[2]Joseph Lowin,"Cynthia Ozick",Paula Hyman and Deborah Dash Moore eds.Jewish Women in America.NY:Routledge,1997
[3]Sideney Lumet(1924- ),is an Academy Award-winning American film director,with over 50 films to his name,including the critically acclaimed 12 Angry Men(1957),Serpico(1973),Dog Day Afrernoon(1975),Network (1976) and The Verdict(1982),all of which earned him Academy Award nominations for Best Director.He won an Academy Award for Lifetime Achievement in 2005,for his "brilliant services to screenwriters,performers,and the art of the motion picture".
[4]Ben Brantley(1954- ),is the chief theater critic of the New York Times.He is a member of the Phi Beta Kappa Society and the editor of The New York Times Book of Broadway:On the Aisle for the Unforgettable Plays of the Last Century.
[5]Joseph Lowin,Paula Hyman and Deborah Dash Moore eds.Jewish Women in America.NY:Routledge,1997
[1]The three father figures:William,her mother's first husband,appears to be a model of WASP order and rectitude(it is he who calls her "illegitimate issue").Enoch,the second husband,is a Jew whose keenly original intellect appeals strongly to the narrator.And Gustave Nicholas Tilbeck is the illicit lover who fathered the narrator,thereby dissolving her mother's first marriage.Although he appears by conventional judgment to be utterly disreputable- an irresponsible hedonist,runaway father,vagabond,sponge,and blackmailer-in the end Tilbeck becomes the role model his daughter has longed for and the unlikely repository of her "trust":a man of spontaneous passion,of faunlike immersion in the moment,of Greek/pagan heresies,suggesting the "spontaneous gods of nature" that Ozick has associated with E.M.Forster.The conflict between Pan and Moses concerning sex reaches maximum intensity in William's painful euphemism for the narrator's illegitimacy- "the circumstances of my birth-how indecently priggish and Dickensian that sounds."[1]It places Tiibeck's role invitingly in focus,"as though,while standing solemnly in court,about to be sentenced,I had caught sight of the god Pan at the window,clutching a bunch of wild flowers...and laughing a long and careless jingle of a laugh,like bicycle bells."[1]
[2]Josephine Z.Knopp."The Jewish Stroies of Cynthia Ozick",ed.Daneil Walden,Studies in American Jewish literature 1,no.1(Spring 1975)
[3]Josephine Z.Knopp."The Jewish Stroies of Cynthia Ozick",ed.Daneil Walden,Studies in American Jewish literature 1,no.1(Spring 1975)
[4]Cynthia Ozick,"We Are the Crazy Lady and Other Feisty Feminist Fables." ed.Douglas Hunt,The Dopphin Reader,2d ed.,Boston:Houghton Mifflin,1990,p.676.
[5]Cf.Victor Strandberg,Greek Mind and Jewish Soul,The University of Wisconsin Press,1994,p.153.
[1]Cynthia Ozick,"' We Are the Crazy Lady' and Other Feisty Feminist Fables," Ms.(spring 1972):pp.40-44.
[2]Cf.Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed,12.07,2007)
[3]Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed,12.07,2007)
[4]Ellen Pifer',"Invention and Orthodoxy",Contemporary American Women Writers:Narrative Strategies,The University Press of Kentucky,1985.p.
[5]Cf.Katha Pollitt,"The Three Selves of Cynthia Ozick",The New York Times Book Review(May 22,1983):p.9.
[6]Cynthia Ozick,"Literature and the Politics of Sex:A Dissent," Ms 6(December 1977).pp.79-80.
[7]Josephine Z.Knopp,"The Jewish Stories of Cynthia Ozick",Studies in American Jewish Literature 1,no.1(spring 1975)
[1]Ruth R.Wisse,"American Jewish Writing",Commentary,June,1976
[2]Ruth R.Wisse,"American Jewish Writing",Commentary,June,1976
[3]Ruth R.Wisse,"American Jewish Writing",Commentary,June,1976
[4]Since feminism at large had developed many different modes of literary analysis but had by the 1980s not included looking at writings by Jewish women writers,some scholars and critics felt compelled to turn to writings by Jewish women.Benefiting from the work done by their contemporaries scholars fruitfully adapted categories of analysis to probe.In the 1980s,with a wide range of works produced by Jewish women was brought to the foreground,the critical material on Jewish women in America gradually emerged.
[5]Katha Pollitt,"The Three Selves of Cynthia Ozick," review of Art and Ardor,by Cynthia Ozick,The New York Times Book Review(May 22,1983):7,35.
[6]Cf.Zhang Shuqing,On the Status of Jewish Women in Medieval Europe[D],2004.The dissertation focuses on four areas that dominated the lives of medieval Jewish women:the religious domain,the educational domain,the domestic domain and the economic domain.This is because in the Middle Ages the lives of all human beings,including women,were controlled first by religion;second,by examining why Jewish women in the Middle Ages could not have the same right to be educated,we can get a special perspective on the social status of Jewish women;Third,by domesticity that in the Middle Ages family home was regarded as the natural place for women to actualize their obligations both to men and society;and fourth,by looking at the ways women participated in the economic sphere it is possible to appreciate the role Jewish women played in the public realm and,as a result,get a more accurate understanding at the complexity that defines the status of Jewish women in Medieval Europe.
2 Victor Strandberg, Greek Mind and Jewish Soul, The University of Wisconsin Press, 1994, p. 156.
3 Victor Strandberg, Greek Mind and Jewish Soul, The University of Wisconsin Press, 1994, p. 156.
4 Sanford Pinsker, "Jewish Tradition and the Individual Talent". The Georgia Review 37, no. 3 (Fall 1983,) the Univeristy of Georgia.
5 Sanford Pinsker, "Jewish Tradition and the Individual Talent". The Georgia Review 37, no. 3 (Fall 1983,) the Univeristy of Georgia.
[1]Thomas R.Edwards,"The Short View",The New York Review of Books.1,Apr.1976,
[2]Edmund White,from The New York Book Review,11 Sep.1983
[3]Edmund White,from The New York Book Review,11 Sep.1983
[4]Edmund White,from The New York Book Review,11 Sep.1983
[5]Victor Strandberg,Greek Mind and Jewish Soul,The University of Wisconsin Press,1994,
[6]Victor Strandberg,Greek Mind and Jewish Soul,The University of Wisconsin Press,1994,p.156.
[7]Elaine Kauvar(1939-),is a modern critic,and a professor of English at Baruch College,City University of New York.
[8]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Indiana University Press,1993.p.39.
[1]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Indiana University Press,1993.p.42.
[2]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Indiana University Press,1993.p.42.
[3]Cf.Michael Greenstein,"The Muse and the Messiah:Cynthia Ozick's Aesthetics," Studies in American Jewish Literature 8.1(1989):50-65.
[4]Harold Bloom.Modern Critical Views:Cynthia Ozick,Chelsea House Publishers,1986,p.6.
[5]Mark Krupnick,Jewish writing and the Deep Place of the Imagination,P73,The university of Wisconsin Press,2005
[5]Sorrel Kerbel,www.routledge-ny.com/ref/jewishwriters/samples.html,(Accessed 02,07,2008)
1 Cynthia Ozick, Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981 p. 18.
2 Victor Strandberg, Greek Mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 142.
3 Cynthia Ozick, Metaphor and Memory, New York: Alfred A. Knopf, 1989, p. 224.
1 Jewishness, refers to a kind of concept; for example, the central traits, style, the quality or mindset group psychology of Jewish people, that profoundly reflect and closely relate to Jewish religion and culture.— The author of this thesis quotes the definition of this word "Jewishness" from Guoqiang Qiao's The Jewishness of Isaac Bashevis Singer ,Britain: Peter Lang AG, European Academic Publishers, Bern, 2003, p. 38.
2 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 9.
3 Cynthia Ozick, Art and Ardor, New York: E.P. Dutton. Inc, 1984, p. 178.
4 Cf. Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 181.
1 Cynthia Ozick, The Cannibal Galaxy, New York: Alfred A. Knopf; 1983, p. 5.
2 Sanford Pinsker, The Uncompromising Fiction of Cynthia Ozick, Columbia, University of Missouri Press, 1987, p. 105.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 207.
2 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 207.
3 Norman Finkelstein, "The Struggle for Historicity: Cynthia Ozick's Fiction", The Ritual of New Creation: Jewish Tradition and Contemporary Literature, Albany: State University of New York Press, 1992, p. 67.
4 Ellen Pifer, "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985, p.90
5 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 239.
[1]Norman Finkelstein,"The Struggle for Historicity:Cynthia Ozick's Fiction",The Ritual of New Creation:Jewish Tradition and Contemporary Literature,Albany:State University of New York Press,1992,p.67.
1 Cf. Milton M. Gordon, Assimilation in American Life: The Role of Race, Religion, and National Origins. New York: Oxford University Press, 1964, p. 194.
2 Cf. Zhou Nanyi, Toward a New Utopia: A Study of the Novels by Saul Bellow, Bernard Malamud, and Cynthia Ozick[D], 2001, p. 28.
4 Heilman, Samuel C. Portrait of American Jews: the Last Half of the 20~(th) Century. Seattle&London: University of Washington Press, 1995, pp. 66-67.
1 Heilman, Samuel C. Portrait of American Jews: the Last Half of the 20~(th) Century. Seattle&London: University of Washington Press, 1995, p. 17.
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 8.
3 Cf. Feingold, Henry L. A Time For Searching: Entering the Mainstream, 1920-1945. Baltimore and London: The Johns Hopkins University Press, 1992, p. 98.
4 Cf. Feingold, Henry L. A Time For Searching: Entering the Mainstream, 1920-1945. Baltimore and London: The Johns Hopkins University Press, 1992, p. 98.
1 Feingold, Henry L. A Time For Searching: Entering the Mainstream, 1920-1945. Baltimore and London: The Johns Hopkins University Press, 1992, p. 25.
2 Cf. Milton M. Gordon, Assimilation in American Life: The Role of Race, Religion, and National Origins. New York: Oxford University Press, 1964, p. 90.
3 According to Sklare Marshall, Jewish identity is one's sense of self with regard to being Jewish: what being Jewish means to individuals and the extent to which it is an important part of the way they view themselves in relation to others. Whether one considers oneself first a Jew and then an American or vice versa, whether one is embarrassed or proud about being Jewish, and how the awareness influences his behavior and attitudes. From Sklare. Marshall, ed. Understanding American Jewry, Brandeis University, 1982, p.57
1 Cf. Greenstein, Michael. Secular Sermons and American Accents: The Nonfiction of Bellow, Chick, and Roth Shofar: An Interdisciplinary Journal of Jewish Studies - Volume 20, Number 1, Fall 2001, pp. 4-20
2 Ruth R. Wisse, "American Jewish Writing, Act II", Commentary, June, 1976, by the American Jewish Committee.
3 Cf. Ruth R. Wisse, "Ozick as American Jewish Writer." Modern critical Views: Cynthia Ozick, (New York: Chelsea, 1986) p.37.
1 Cf. Mark Krupnick, Jewish Writing and the Deep Places of the imagination. The University of Wisconsin, 2005, p. 73.
2 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 176.
3 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 176.
5 Allen Ginsberg (1926-1997), was an American poet. Ginsberg is best known for the poem Howl (1956), celebrating his friends of the Beat Generation and attacking what he saw as the destructive forces of materialism and conformity in the United States at the time.
5 Cf. Ruth R. Wisse, "American Jewish Writing, Act II", Commentary, June, 1976, by the American Jewish Committee.
7 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
8 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
[1]Cynthia Ozick,Metaphor and Memory,New York:Knopf,1989,p.238.
[2]Harold Bloom,Modern Critical Views:Cynthia Ozick,Chelsea House Publishers,1986,p.4.
[3]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.169.
[4]Harold Bloom,ed.Modern Critical Views- Cynthia Ozick,Chelsea House Publishers,1986,p.4.
1 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
2 Cynthia Ozick,Metaphor and Memory, New York: Knopf, 1989, p. 238.
3 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 285.
4 Sorrel Kerbel, www.routledge-ny.com/ref/jewishwriters/samples.html
[1]Cynthia Ozick,Bloodshed,New York:Knopf,1976,p.6.
[2]Cf.Esther Frank,"Reading Jewish Women's Writings",Dept.of Jewish Studies,McGill University,1997.
[3]Susan Sontag(1933-2004),American essayist,short story writer,and novelist,a leading commentator on modern culture,whose innovative essays on such diverse subjects as camp,pornographic literature,fascist aesthetics,photography,AIDS,and revolution gained a wide attention.Sontag also wrote screenplays and directed films.She had a great impact on experimental art in the 1960s and 1970s,and she introduced many new stimulating ideas to American culture.
[4]Lionel Trilling(1931-75),he was a literary critic of international stature and held guest professorships at various universities in the USA and abroad.A liberal humanist,he equated literary criticism with moral evaluation and cultural criticism.He wrote prolifically on 19~(th) century and 20~(th) century writers,publishing important studies of Matthew Arnold(1939) and E M Forster(1943).His collected essays include The Liberal Imagination(1950),Beyond Culture(1965),and Sincerity and Authenticity(1972).His one novel,The Middle of the Journey(1957),was regarded as having been inspired by events in the life of Whittaker Chambers.
2 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 177.
4 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 181.
5 Katie Bolick, Interview, "The many faces of Cynthia Ozick", Atlantic Unbound (May), 1997.
6 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 158.
[1]Cynthia Ozick,Art and Ardor,NewYork:Knopf,1983,pp.167-168.
[2]Cf.Peter Kerry Powers,Disruptive Memories:Cynthia Ozick,Assimilation,and the Invented Past,Meilis Volume 20,Number 3(Fall 1995) p.379.
[3]Ludwig Lewisohn(1882 -1955) was an American Jewish critic and novelist,perhaps known best for his novel The Island Within.He wrote several autobiographies,translated German literature and wrote the preface to the first English language edition of Otto Rank's seminal work,Art and Artist.He also authored several works on Judaica and Zionism.
[4]Lewisohn,Expression in America,New York,Harper & Brothers Publishers,Inc.,1932.pp.168-169
[5]Jane Statlander,Cultural Dialetic-Ludwig lewisohn and Cynthia Ozick,Peter Lang,2002,p.227
[6]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.199.
[7]_Midrash,is a Hebrew term referring to the not exact,but comparative(homiletic) method of exegesis (hermeneutic) of Biblical texts,which is one of four methods cumulatively called Pardes.The term midrash can also refer to a compilation of homiletic teachings(commentaries) on the Tanakh(Hebrew Bible),in the form of legal and ritual(Halakha) and legendary,moralizing,folkloristic,and anecdotal(Haggadah) parts.In general the Midrash is focused on either halakha(legal) or Aggadic(non-legal and chiefly homiletical) subject matter.Both kinds of Midrashim were at first preserved only orally;but their writing down commenced in the 2nd century,and they now exist in the shape chiefly of exegetical or homiletical commentaries on Tanakh(the Hebrew Bible).Midrashic literature is worthwhile reading not only for its insights into Judaism and the history of Jewish thought,but also for the more incidental data it provides to historians,philologists,philosophers,and scholars of either historical-critical Bible study or comparative religion.
1 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
2 Esquire, Magazine 1974, Nov.
3 Quote David Walden, The Jewish Stories of Cynthia Ozick, Studies in Americn Jewish Literature 1, no. 1 , Spring 1975.
4 Cf. Diane Cole, "Cynthia Ozick" in Twentieth-Century American-Jewish Fiction Writers, Detroit: Gale Research, 1984, pp. 214-215.
5 Leo Baeck (1873 -1956) was an 20th century German-Polish-Jewish Rabbi, scholar, and a leader of Progressive Judaism.
2 Lowin, Joseph. Cynthia Ozick Boston: Twayne, 1988, p. 44.
3 Cohen, Sarah Blacher. Cynthia Ozick's Comic Art. Bloomington: Indiana UP, 1994. p. 36.
4 Cf. Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, pp. 58-59.
5 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
6 In order to have a wide perspective of Ozick's writings, the author of this thesis gives a brief introduction to her chief works, including her short stories, novels and essays, most of which will be discussed later in this thesis. The introduction of Ozick's works in this part is based on some existing researches, from A Literary Saloon and Site of Review http://www.complete-review.com/authors/ozickc.htm
1 Cf. Victor Strandberg, Greek mind/ Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 28.
3 Cf. Martin Gilbert, Atlas of Jewish History (n.p: Dorset Pres, 1984), 97; and Raul Hilberg, The Destruction of the European Jews (Chicago: Quardrangle Books, 1961), pp. 137-39.
[1]William Clark Styron,(1925 -2006) was an eminent American novelist and essayist,his most famous memoir is Darkness Visible(1990).
[2]Cynthia Ozick,"We Ignoble Savages",Evergreen Review 3,no.10 Nov-Dec,1959
[3]Mark Harris(1922 - 2007) was an American novelist,literary biographer,and educator.
[4]Cf.Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.29."How then shall Westrum become like a Jew? What is the Jewish "secret"?...What makes a Jew is the conscious implication in millennia.To be a Jew is to be every moment in history,to keep history for breath and daily bread."
[5]Sorrel Kerbel,Jewish Writers of the Twentieth Century,Fritz Dearborn,New York,2003,p.124.
[6]Cf.Cynthia Ozick,"We Ignoble Savages",Evergreen Review 3,no.10 Nov-Dec,1959."Christianity does not stand responsible all alone in the world;nevertheless it stands responsible.The Inquisition was the known fruit of concrete Christian power.That thirteenth-century Pope(his name was Innocent) who ordered Jews to wear the yellow badge was not innocent of its Nazi reissue seven hundred years later."
1 Cf. Katie Bolick, Interview, "The many faces of Cynthia Ozick", Atlantic Unbound (May), 1997.
2 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
3 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
4 Cf. Timothy L. Parrish, "Creation's Covenant: The Art of Cynthia Ozick", Texas Studies in Literature and Language 43:4 2001, pp. 440-464.
[1]Ruth R.Wisse,The Modern Jewish Canon:A Journey Through Language and Culture,Free Press,2002,p.4.
[2]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.247.
[3]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Jewish Literature and Culture Ser.Bloomington:Indiana UP,1985,p.392.
[4]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,pp.247-248.
[5]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.175.
1 Cynthia Ozick, Bloodshed and Three Novellas. New York: Knopf, 1976, p. 9.
2 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
3 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 18.
4 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
[1]Lawrence S.Friedman,Understanding Cynthia Oziek,University of South Carolina Press,1991,p.26.
[2]"Cynthia Ozick as the Jewish T.S Eliot," Soundings 74(Fall-Winter 1991):pp.351-368.
[3]Sorrel Kerbel,www.routledge-ny.com/ref/jewishwriters/samples.html
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 115.
2 Cf. Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 169.
[1]Cf.Janet L.Cooper,Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick,http://findarticles.com/p/articles/mi_m2278/is_1_25/ai_63323841(Accessed 01,04,2008)
[2]Essay published in Commenatary,Nov.1970
[3]John Hoyer Updike(1932-) is an American novelist,poet,short story writer and literary critic.Updike's most famous work is his Rabbit series(Rabbit,Run;Rabbit Redux;Rabbit Is Rich;Rabbit At Rest;and Rabbit Remembered).Rabbit is Rich and Rabbit at Rest received the Pulitzer Prize.Describing his subject as "the American small town,Protestant middle class," Updike is widely recognized for his careful craftsmanship and prolific output,having published 22 novels and more than a dozen short story collections,as well as poetry,literary criticism and children's books.Hundreds of his stories,reviews,and poems have appeared in The New Yorker since 1954.
[4]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.117."Emancipated Jewish writers like Bech(I know one myself) have gone through Russia without once suspecting the landscape of old pogroms,without once smelling another Jew...[But Bech's]phrase "peasant Jews" among the Slavs is an imbecilic contradiction-peasants work the land,Jews were kept from working it...If there had been "peasant Jews" there might have been no Zionism,no State of Israel...ah Beth!...despite your Jewish nose and hair,you are-as Jew-an imbecile to the core."
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.115.
[6]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,p.113
[7]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,p.169.
1 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, pp. 122-123.
2 Peter Kerry Powers, Disruptive Memories: Cynthia Ozick, Assimilation, and the Invented Past, Meilis Volume 20,Number 3(Fall 1995) p. 379.
3 Cynthia Ozick, Metaphor and Memory, New York: Knopf, 1989, p. 224.
4 Cynthia Ozick, Bloodshed, New York: Knopf, 1976, p. 6.
5 Cf. Cynthia Ozick, Metaphor and Memory,, New York: Knopf, 1989, p. 224.
1 Cf. Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 22.
2 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 188.
3 Cynthia Ozick,, "From a Refugee's Notebook", Levitation, New York: Alfred A. Knopf, 1982, p. 62.
5 Faulkner in the University, ed. Ferderick L. Gwynn and Joseph Blotner, New York: Vintage, 1965, p. 161.
1 Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p.22.
2 Cynthia Ozick, "Toward a New Yiddish"Art and Ardor, E.P.Dutton, Inc., 1983, p. 157.
3 Vera E. Kielsky, Inevitable Exiles: Cynthia Ozick's View of the Precariousness of Jewish Existence in a Gentile Society, Peter Lang Pub Inc., 1989. p. 23.
1 Cf. Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 17.
2 Short Story Critism, http://www.enotes.com/short-story-criticism/shawl-story-and-novella-cynthia-ozick (Accessed 02,07,2008)
[1]Elaine M.Kauvar,"Dread of Moloch",Cynthia Ozick's Fiction,Indiana University Press,1993,p.117.
[2]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.4-5.
[3]Rosa Magda is the daughter of Rosa and a nameless Nazi Solider,so she has a Aryan appearance
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.3.
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981 p.5.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[8]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[9]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[10]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.10.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.12.
[2]This idea and some examples in this part are inspired by Victor Strandberg's existing research in Greek Mind and Jewish Soul,1994,pp.143-144.
[3]Cf.Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.8.
[4]Cf,Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.41."Your idol(Magda's shawl) is on its way,separate cover.Go on your knees to it if you want.You make yourself crazy...you'll open the box and take it out and cry,and you'll kiss it like a crazy person.Making holes in it with kisses.You are like those people in the Middle Ages who worshiped a piece of the True Cross...it's time,you have to have a life."
[5]Cf.Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.41.
[6]The names of Rosa,Stella,and Magda are Latin cognates for the images associated with the Christ child's Advent:Rosa(signifying the Incarnation);Star(over Bethlehem);and Magi(three Wise Men).
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 31.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 43-44.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 4.
4 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 39.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 35.
6 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 42.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.58.
[2]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.26.
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[5]This idea and some examples in this part are inspired by Victor Strandberg's existing research in Greek Mind and Jewish Soul,1994,pp.140-141.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.9.This image haunted Ozick before The Shawl.In "The Pagan Rabbi" she describes an infant saved by a dues ex machiae:"they were about to throw her against the electrified fence when an army mobbed the gate;the current vanished from the wires."(The Pagan Rabbi and Other Stories p.7.)
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 35.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 4, 10, 22, 30.
3 This idea is inspired by Victor Strandberg's existing research in Greek Mind and Jewish Soul, 1994, p. 140 140-141 .L'chaim means to life, Moloch is something possessing the power to exact severe sacrifice. According to Bible in the Old Testament, the god of the Ammonites and Phoenicians to whom children were sacrificed.
4 The data is based on the the existing researching Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 40.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 5.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.3.
[2]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[8]Cf.Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[9]Cf.Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.4.
[10]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.4.
[11]Berger,Alan L.Holocaust Theology:A Reader(review) Shofar:An Interdisciplinary Journal of Jewish Studies,Volume 22,Number 2,Winter 2004,pp.194-195.
1 Hebrew Bible, Psalms 83:4
2 Cf. Cynthia Ozick, "A Contraband Life," Commentary 39, No. 3, March 1965, p. 92
1 Philip Roth. Portnoy's Complaints. New York: Random House, 1967, p. 37.
2 Cynthia Ozick, Art and Ardor, New York: E.P. Dutton, INC, 1984, p. 175.
1 Cynthia Ozick, "Letters to Victor Stranberg" (6/6/1990), in Victor Strandberg, Greek Mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 6.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 1.
4 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 14.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 16.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 18.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p., p. 45.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p., p. 48.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 49.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 19.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 55.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 69.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.31,33,63.
[2]Peter Kerry Powers,Disruptive Memories:Cynthia Ozick,Assimilation,and the Invented Past,Meilis Volume 20,Number 3(Fall 1995) p.379.
[3]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.144.
[4]Ronald Sanders,The Shores of Refuge(New York:Henry Holt,1988),411.The Pilsudski regime,which took power in 1926,proved very friendly to the Jews of Poland,so that by 1931,Sanders says,"56 percent of [Poland's]doctors,33.5 percent of its lawyers,and 22 percent of its journalists,publishers,and librarians were Jews"(413)
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.20-21.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.20.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.21.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.20-21.
[2]Cynthia Ozick,Trust,New York:Alfred A.Knopf,1966,p.78.
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.41.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.67.
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.66.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.67.
[1]Cynthia Ozick,Mataphor and Memory,New York:Alfred A.Knopf,1989,p.279.
[2]Cf.Peter Kerry Power,Disruptive memories:Cynthia Ozick,assimilation,and the invented past,1995,http://findarticles.com/p/articles/mi_m2278/is_n3_v20/ai_18298427/pg_9
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.16.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.18.
[5]A Shtetl,was typically a small town with a large Jewish population in pre-Holocaust Central and Eastern Europe.Shtetls were mainly found in the areas which constituted the 19th century Pale of Settlement in the Russian Empire,Congress Kingdom of Poland,Galicia,and Romania.A larger city,like Lemberg or Czernowitz,was called a shtot;a smaller village was called a dorf.The concept of shtetl culture is used as a metaphor for the traditional way of life of 19th-century Eastern European Jews.Shtetls are portrayed as pious communities following Orthodox Judaism,socially stable and unchanging despite outside influence or attacks.The Holocaust resulted in the disappearance of the vast majority of shtetls,through both extermination and mass exodus to the United States and what became Israel.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.25.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.20.
1 The proof in this paragraph on Jewish history is based on the existing research of Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 146.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 19.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 16.
4 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 8.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 18.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 18-20.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 69-70.
2 The short story had been collected in Pagan Rabbi and Other Stories , Syracuse University Press, 1971
3 The author of this thesis adopts the definitions of Historical Consciousness bascially in The Origins of Historical Consciousness, 2001. https://tspace.library.utoronto.ca/citd/holtorf/2.5.html (Accessed 02,07,2008)
5 Muller Karpe, (ed.) Archaologie und Geschichtsbewuβtsein, 1982, pp. 5-11.
6 Cf. Muller Karpe, (ed.) Archaologie und Geschichtsbewuβtsein, 1982, p. 8.
2 Cf. Horst, Kirchner, "The Attitude of Prehistoric Man towards his History, Sociologus N.F.4, 1954, pp. 13-20.
3 Cf. Isamr Schorsch. The Turn to History in Modern Judaism. University Press of New England. 1979, pp.39.95
4 Cynthia Ozick, Metaphor and Memory,, New York: Knopf, 1989, p. 224.
5 Paul Mendes Flohr, Contemporary Jewish Thought, New York: Free Press, 1988, p. 378.
Paul R. Mendes-Flohr is a leading scholar of modern Jewish thought. As an intellectual historian, Mendes-Flohr specializes in 19th and 20th Century Jewish thinkers, including Martin Buber, Franz Rosenzweig, and Gershom Scholem.
1 This idea and some examples in this part are inspired by the existing research Janet L. Cooper's study on Cynthia Ozick, Janet L. Cooper, Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick http://findarticles.com/p/articles/mi_m2278/is_1_25/ai_63323841 (Accessed , 03, 04, 2008)
2 Cf. Isamr Schorsch. The Turn to History in Modern Judaism. University Press of New England. 19**, pp.39.95
4 Cf. Kielsky, Vera Emuna. Inevitable Exiles: Cynthia Ozick's View of the Precariousness of Jewish Existence in a Gentile Society. New York: Peter Lang, 1989.
5 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p.177.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983. p.176. Here the essay is reprinted as "Toward a New Yiddish" 154-177.
2 Hannah is a female character in "Envy". She is a Jew, speaking both Yiddish and English, but refuses to confess her Jewish origin.
3 Cynthia Ozick,Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 42.
4 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 96.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.96.
[2]A character in "Envy" who is also a Yiddish writer.Ostrover is well accepted by Americans,and his works are translated into English.But in the eyes of Edelshtein,Ostrover's success is at a price of betraying the Jewish culture.
[3]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.168.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.74.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.74.
[6]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.74.
[7]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.96.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.88.
[2]Yankel Ostrover,a short story writer who finds no difficulty to be translated from Yiddish to English and has won the admiration of everyone in the novel.
[3]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[4]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.47.
[5]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.68.
[6]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.69.
[7]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.55.
[8]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[9]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.56.
[10]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.47.
11 Isaac Bashevis Singer(1902-1991),was a Nobel Prize-winning Polish-born American author and one of the leading figures in the Yiddish literary movement.Isaac Bashevis Singer was born in 1902 in Leoncin(the family moved to Radzymin,often erroneously cited as his birthplace,some years later),a village inhabited mainly by Jews near Warsaw in Congress Poland,then part of the Russian Empire.Singer's first published story won the literary competition of the "literarishe bletter" and he soon got a name as a promising talent.A reflection of his formative years in "the kitchen of literature"(his own expression)([2]p.132)
1 Cf. Sanford Pinsker, Partisan Review, (Oct. )Partisan Review Inc. 2002
2 Cynthia Ozick,Pagan Rabbi and Other Stories , Syracuse University Press, 1971, p. 83.
3 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 93.
4 Cynthia Ozick, Pagan Rabbi and Other Stories ,Syracuse University Press, 1971, p. 92.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.93.
[2]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.92.
[3]Kielsky,Vera Emuna.Inevitable Exiles:Cynthia Ozick's View of the Precariousness of Jewish Existence in a Gentile Society.New York:Peter Lang,1989.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.95.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.90.
[6]Cf.Cohen,Sarah Blacher.Cynthia Ozick's Comic Art.Bloomington:Indiana UP,1994,p.60.
[7]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.94.
[8]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.97.
[9]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.91.
[10]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.70.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[2]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.56.
[3]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.41.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.73.
[6]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.100.
[7]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.41.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 168
2 The idea is basically on the existing research Norman Finkerlstein, The Ritual of New Creationl, State University Press, 1992, p. 67.
3 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 96.
1 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 75.
2 The idea and some examples in ths part are inspired by the existing research on existing research of Janet L. Cooper's study on Cynthia Ozick, Janet L. Cooper, Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick http://findarticles.com/p/articles/mi_m2278/is_1_25/ai_63323841 (Accessed 03,04,2008)
3 Cynthia Ozick, Pagan Rabbi and Other Stories , Syracuse University Press, 1971, p. 48.
4 Cynthia Ozick, Pagan Rabbi and Other Stories , Syracuse University Press, 1971, p. 74.
5 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 75.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.86.
[2]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.80.
[3]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.67.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.68.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.99.
[6]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.99-100.
[7]Kauvar,Elaine M.Cynthia Ozick's Fiction.Bloomington:Indiana UP,1993.p.ⅹⅲ,Elaine Kauvar(1939- ),is a modern critic,and a professor of English at Baruch College,City University of New York.
1 James Gardner, "Nice Jewish Golem," National Review, 09/01/97, Vol. 49, Issue 16, p. 2.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 178. To Harold Bloom, Cynthia Ozick with her strong appealing of Judaism and Jewish history makes her quite an racist. Then, Harold Bloom, in 1978, stated that "literature, to come into being at all, must call on the imagination; imagination is in fact the flesh and blood of literature; but at the same time imagination is the very force that struggles to snuff out the redemptive corona. So a redemptive literature, a literature that interprets and decodes the world, beaten out for the sake of humanity, must wrestle with its own flesh and blood, with its own life." -Form "Struggle for Historicity", Norman Finkelstein: The Ritual of new Creation: Jewish Tradition and Contemporary literature, Albany: State University of New York Press, 1992.
3 Letter between Cynthia Ozick and Victor Stranberg, Jan 14~(th), 1982.
4 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 181.
1 Cynthia Ozick, "Literature as Idol: Harold Bloom", Art and Ardor, E.P.Dutton, Inc., New York, 1984. p. 178.
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.181.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.196.
[3]Cf.Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.15.
[4]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.194.
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.191-192.
[6]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.191.
[7]Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.14.
[8]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.195.
[9]Something possessing the power to exact severe sacrifice.According to Bible In the Old Testament,the god of the Ammonites and Phoenicians to whom children were sacrificed.
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.247.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.178.
[3]Cf.Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.247.
[4]Cynthia Ozick,Art and Ardor,E.P.Duttort,Inc.,1983,p.178.
[5]Cf.Prose,"Idolatry in Miami" 39:"I worry very much that[the Holocaust]is corrupted by fiction and that fiction in general corrupts history."
[6]Cf.Thomas R.Edward,"The short View",The New York Review of Books,1,April,1976
[7]Cynthia Ozick,Bloodshed and Three Novellas.,New York:Knopf,1976,p.10.
[1]Cynthia Ozick,Bloodshed and Three Novellas.,New York:Knopf,1976,p.10.
[2]Cynthia Ozick,Bloodshed and Three Novellas.New York:Knopf,1976,p.10.
[3]Cynthia Ozick,"Toward Yiddish",Art and Ardor,.New York:Knopf,1976,p.10.
[4]Thomas R.Edwards,"The Short View",The New York Review of Books,Nyrev 2 April,1976.
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.207.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.207.
[3]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.208.
[4]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.206.
[5]Cf.Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.208.There is always the easy,the sweet,the beckonging,the leninent,the interesting lure of the Instead of:the wood of the tree instead of God,the rapture bring horizon intead of God,the work of art instead of God,the passion for history instead of God,philosophy and the history of philosophy instead of God,the state instead of God,the order of the universe instead of God,the prophet instead of God.There is no Instead of God.There in only on Creator.God is alone,
[1]Cf.,Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.181.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.181.
[3]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.198.
[4]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.199.
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.198.
1 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 64
2 Gershom Scholem, The Messianic Idea in Judaism, New York Press, 1995, p. 1.
3 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 64
1 Cynthia Ozick, Bloodshed and Three Novellas., New York: Knopf, 1976, p. 177.
2 Cynthia Ozick, Bloodshed and Three Novellas. New York: Knopf, 1976, p. 10.
3 Quote Teicholz 167, from Victor Strandberg, Greek mind/ Jewish Soul, Madison: The University of Wisconsin Press, 1994, p.26
[1]Quote Teicholz 168,from Victor Strandberg,Greek mind/ ewish Soul,Madison:The University of Wisconsin Press,1994,p.26
[2]Quote Teicholz 167,from Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.26
[3]Mervyn Rothstein,Cynthia Ozick's Rabbinical Approach to Literature,1987.
[4]Cf.Mervyn Rothstein,Cynthia Ozick's Rabbinical Approach to Literature,1987.
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.247.
[6]Cf.Norman Finkelstein,The Ritual of New Creation:Jewish Tradition and Contemporary Literature.New York Press,1992,p.69
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 36.
[1]Patrica Blake,"A New Triumph for Idiosyncrasy",Time,Sep.5~(th),1983.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.69.
[3]Cf.Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed 03,04,2008)
[4]It is a fairly uncommon family name,most seen in Holland where freedom of religion and religious beliefs is a fundamental right while people are free to worship as they choose.
[5]Cf.Patrica Blake,"A New Triumph for Idiosyncrasy",Time,Sep.5~(th),1983.
[6]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.24.
[1]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.24.
[2]Voltaire(1694-1778),is an accomplished thinker in the French Enlightenment of 18th century.
[3]Cf.Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.15.
[4]French army officer of Jewish descent who was convicted of treason(1894),sentenced to life imprisonment,and ultimately acquitted when the evidence against him was shown to have been forged by anti-Semi(?)es.The persecution of Alfred Dreyfus,suggests the fate of cultural "dualism" at the fin de siècle and presages the twentieth-century consequences of the "birth stain".
[5]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.9.
[6]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.23.
[7]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.131.
[8]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.16.
[9]The motto is in Latine."Ad" is "to","Astra" is "Star" in English."Astra" also implies "astronomy".
[1]Cf.Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.6.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.8.Vieille du Temple is one of the most luxurious fashion shopping streets in Paris gathers rich people.Rue des Fancs Bourgeois Street is one of the longest and the most interesting street in Marias district in Paris,France traditionally has Sunday as a day of rest but Rue des Francs-Bourgeois is one of the few streets that is open on Sunday.While Sunday should be a day for Brill(Jews) to attend the religious activity,Brill's choosing of the road to get to the possionnerie here disclose that he is approaching to western civilization as possible as he can.
[4]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.9.
[5]Famour for her capacity to be all things to everyone,and a mutability enhanced by her exotic Rachel Felix is viewed as stained by her heritage.Born to itinerant peddlers(archetypal wandering Jews),the young Rachel became both a commodity to be carefully marketed and a theatrical phenomenon.Her amazing career inspired nineteenth-century novelists such as Charlotte Bront(e|¨),George Eliot,and Henry James,who incorporated in their fictions versions of her life and of her relationship with her exploitative father.Yet it was the underlying anti-Semitism of French culture and the reine de theatre that she became,that ironically made Rachel's theatrical talent all the more compelling
[6]Quote from Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/
[7]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.13.
[8]Cf.Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.14.
[1]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.22.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.27.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.29.
[4]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.29.
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.27.
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.3.
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, pp. 6-7.
4 Cynthia Ozick, Art and Ardor, pp. 168-169
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.36.
2 Cynthia Ozick, Art and Ardor, p. 168
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.27.
4 Cynthia Ozick, Art and Ardor, p. 195
5 Cf. Understanding Ozick,
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 39.
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 11.
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 11.
4 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 11.
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 67.
2 Cf. Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 136.
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, pp. 118-119.
4 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 133.
5 Cf. Arlene Fish Wilner, Limning The Cannibal Galaxy: Cynthia Chick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/
[1]The research of this paragraph is based on the existing research of Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/
[2]Cynthia Ozick,"Bialik's Hint," in Metaphor and Memory,p.27.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.67.
[1]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.47.
[2]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.88.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,pp.67-70.
[4]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.69.
[5]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.70.
[6]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.66.
[7]Cynthia Ozick,"Bialik's Hint," in Metaphor and Memory,p.27.
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 94.
2 Cynthia Ozick, "Innovation and Redemption: What Literature Means," in Art and Ardor, p. 246.
1 Cynthia Ozick "Ruth," in Metaphor and Memory, p. 263.
2 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 75
3 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 75
4 Cynthia Ozick, Art and Ardor, p. 389.
5 Ozick, "A Liberal's Auschwitz," in The Pushcart Prize: First Edition (New York, 1967-77), 152
6 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 93.
[1]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.101.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.23.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,pp.97-98.
[4]Cynthia Ozick,"Literature as Idol:Harold Bloom",Art and Ardor,E.P.Dutton,Inc.,New York,1984.p.178
[1]Cynthia Ozick,"Literature as Idol:Harold Bloom",Art and Ardor,E.P.Dutton,Inc.,New York,1984.p.178
[2]Cf.Norman Finkelstein,The Ritual of New Creation:Jewish Tradition and Contemporary Literature.New York Press,1992,p.64
[3]Cf.Katha Pollitt,"The Three Selves of Cynthia Ozick",The New York Times Book Review(May 22,1983):p.9.
[4]Cf.Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed 03,04,2008)
[5]HP-Time.com;Patricia Blake,"A New Truimph for Idolsyncrasy",Times,1983
[1]Finkelstein,"The Struggle for Historicity:Cynthia Ozick's Fiction",The Ritual of New Creation:Jewish Tradition and Contemporary Literature,Albany:State University of New York Press,1992,p.67.
[2]Paul Theroux,"The Meseries and Splendours of the Short Story".Encounter 39,no.3,September,1972,by Encounter Ltd.
1. Cf, Ellen Pifer, "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985, p. 90.
2 Michael Upchurch, San Francisco Chronicle, http://www.complete-review.com/reviews/ozickc/putterp.htm
1 Cynthia Ozick, "Toward New Yiddish", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 175.
2 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 241.
3 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, pp. 241-242.
4 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 239.
[1]David Stern,Parables in Midrash:Narrative and Exegesis in Rabbinic Literature,Harvard University Press,1994,p.11.
[2]David Stern(1942-),a professor in University of Pennsylvania Professor,serves as director of Jewish study program and teaches in Comparative Literature program.Dr.Stern's essays and reviews on modern Jewish literature and culture have appeared in The New Republic,Commentary,The New York Times Book Review,and Tikkun.He is also an editor of Prooftexts:A Journal of Jewish Literary History.Dr.Stern has written widely on midrash(the Biblical commentaries of the Rabbis),and is the author of several books including "Parables in Midrash:Narrative and Exegesis in Rabbinic Literature"(Harvard University Press);"Rabbinic Fantasies:Imaginative Narratives from Classical Hebrew Literature"(Yale University Press);and "Midrash and Theory:Ancient Jewish Exegesis and Contemporary Literary Studies"(Northwestern University Press).
[3]Cf.David Stern,Parables in Midrash:Narrative and Exegesis in Rabbinic Literature,Harvard University Press,1994,p.24.
[4]Cf.David Stern,Parables in Midrash:Narrative and Exegesis in Rabbinic Literature,Harvard University Press,1994,p.39
[5]Cf.Cynthia Ozick,"Toward New Yiddish",Art and Ardor,E.P.Dutton,Inc.,New York,1984,p.175.
1 Cynthia Ozick, "Toward a New Yiddish", Art and Ardor, E.P.Dutton, Inc., New York, 1984. p. 177.
3 Cynthia Ozick, "Innovation and Redemption: What literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p.246.
4 In the actantial model of narratology, But the deep-layer structure always lies: "(God)—to taboo; "To Violate—to punish ,to escap " the focus: "To Violate—being punished", In paradise-lost, Babie, Cain.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 233.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 234.
3 Jack Miles, God: A Biography.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 15.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997,,,p. 23.
1 Cf. Elaine M. Kauvar, "Cynthia Ozick's Book of Creation: Puttermesser and Xanthippe", Contemporary Literature 26, no. 1 (Spring 1985)
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 99.
3 Elaine M. Kauvar, "Cynthia Ozick's Book of Creation: Puttermesser and Xanthippe", Contemporary Literature 26, no. 1 (Spring 1985)
1 Cf. Elaine M. Kauvar, "Cynthia Ozick's Book of Creation: Puttermesser and Xanthippe", Contemporary Literature 26, no. 1 (Spring 1985)
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 69.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 109.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 95.
1 http://www.complete-review.com/reviews/ozickc/putterp.htm (Accessed, 04.07,2008)
4 Cf. Linda Hutcheon, Narcissistic Narrative: The Metafictional Paradox, Waterloo: Wilfrid Laurier up, 1980, p. 25.
5 Linda Hutcheon, A theory of parody: The teachings of twentieth-century art forms. Chicago: University of Illinois Press. 1985, p. 32.
1 Ellen Pifer', "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985. p.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 123.
3 The Puttermesser Papers a tour-de-force from Ozick, Dec. 5~(th) 1998
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 23.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 25.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 23.
7 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 42.
1 The briefly introducation of Golemmyth in ancient history is mainly quoted from the existing research by Robert Looby, From the clay of the Kabala to the steel of Metropolis. The Golem Myth., ,2004, http://www. threemonkeysonline. com/threemon_article_the_golem_myth_film_literature. htm(Accessed, 04.07,2008)
2 Cf. Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969. pp. 192-193.
3 Cf.Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, pp. 46-47.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 44.
2 Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969. pp. 192-193.
4 Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969, pp. 192-193.
6 Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969, pp. 192-193.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 85.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 67, p.74.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 69.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 148.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 148.
[1]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,pp.98-99.
[2]Professor Patricia Waugh is Head of Department of English Studies.She joined the department in 1989 and has been a professor since 1997.
[3]Patricia Waugh,Metafiction:The Theory and Practice of Self-consciuos fiction.London:Methuen,1984.p.18.
[4]Iconolasm means image breaking,opposition to the religious use of images Veneration of pictures and statues symbolizing sacred figures,Christian doctrine,and biblical events was an early feature of Christian worship.
[5]Sometimes it is difficult to distinguish parody from copy.So some works employing parody as their main strategy are denounced and suspected as a copy.
[6]Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed,04.07,2008)
[7]The background in this part is based on the existing research of Josphe,http://www.jewishvirtuallibrary.org/jsource/biography/Ozick.html
1 Cf. Peter Kerry Powers, Disruptive Memories: Cynthia Ozick, Assimilation, and the Invented Past. Meilis Volume 20,Number 3(Fall 1995): http://findarticles.conVp/articles/mi_m2278/is_n3_v20/ai_18298427 (Accessed, 04.07,2008)
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 17.
3 This example is based on Ellen Pifer's existing research "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 28.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 28.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 36.
[1]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.37.
[2]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.36.
[3]Jeffrey J.Williams is a professor of English and literary and cultural studies at Carnegie Mellon University and editor of the Minnesota Review.
[4]Jeffrey J.Williams,Theory and the Novel:Narrative Reflexivity and the British Tradition,Cambridge University Press 1998,pp.21-22.
[5]高辛勇,《修辞学与文学阅读》,北京大学出版社,1997,p.93.
1 Cf.高辛勇, 《修辞学与文学阅读》, 北京大学出版社, 1997, p.93.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 3.
[1]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.5.
[2]Cynthia Ozick,"The Lesson of the Master",Art and Ardor,E.P.Dutton,Inc.,New York,1984,pp.292-293.
[3]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.12.
[4]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.13.
[5]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.13.
[6]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.13.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 12.
2 Cf. Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 3.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 12.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 18.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 16.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 16.
7 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 19.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 24.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 14.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 16.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 17.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 17.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 18.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 36.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 42.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 36.
7 Cf. Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 37.
8 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 37.
9 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 38.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 39.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 40.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 38.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 5.
5 esoteric system of interpretation of the Scriptures based upon a tradition claimed to have been handed down orally from Abraham. Despite that claimed antiquity, the system appears to have been given its earliest formulation in the 11th cent. (Scholem 128-44, 168-74)
6 Sorrel Kerbel, Jewish Writers of the Twentieth Century, Fritz Dearborn, New York, 2003
[1]高辛勇,《修辞学与文学阅读》,北京大学出版社,1997,p.93.
[2]Carol Shields,The Stone Diaries.Random House of London,1993.p.124.
[3]Elaine,M,Kauvar,Ozick's books of Creation,New York,Chelsea Press,1986,p.157.
[4]The Complete Review.http://www.complete-review.com/reviews/ozickc/putterp.htm
[5]Cf.Elaine M.Kauvar,"Cynthia Ozick's Book of Creation:Puttermesser and Xanthippe",Contemporary Literature 26,no.1(Spring 1985)
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.174.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.175.
1 Peter Kerry Powers, Disruptive Memories: Cynthia Ozick, Assimilation, and the Invented Past, Meilis Volume 20, Number 3 (Fall 1995) p. 379.
2 Cf. Cynthia Ozick, Art and Ardor, New York: Knopf, 1984, p. 177.
3 Cynthia Ozick, Bloodshed, New York: Knopf, 1976, p. 6.
1 Ruth R. Wisse, The Modern Jewish Canon: A Journey Through Language and Culture, Free Press, 2002, p. 4.
2 Cf. Janet L. Cooper, "Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick-Critical Essay". MELUS, Vol. 25, No. 1, Jewish American Literature (Spring, 2000), pp. 181-195
3 Lawrence S. Friedman, Understanding Cynthia Ozick. University of South Carolina Press, 1991. p. 39
1 Cf. Victor Strandberg, Greek Mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 142.
2 Cynthia Ozick, Metaphor and Memory, New York: Alfred A. Knopf, 1989, p. 224.
3 Victor Strandberg, Greek mind/ Jewish Soul, Madison: The University of Wisconsin Press, 1994.
1 "all literatures are idoltary",is a proposition that famous critic Harold Bloom proposed in 1978.
2 Cynthia Ozick, Metaphor and Memory, New York: Knopf, 1989, p. 224.
3 Cf. Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature New York Press, 1992, p. 64
1 Cynthia Ozick, Art and Ardor, New York: E.P. Dutton, INC, 1984, p. 255.
2 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 176.
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2 The O. Henry Award is named after the American master of the form, O. Henry, first presented in 1919. It is an annual collection of the year's twenty best stories published in U.S. and Canadian magazines, written in the English language. The O. Henry Prize Stories is dedicated to a writer who has made a major contribution to the art of the short story. Ozick gained this award by "Usurpation (Other People's Stories)"in 1975, "The Shawl" in 1981,"Rosa" in 1983, "Puttermesser Paired" in 1992.
3 The author of the thesis forms Ozick's biography part mainly following the biographical line and employing some events as Victor Strandberg provided in Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994. pp. 3-12.; Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, pp. 1-7; Joseph, Lowin, "Cynthia Ozick", Paula Hyman and Deborah Dash Moore eds., Jewish Women in America. NY: Routledge, 1997.
[1]Cynthia Ozick,"A Drugstore in Winter," in Ozick,Art and Ardor,New York:E.P Dutton,Inc,1988,p.301.
[2]Cynthia Ozick,"A Drugstore in Winter," in Ozick,Art and Ardor,New York:E.P Dutton,Inc.,1988,p.301.
[3]Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.2.
[4]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.4.
[5]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.4.
[6]Eve Ottenberg,"The Rich Vision of Cynthia Ozick",The New York Times Magazine(10.April,1983),p.62.
[7]http://www.jewishvirtuallibrary.org/jsource/biography/Ozick.html,(Accessed,02.07,2008)
[8]Eve Ottenberg,"The Rich Vision of Cynthia Ozick",The New York Times Magazine(10.April,1983),p.4.
[9]Cynthia Ozick,"Letters to Victor Stranberg"(6/6/1990).The comment on childhood reading is cited from Conversations with Reynolds Price,ed.Jefferson Humphreys(Jackson and London:University Press of Mississippi,1991),p.195.James B.Duke Professor of English at Duke University and a distinguished novelist,poet,dramatist and essayist,is the author of more than thirty books,including the recent novel Noble Norfleet (2002).
1 Cf. Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 4.
5 Cynthia Ozick, "A Drugstore in Winter," in Ozick, Art and Ardor, New York: E.P Dutton, Inc, 1988, p. 301..
[1]Cynthia Ozick,"A Drugstore in Winter," in Ozick,Art and Ardor,New York:E.P Dutton,Inc,1983,p.302.
[2]Cynthia Ozick,"Letters to Victor Stranberg"(6/6/1990),in Victor Strandberg,Greek Mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.6.
[3]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.6.
[4]Elaine M.Kauvar,Contemporary Literature 26,no.4(Winter 1985),p.385.
[5]NYTBR,2 December 1979,p.59.
[1]Joseph Lowin,Paula Hyman and Deborah Dash Moore eds.Jewish Women in America.NY:Routledge,1997.
[2]"the gods" here refers to Henry James,W.H Audern and Marianne Moore.Ozick was embrassed to be ignore of the house on the north side of the Square where Henry James was born;the nearby dwelling places of W.H.Auden and Marianne Moore.
[3]Thomas Wolfe,(1900-1938),was an important American novelist of the 20th century.He wrote four lengthy novels,plus many short stories,dramatic works,and novel fragments.He is known for mixing highly original,poetic,rhapsodical,and impressionistic prose with autobiographical writing.His books,written during the Great Depression,depict the variety and diversity of American culture.His representative works includes Look Homeward,Angel(1929),Of Time and the River(1935),You Can't Go Home Again(1940)
[4]Cf.Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.3
[5]Cynthia Ozick,"Letters to Victor Stranberg"(1/14/82),in Victor Strandberg,Greek Mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994.
2 Eve Ottenberg, "The Rich Vision of Cynthia Ozick," The New York Times Magazine (10. April, 1983), p. 63
3 Cynthia Ozick,"The Seam of the Snial", Metaphor and Memory, New York: Knopf, 1989, p. 109-110.
4 Cf. Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 5.
5 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 5.
[1]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.191.
[2]Joseph Lowin,"Cynthia Ozick",Paula Hyman and Deborah Dash Moore eds.Jewish Women in America.NY:Routledge,1997
[3]Sideney Lumet(1924- ),is an Academy Award-winning American film director,with over 50 films to his name,including the critically acclaimed 12 Angry Men(1957),Serpico(1973),Dog Day Afrernoon(1975),Network (1976) and The Verdict(1982),all of which earned him Academy Award nominations for Best Director.He won an Academy Award for Lifetime Achievement in 2005,for his "brilliant services to screenwriters,performers,and the art of the motion picture".
[4]Ben Brantley(1954- ),is the chief theater critic of the New York Times.He is a member of the Phi Beta Kappa Society and the editor of The New York Times Book of Broadway:On the Aisle for the Unforgettable Plays of the Last Century.
[5]Joseph Lowin,Paula Hyman and Deborah Dash Moore eds.Jewish Women in America.NY:Routledge,1997
[1]The three father figures:William,her mother's first husband,appears to be a model of WASP order and rectitude(it is he who calls her "illegitimate issue").Enoch,the second husband,is a Jew whose keenly original intellect appeals strongly to the narrator.And Gustave Nicholas Tilbeck is the illicit lover who fathered the narrator,thereby dissolving her mother's first marriage.Although he appears by conventional judgment to be utterly disreputable- an irresponsible hedonist,runaway father,vagabond,sponge,and blackmailer-in the end Tilbeck becomes the role model his daughter has longed for and the unlikely repository of her "trust":a man of spontaneous passion,of faunlike immersion in the moment,of Greek/pagan heresies,suggesting the "spontaneous gods of nature" that Ozick has associated with E.M.Forster.The conflict between Pan and Moses concerning sex reaches maximum intensity in William's painful euphemism for the narrator's illegitimacy- "the circumstances of my birth-how indecently priggish and Dickensian that sounds."[1]It places Tiibeck's role invitingly in focus,"as though,while standing solemnly in court,about to be sentenced,I had caught sight of the god Pan at the window,clutching a bunch of wild flowers...and laughing a long and careless jingle of a laugh,like bicycle bells."[1]
[2]Josephine Z.Knopp."The Jewish Stroies of Cynthia Ozick",ed.Daneil Walden,Studies in American Jewish literature 1,no.1(Spring 1975)
[3]Josephine Z.Knopp."The Jewish Stroies of Cynthia Ozick",ed.Daneil Walden,Studies in American Jewish literature 1,no.1(Spring 1975)
[4]Cynthia Ozick,"We Are the Crazy Lady and Other Feisty Feminist Fables." ed.Douglas Hunt,The Dopphin Reader,2d ed.,Boston:Houghton Mifflin,1990,p.676.
[5]Cf.Victor Strandberg,Greek Mind and Jewish Soul,The University of Wisconsin Press,1994,p.153.
[1]Cynthia Ozick,"' We Are the Crazy Lady' and Other Feisty Feminist Fables," Ms.(spring 1972):pp.40-44.
[2]Cf.Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed,12.07,2007)
[3]Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed,12.07,2007)
[4]Ellen Pifer',"Invention and Orthodoxy",Contemporary American Women Writers:Narrative Strategies,The University Press of Kentucky,1985.p.
[5]Cf.Katha Pollitt,"The Three Selves of Cynthia Ozick",The New York Times Book Review(May 22,1983):p.9.
[6]Cynthia Ozick,"Literature and the Politics of Sex:A Dissent," Ms 6(December 1977).pp.79-80.
[7]Josephine Z.Knopp,"The Jewish Stories of Cynthia Ozick",Studies in American Jewish Literature 1,no.1(spring 1975)
[1]Ruth R.Wisse,"American Jewish Writing",Commentary,June,1976
[2]Ruth R.Wisse,"American Jewish Writing",Commentary,June,1976
[3]Ruth R.Wisse,"American Jewish Writing",Commentary,June,1976
[4]Since feminism at large had developed many different modes of literary analysis but had by the 1980s not included looking at writings by Jewish women writers,some scholars and critics felt compelled to turn to writings by Jewish women.Benefiting from the work done by their contemporaries scholars fruitfully adapted categories of analysis to probe.In the 1980s,with a wide range of works produced by Jewish women was brought to the foreground,the critical material on Jewish women in America gradually emerged.
[5]Katha Pollitt,"The Three Selves of Cynthia Ozick," review of Art and Ardor,by Cynthia Ozick,The New York Times Book Review(May 22,1983):7,35.
[6]Cf.Zhang Shuqing,On the Status of Jewish Women in Medieval Europe[D],2004.The dissertation focuses on four areas that dominated the lives of medieval Jewish women:the religious domain,the educational domain,the domestic domain and the economic domain.This is because in the Middle Ages the lives of all human beings,including women,were controlled first by religion;second,by examining why Jewish women in the Middle Ages could not have the same right to be educated,we can get a special perspective on the social status of Jewish women;Third,by domesticity that in the Middle Ages family home was regarded as the natural place for women to actualize their obligations both to men and society;and fourth,by looking at the ways women participated in the economic sphere it is possible to appreciate the role Jewish women played in the public realm and,as a result,get a more accurate understanding at the complexity that defines the status of Jewish women in Medieval Europe.
2 Victor Strandberg, Greek Mind and Jewish Soul, The University of Wisconsin Press, 1994, p. 156.
3 Victor Strandberg, Greek Mind and Jewish Soul, The University of Wisconsin Press, 1994, p. 156.
4 Sanford Pinsker, "Jewish Tradition and the Individual Talent". The Georgia Review 37, no. 3 (Fall 1983,) the Univeristy of Georgia.
5 Sanford Pinsker, "Jewish Tradition and the Individual Talent". The Georgia Review 37, no. 3 (Fall 1983,) the Univeristy of Georgia.
[1]Thomas R.Edwards,"The Short View",The New York Review of Books.1,Apr.1976,
[2]Edmund White,from The New York Book Review,11 Sep.1983
[3]Edmund White,from The New York Book Review,11 Sep.1983
[4]Edmund White,from The New York Book Review,11 Sep.1983
[5]Victor Strandberg,Greek Mind and Jewish Soul,The University of Wisconsin Press,1994,
[6]Victor Strandberg,Greek Mind and Jewish Soul,The University of Wisconsin Press,1994,p.156.
[7]Elaine Kauvar(1939-),is a modern critic,and a professor of English at Baruch College,City University of New York.
[8]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Indiana University Press,1993.p.39.
[1]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Indiana University Press,1993.p.42.
[2]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Indiana University Press,1993.p.42.
[3]Cf.Michael Greenstein,"The Muse and the Messiah:Cynthia Ozick's Aesthetics," Studies in American Jewish Literature 8.1(1989):50-65.
[4]Harold Bloom.Modern Critical Views:Cynthia Ozick,Chelsea House Publishers,1986,p.6.
[5]Mark Krupnick,Jewish writing and the Deep Place of the Imagination,P73,The university of Wisconsin Press,2005
[5]Sorrel Kerbel,www.routledge-ny.com/ref/jewishwriters/samples.html,(Accessed 02,07,2008)
1 Cynthia Ozick, Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981 p. 18.
2 Victor Strandberg, Greek Mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 142.
3 Cynthia Ozick, Metaphor and Memory, New York: Alfred A. Knopf, 1989, p. 224.
1 Jewishness, refers to a kind of concept; for example, the central traits, style, the quality or mindset group psychology of Jewish people, that profoundly reflect and closely relate to Jewish religion and culture.— The author of this thesis quotes the definition of this word "Jewishness" from Guoqiang Qiao's The Jewishness of Isaac Bashevis Singer ,Britain: Peter Lang AG, European Academic Publishers, Bern, 2003, p. 38.
2 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 9.
3 Cynthia Ozick, Art and Ardor, New York: E.P. Dutton. Inc, 1984, p. 178.
4 Cf. Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 181.
1 Cynthia Ozick, The Cannibal Galaxy, New York: Alfred A. Knopf; 1983, p. 5.
2 Sanford Pinsker, The Uncompromising Fiction of Cynthia Ozick, Columbia, University of Missouri Press, 1987, p. 105.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 207.
2 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 207.
3 Norman Finkelstein, "The Struggle for Historicity: Cynthia Ozick's Fiction", The Ritual of New Creation: Jewish Tradition and Contemporary Literature, Albany: State University of New York Press, 1992, p. 67.
4 Ellen Pifer, "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985, p.90
5 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 239.
[1]Norman Finkelstein,"The Struggle for Historicity:Cynthia Ozick's Fiction",The Ritual of New Creation:Jewish Tradition and Contemporary Literature,Albany:State University of New York Press,1992,p.67.
1 Cf. Milton M. Gordon, Assimilation in American Life: The Role of Race, Religion, and National Origins. New York: Oxford University Press, 1964, p. 194.
2 Cf. Zhou Nanyi, Toward a New Utopia: A Study of the Novels by Saul Bellow, Bernard Malamud, and Cynthia Ozick[D], 2001, p. 28.
4 Heilman, Samuel C. Portrait of American Jews: the Last Half of the 20~(th) Century. Seattle&London: University of Washington Press, 1995, pp. 66-67.
1 Heilman, Samuel C. Portrait of American Jews: the Last Half of the 20~(th) Century. Seattle&London: University of Washington Press, 1995, p. 17.
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 8.
3 Cf. Feingold, Henry L. A Time For Searching: Entering the Mainstream, 1920-1945. Baltimore and London: The Johns Hopkins University Press, 1992, p. 98.
4 Cf. Feingold, Henry L. A Time For Searching: Entering the Mainstream, 1920-1945. Baltimore and London: The Johns Hopkins University Press, 1992, p. 98.
1 Feingold, Henry L. A Time For Searching: Entering the Mainstream, 1920-1945. Baltimore and London: The Johns Hopkins University Press, 1992, p. 25.
2 Cf. Milton M. Gordon, Assimilation in American Life: The Role of Race, Religion, and National Origins. New York: Oxford University Press, 1964, p. 90.
3 According to Sklare Marshall, Jewish identity is one's sense of self with regard to being Jewish: what being Jewish means to individuals and the extent to which it is an important part of the way they view themselves in relation to others. Whether one considers oneself first a Jew and then an American or vice versa, whether one is embarrassed or proud about being Jewish, and how the awareness influences his behavior and attitudes. From Sklare. Marshall, ed. Understanding American Jewry, Brandeis University, 1982, p.57
1 Cf. Greenstein, Michael. Secular Sermons and American Accents: The Nonfiction of Bellow, Chick, and Roth Shofar: An Interdisciplinary Journal of Jewish Studies - Volume 20, Number 1, Fall 2001, pp. 4-20
2 Ruth R. Wisse, "American Jewish Writing, Act II", Commentary, June, 1976, by the American Jewish Committee.
3 Cf. Ruth R. Wisse, "Ozick as American Jewish Writer." Modern critical Views: Cynthia Ozick, (New York: Chelsea, 1986) p.37.
1 Cf. Mark Krupnick, Jewish Writing and the Deep Places of the imagination. The University of Wisconsin, 2005, p. 73.
2 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 176.
3 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 176.
5 Allen Ginsberg (1926-1997), was an American poet. Ginsberg is best known for the poem Howl (1956), celebrating his friends of the Beat Generation and attacking what he saw as the destructive forces of materialism and conformity in the United States at the time.
5 Cf. Ruth R. Wisse, "American Jewish Writing, Act II", Commentary, June, 1976, by the American Jewish Committee.
7 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
8 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
[1]Cynthia Ozick,Metaphor and Memory,New York:Knopf,1989,p.238.
[2]Harold Bloom,Modern Critical Views:Cynthia Ozick,Chelsea House Publishers,1986,p.4.
[3]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.169.
[4]Harold Bloom,ed.Modern Critical Views- Cynthia Ozick,Chelsea House Publishers,1986,p.4.
1 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
2 Cynthia Ozick,Metaphor and Memory, New York: Knopf, 1989, p. 238.
3 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 285.
4 Sorrel Kerbel, www.routledge-ny.com/ref/jewishwriters/samples.html
[1]Cynthia Ozick,Bloodshed,New York:Knopf,1976,p.6.
[2]Cf.Esther Frank,"Reading Jewish Women's Writings",Dept.of Jewish Studies,McGill University,1997.
[3]Susan Sontag(1933-2004),American essayist,short story writer,and novelist,a leading commentator on modern culture,whose innovative essays on such diverse subjects as camp,pornographic literature,fascist aesthetics,photography,AIDS,and revolution gained a wide attention.Sontag also wrote screenplays and directed films.She had a great impact on experimental art in the 1960s and 1970s,and she introduced many new stimulating ideas to American culture.
[4]Lionel Trilling(1931-75),he was a literary critic of international stature and held guest professorships at various universities in the USA and abroad.A liberal humanist,he equated literary criticism with moral evaluation and cultural criticism.He wrote prolifically on 19~(th) century and 20~(th) century writers,publishing important studies of Matthew Arnold(1939) and E M Forster(1943).His collected essays include The Liberal Imagination(1950),Beyond Culture(1965),and Sincerity and Authenticity(1972).His one novel,The Middle of the Journey(1957),was regarded as having been inspired by events in the life of Whittaker Chambers.
2 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 177.
4 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 181.
5 Katie Bolick, Interview, "The many faces of Cynthia Ozick", Atlantic Unbound (May), 1997.
6 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 158.
[1]Cynthia Ozick,Art and Ardor,NewYork:Knopf,1983,pp.167-168.
[2]Cf.Peter Kerry Powers,Disruptive Memories:Cynthia Ozick,Assimilation,and the Invented Past,Meilis Volume 20,Number 3(Fall 1995) p.379.
[3]Ludwig Lewisohn(1882 -1955) was an American Jewish critic and novelist,perhaps known best for his novel The Island Within.He wrote several autobiographies,translated German literature and wrote the preface to the first English language edition of Otto Rank's seminal work,Art and Artist.He also authored several works on Judaica and Zionism.
[4]Lewisohn,Expression in America,New York,Harper & Brothers Publishers,Inc.,1932.pp.168-169
[5]Jane Statlander,Cultural Dialetic-Ludwig lewisohn and Cynthia Ozick,Peter Lang,2002,p.227
[6]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.199.
[7]_Midrash,is a Hebrew term referring to the not exact,but comparative(homiletic) method of exegesis (hermeneutic) of Biblical texts,which is one of four methods cumulatively called Pardes.The term midrash can also refer to a compilation of homiletic teachings(commentaries) on the Tanakh(Hebrew Bible),in the form of legal and ritual(Halakha) and legendary,moralizing,folkloristic,and anecdotal(Haggadah) parts.In general the Midrash is focused on either halakha(legal) or Aggadic(non-legal and chiefly homiletical) subject matter.Both kinds of Midrashim were at first preserved only orally;but their writing down commenced in the 2nd century,and they now exist in the shape chiefly of exegetical or homiletical commentaries on Tanakh(the Hebrew Bible).Midrashic literature is worthwhile reading not only for its insights into Judaism and the history of Jewish thought,but also for the more incidental data it provides to historians,philologists,philosophers,and scholars of either historical-critical Bible study or comparative religion.
1 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
2 Esquire, Magazine 1974, Nov.
3 Quote David Walden, The Jewish Stories of Cynthia Ozick, Studies in Americn Jewish Literature 1, no. 1 , Spring 1975.
4 Cf. Diane Cole, "Cynthia Ozick" in Twentieth-Century American-Jewish Fiction Writers, Detroit: Gale Research, 1984, pp. 214-215.
5 Leo Baeck (1873 -1956) was an 20th century German-Polish-Jewish Rabbi, scholar, and a leader of Progressive Judaism.
2 Lowin, Joseph. Cynthia Ozick Boston: Twayne, 1988, p. 44.
3 Cohen, Sarah Blacher. Cynthia Ozick's Comic Art. Bloomington: Indiana UP, 1994. p. 36.
4 Cf. Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, pp. 58-59.
5 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 169.
6 In order to have a wide perspective of Ozick's writings, the author of this thesis gives a brief introduction to her chief works, including her short stories, novels and essays, most of which will be discussed later in this thesis. The introduction of Ozick's works in this part is based on some existing researches, from A Literary Saloon and Site of Review http://www.complete-review.com/authors/ozickc.htm
1 Cf. Victor Strandberg, Greek mind/ Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 28.
3 Cf. Martin Gilbert, Atlas of Jewish History (n.p: Dorset Pres, 1984), 97; and Raul Hilberg, The Destruction of the European Jews (Chicago: Quardrangle Books, 1961), pp. 137-39.
[1]William Clark Styron,(1925 -2006) was an eminent American novelist and essayist,his most famous memoir is Darkness Visible(1990).
[2]Cynthia Ozick,"We Ignoble Savages",Evergreen Review 3,no.10 Nov-Dec,1959
[3]Mark Harris(1922 - 2007) was an American novelist,literary biographer,and educator.
[4]Cf.Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.29."How then shall Westrum become like a Jew? What is the Jewish "secret"?...What makes a Jew is the conscious implication in millennia.To be a Jew is to be every moment in history,to keep history for breath and daily bread."
[5]Sorrel Kerbel,Jewish Writers of the Twentieth Century,Fritz Dearborn,New York,2003,p.124.
[6]Cf.Cynthia Ozick,"We Ignoble Savages",Evergreen Review 3,no.10 Nov-Dec,1959."Christianity does not stand responsible all alone in the world;nevertheless it stands responsible.The Inquisition was the known fruit of concrete Christian power.That thirteenth-century Pope(his name was Innocent) who ordered Jews to wear the yellow badge was not innocent of its Nazi reissue seven hundred years later."
1 Cf. Katie Bolick, Interview, "The many faces of Cynthia Ozick", Atlantic Unbound (May), 1997.
2 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
3 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
4 Cf. Timothy L. Parrish, "Creation's Covenant: The Art of Cynthia Ozick", Texas Studies in Literature and Language 43:4 2001, pp. 440-464.
[1]Ruth R.Wisse,The Modern Jewish Canon:A Journey Through Language and Culture,Free Press,2002,p.4.
[2]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.247.
[3]Elaine M.Kauvar,Cynthia Ozick's Fiction:Tradition and Invention.Jewish Literature and Culture Ser.Bloomington:Indiana UP,1985,p.392.
[4]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,pp.247-248.
[5]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.175.
1 Cynthia Ozick, Bloodshed and Three Novellas. New York: Knopf, 1976, p. 9.
2 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
3 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 18.
4 Edmund White, "Images of a Mind Thinking", The New York Times Book Review, 11 September, by The New York Time Company, 1983.
[1]Lawrence S.Friedman,Understanding Cynthia Oziek,University of South Carolina Press,1991,p.26.
[2]"Cynthia Ozick as the Jewish T.S Eliot," Soundings 74(Fall-Winter 1991):pp.351-368.
[3]Sorrel Kerbel,www.routledge-ny.com/ref/jewishwriters/samples.html
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 115.
2 Cf. Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 169.
[1]Cf.Janet L.Cooper,Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick,http://findarticles.com/p/articles/mi_m2278/is_1_25/ai_63323841(Accessed 01,04,2008)
[2]Essay published in Commenatary,Nov.1970
[3]John Hoyer Updike(1932-) is an American novelist,poet,short story writer and literary critic.Updike's most famous work is his Rabbit series(Rabbit,Run;Rabbit Redux;Rabbit Is Rich;Rabbit At Rest;and Rabbit Remembered).Rabbit is Rich and Rabbit at Rest received the Pulitzer Prize.Describing his subject as "the American small town,Protestant middle class," Updike is widely recognized for his careful craftsmanship and prolific output,having published 22 novels and more than a dozen short story collections,as well as poetry,literary criticism and children's books.Hundreds of his stories,reviews,and poems have appeared in The New Yorker since 1954.
[4]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.117."Emancipated Jewish writers like Bech(I know one myself) have gone through Russia without once suspecting the landscape of old pogroms,without once smelling another Jew...[But Bech's]phrase "peasant Jews" among the Slavs is an imbecilic contradiction-peasants work the land,Jews were kept from working it...If there had been "peasant Jews" there might have been no Zionism,no State of Israel...ah Beth!...despite your Jewish nose and hair,you are-as Jew-an imbecile to the core."
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.115.
[6]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,p.113
[7]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,p.169.
1 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, pp. 122-123.
2 Peter Kerry Powers, Disruptive Memories: Cynthia Ozick, Assimilation, and the Invented Past, Meilis Volume 20,Number 3(Fall 1995) p. 379.
3 Cynthia Ozick, Metaphor and Memory, New York: Knopf, 1989, p. 224.
4 Cynthia Ozick, Bloodshed, New York: Knopf, 1976, p. 6.
5 Cf. Cynthia Ozick, Metaphor and Memory,, New York: Knopf, 1989, p. 224.
1 Cf. Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 22.
2 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 188.
3 Cynthia Ozick,, "From a Refugee's Notebook", Levitation, New York: Alfred A. Knopf, 1982, p. 62.
5 Faulkner in the University, ed. Ferderick L. Gwynn and Joseph Blotner, New York: Vintage, 1965, p. 161.
1 Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p.22.
2 Cynthia Ozick, "Toward a New Yiddish"Art and Ardor, E.P.Dutton, Inc., 1983, p. 157.
3 Vera E. Kielsky, Inevitable Exiles: Cynthia Ozick's View of the Precariousness of Jewish Existence in a Gentile Society, Peter Lang Pub Inc., 1989. p. 23.
1 Cf. Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 17.
2 Short Story Critism, http://www.enotes.com/short-story-criticism/shawl-story-and-novella-cynthia-ozick (Accessed 02,07,2008)
[1]Elaine M.Kauvar,"Dread of Moloch",Cynthia Ozick's Fiction,Indiana University Press,1993,p.117.
[2]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.4-5.
[3]Rosa Magda is the daughter of Rosa and a nameless Nazi Solider,so she has a Aryan appearance
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.3.
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981 p.5.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[8]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[9]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[10]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.10.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.12.
[2]This idea and some examples in this part are inspired by Victor Strandberg's existing research in Greek Mind and Jewish Soul,1994,pp.143-144.
[3]Cf.Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.8.
[4]Cf,Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.41."Your idol(Magda's shawl) is on its way,separate cover.Go on your knees to it if you want.You make yourself crazy...you'll open the box and take it out and cry,and you'll kiss it like a crazy person.Making holes in it with kisses.You are like those people in the Middle Ages who worshiped a piece of the True Cross...it's time,you have to have a life."
[5]Cf.Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.41.
[6]The names of Rosa,Stella,and Magda are Latin cognates for the images associated with the Christ child's Advent:Rosa(signifying the Incarnation);Star(over Bethlehem);and Magi(three Wise Men).
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 31.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 43-44.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 4.
4 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 39.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 35.
6 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 42.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.58.
[2]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.26.
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[5]This idea and some examples in this part are inspired by Victor Strandberg's existing research in Greek Mind and Jewish Soul,1994,pp.140-141.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.9.This image haunted Ozick before The Shawl.In "The Pagan Rabbi" she describes an infant saved by a dues ex machiae:"they were about to throw her against the electrified fence when an army mobbed the gate;the current vanished from the wires."(The Pagan Rabbi and Other Stories p.7.)
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 35.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 4, 10, 22, 30.
3 This idea is inspired by Victor Strandberg's existing research in Greek Mind and Jewish Soul, 1994, p. 140 140-141 .L'chaim means to life, Moloch is something possessing the power to exact severe sacrifice. According to Bible in the Old Testament, the god of the Ammonites and Phoenicians to whom children were sacrificed.
4 The data is based on the the existing researching Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 40.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 5.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.3.
[2]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.5.
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.6.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[8]Cf.Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.3-4.
[9]Cf.Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.4.
[10]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.4.
[11]Berger,Alan L.Holocaust Theology:A Reader(review) Shofar:An Interdisciplinary Journal of Jewish Studies,Volume 22,Number 2,Winter 2004,pp.194-195.
1 Hebrew Bible, Psalms 83:4
2 Cf. Cynthia Ozick, "A Contraband Life," Commentary 39, No. 3, March 1965, p. 92
1 Philip Roth. Portnoy's Complaints. New York: Random House, 1967, p. 37.
2 Cynthia Ozick, Art and Ardor, New York: E.P. Dutton, INC, 1984, p. 175.
1 Cynthia Ozick, "Letters to Victor Stranberg" (6/6/1990), in Victor Strandberg, Greek Mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 6.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 1.
4 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 14.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 16.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 18.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p., p. 45.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p., p. 48.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 49.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 19.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 55.
5 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 69.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.31,33,63.
[2]Peter Kerry Powers,Disruptive Memories:Cynthia Ozick,Assimilation,and the Invented Past,Meilis Volume 20,Number 3(Fall 1995) p.379.
[3]Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.144.
[4]Ronald Sanders,The Shores of Refuge(New York:Henry Holt,1988),411.The Pilsudski regime,which took power in 1926,proved very friendly to the Jews of Poland,so that by 1931,Sanders says,"56 percent of [Poland's]doctors,33.5 percent of its lawyers,and 22 percent of its journalists,publishers,and librarians were Jews"(413)
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.20-21.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.20.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.21.
[1]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,pp.20-21.
[2]Cynthia Ozick,Trust,New York:Alfred A.Knopf,1966,p.78.
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.41.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.67.
[5]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.66.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.67.
[1]Cynthia Ozick,Mataphor and Memory,New York:Alfred A.Knopf,1989,p.279.
[2]Cf.Peter Kerry Power,Disruptive memories:Cynthia Ozick,assimilation,and the invented past,1995,http://findarticles.com/p/articles/mi_m2278/is_n3_v20/ai_18298427/pg_9
[3]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.16.
[4]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.18.
[5]A Shtetl,was typically a small town with a large Jewish population in pre-Holocaust Central and Eastern Europe.Shtetls were mainly found in the areas which constituted the 19th century Pale of Settlement in the Russian Empire,Congress Kingdom of Poland,Galicia,and Romania.A larger city,like Lemberg or Czernowitz,was called a shtot;a smaller village was called a dorf.The concept of shtetl culture is used as a metaphor for the traditional way of life of 19th-century Eastern European Jews.Shtetls are portrayed as pious communities following Orthodox Judaism,socially stable and unchanging despite outside influence or attacks.The Holocaust resulted in the disappearance of the vast majority of shtetls,through both extermination and mass exodus to the United States and what became Israel.
[6]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.25.
[7]Cynthia Ozick,The Shawl,New York:Alfred A.Knopf,1981,p.20.
1 The proof in this paragraph on Jewish history is based on the existing research of Victor Strandberg, Greek mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 146.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 19.
3 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 16.
4 Lawrence S. Friedman, Understanding Cynthia Ozick, University of South Carolina Press, 1991, p. 8.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, p. 18.
2 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 18-20.
1 Cynthia Ozick, The Shawl, New York: Alfred A. Knopf, 1981, pp. 69-70.
2 The short story had been collected in Pagan Rabbi and Other Stories , Syracuse University Press, 1971
3 The author of this thesis adopts the definitions of Historical Consciousness bascially in The Origins of Historical Consciousness, 2001. https://tspace.library.utoronto.ca/citd/holtorf/2.5.html (Accessed 02,07,2008)
5 Muller Karpe, (ed.) Archaologie und Geschichtsbewuβtsein, 1982, pp. 5-11.
6 Cf. Muller Karpe, (ed.) Archaologie und Geschichtsbewuβtsein, 1982, p. 8.
2 Cf. Horst, Kirchner, "The Attitude of Prehistoric Man towards his History, Sociologus N.F.4, 1954, pp. 13-20.
3 Cf. Isamr Schorsch. The Turn to History in Modern Judaism. University Press of New England. 1979, pp.39.95
4 Cynthia Ozick, Metaphor and Memory,, New York: Knopf, 1989, p. 224.
5 Paul Mendes Flohr, Contemporary Jewish Thought, New York: Free Press, 1988, p. 378.
Paul R. Mendes-Flohr is a leading scholar of modern Jewish thought. As an intellectual historian, Mendes-Flohr specializes in 19th and 20th Century Jewish thinkers, including Martin Buber, Franz Rosenzweig, and Gershom Scholem.
1 This idea and some examples in this part are inspired by the existing research Janet L. Cooper's study on Cynthia Ozick, Janet L. Cooper, Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick http://findarticles.com/p/articles/mi_m2278/is_1_25/ai_63323841 (Accessed , 03, 04, 2008)
2 Cf. Isamr Schorsch. The Turn to History in Modern Judaism. University Press of New England. 19**, pp.39.95
4 Cf. Kielsky, Vera Emuna. Inevitable Exiles: Cynthia Ozick's View of the Precariousness of Jewish Existence in a Gentile Society. New York: Peter Lang, 1989.
5 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p.177.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983. p.176. Here the essay is reprinted as "Toward a New Yiddish" 154-177.
2 Hannah is a female character in "Envy". She is a Jew, speaking both Yiddish and English, but refuses to confess her Jewish origin.
3 Cynthia Ozick,Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 42.
4 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 96.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.96.
[2]A character in "Envy" who is also a Yiddish writer.Ostrover is well accepted by Americans,and his works are translated into English.But in the eyes of Edelshtein,Ostrover's success is at a price of betraying the Jewish culture.
[3]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.168.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.74.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.74.
[6]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.74.
[7]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.96.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.88.
[2]Yankel Ostrover,a short story writer who finds no difficulty to be translated from Yiddish to English and has won the admiration of everyone in the novel.
[3]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[4]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.47.
[5]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.68.
[6]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.69.
[7]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.55.
[8]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[9]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.56.
[10]Cynthia Ozick Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.47.
11 Isaac Bashevis Singer(1902-1991),was a Nobel Prize-winning Polish-born American author and one of the leading figures in the Yiddish literary movement.Isaac Bashevis Singer was born in 1902 in Leoncin(the family moved to Radzymin,often erroneously cited as his birthplace,some years later),a village inhabited mainly by Jews near Warsaw in Congress Poland,then part of the Russian Empire.Singer's first published story won the literary competition of the "literarishe bletter" and he soon got a name as a promising talent.A reflection of his formative years in "the kitchen of literature"(his own expression)([2]p.132)
1 Cf. Sanford Pinsker, Partisan Review, (Oct. )Partisan Review Inc. 2002
2 Cynthia Ozick,Pagan Rabbi and Other Stories , Syracuse University Press, 1971, p. 83.
3 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 93.
4 Cynthia Ozick, Pagan Rabbi and Other Stories ,Syracuse University Press, 1971, p. 92.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.93.
[2]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.92.
[3]Kielsky,Vera Emuna.Inevitable Exiles:Cynthia Ozick's View of the Precariousness of Jewish Existence in a Gentile Society.New York:Peter Lang,1989.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.95.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.90.
[6]Cf.Cohen,Sarah Blacher.Cynthia Ozick's Comic Art.Bloomington:Indiana UP,1994,p.60.
[7]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.94.
[8]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.97.
[9]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.91.
[10]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.70.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[2]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.56.
[3]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.48.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.41.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.73.
[6]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.100.
[7]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.41.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., 1983, p. 168
2 The idea is basically on the existing research Norman Finkerlstein, The Ritual of New Creationl, State University Press, 1992, p. 67.
3 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 96.
1 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 75.
2 The idea and some examples in ths part are inspired by the existing research on existing research of Janet L. Cooper's study on Cynthia Ozick, Janet L. Cooper, Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick http://findarticles.com/p/articles/mi_m2278/is_1_25/ai_63323841 (Accessed 03,04,2008)
3 Cynthia Ozick, Pagan Rabbi and Other Stories , Syracuse University Press, 1971, p. 48.
4 Cynthia Ozick, Pagan Rabbi and Other Stories , Syracuse University Press, 1971, p. 74.
5 Cynthia Ozick, Pagan Rabbi and Other Stories, Syracuse University Press, 1971, p. 75.
[1]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.86.
[2]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.80.
[3]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.67.
[4]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.68.
[5]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.99.
[6]Cynthia Ozick,Pagan Rabbi and Other Stories,Syracuse University Press,1971,p.99-100.
[7]Kauvar,Elaine M.Cynthia Ozick's Fiction.Bloomington:Indiana UP,1993.p.ⅹⅲ,Elaine Kauvar(1939- ),is a modern critic,and a professor of English at Baruch College,City University of New York.
1 James Gardner, "Nice Jewish Golem," National Review, 09/01/97, Vol. 49, Issue 16, p. 2.
1 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 178. To Harold Bloom, Cynthia Ozick with her strong appealing of Judaism and Jewish history makes her quite an racist. Then, Harold Bloom, in 1978, stated that "literature, to come into being at all, must call on the imagination; imagination is in fact the flesh and blood of literature; but at the same time imagination is the very force that struggles to snuff out the redemptive corona. So a redemptive literature, a literature that interprets and decodes the world, beaten out for the sake of humanity, must wrestle with its own flesh and blood, with its own life." -Form "Struggle for Historicity", Norman Finkelstein: The Ritual of new Creation: Jewish Tradition and Contemporary literature, Albany: State University of New York Press, 1992.
3 Letter between Cynthia Ozick and Victor Stranberg, Jan 14~(th), 1982.
4 Cynthia Ozick, Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 181.
1 Cynthia Ozick, "Literature as Idol: Harold Bloom", Art and Ardor, E.P.Dutton, Inc., New York, 1984. p. 178.
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.181.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.196.
[3]Cf.Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.15.
[4]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.194.
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.191-192.
[6]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.191.
[7]Lawrence S.Friedman,Understanding Cynthia Ozick,University of South Carolina Press,1991,p.14.
[8]Cynthia Ozick,Art and Ardor,New York:Knopf,1983,p.195.
[9]Something possessing the power to exact severe sacrifice.According to Bible In the Old Testament,the god of the Ammonites and Phoenicians to whom children were sacrificed.
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.247.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.178.
[3]Cf.Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.247.
[4]Cynthia Ozick,Art and Ardor,E.P.Duttort,Inc.,1983,p.178.
[5]Cf.Prose,"Idolatry in Miami" 39:"I worry very much that[the Holocaust]is corrupted by fiction and that fiction in general corrupts history."
[6]Cf.Thomas R.Edward,"The short View",The New York Review of Books,1,April,1976
[7]Cynthia Ozick,Bloodshed and Three Novellas.,New York:Knopf,1976,p.10.
[1]Cynthia Ozick,Bloodshed and Three Novellas.,New York:Knopf,1976,p.10.
[2]Cynthia Ozick,Bloodshed and Three Novellas.New York:Knopf,1976,p.10.
[3]Cynthia Ozick,"Toward Yiddish",Art and Ardor,.New York:Knopf,1976,p.10.
[4]Thomas R.Edwards,"The Short View",The New York Review of Books,Nyrev 2 April,1976.
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.207.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.207.
[3]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.208.
[4]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.206.
[5]Cf.Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.208.There is always the easy,the sweet,the beckonging,the leninent,the interesting lure of the Instead of:the wood of the tree instead of God,the rapture bring horizon intead of God,the work of art instead of God,the passion for history instead of God,philosophy and the history of philosophy instead of God,the state instead of God,the order of the universe instead of God,the prophet instead of God.There is no Instead of God.There in only on Creator.God is alone,
[1]Cf.,Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.181.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.181.
[3]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.198.
[4]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.199.
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.198.
1 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 64
2 Gershom Scholem, The Messianic Idea in Judaism, New York Press, 1995, p. 1.
3 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 64
1 Cynthia Ozick, Bloodshed and Three Novellas., New York: Knopf, 1976, p. 177.
2 Cynthia Ozick, Bloodshed and Three Novellas. New York: Knopf, 1976, p. 10.
3 Quote Teicholz 167, from Victor Strandberg, Greek mind/ Jewish Soul, Madison: The University of Wisconsin Press, 1994, p.26
[1]Quote Teicholz 168,from Victor Strandberg,Greek mind/ ewish Soul,Madison:The University of Wisconsin Press,1994,p.26
[2]Quote Teicholz 167,from Victor Strandberg,Greek mind/ Jewish Soul,Madison:The University of Wisconsin Press,1994,p.26
[3]Mervyn Rothstein,Cynthia Ozick's Rabbinical Approach to Literature,1987.
[4]Cf.Mervyn Rothstein,Cynthia Ozick's Rabbinical Approach to Literature,1987.
[5]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.247.
[6]Cf.Norman Finkelstein,The Ritual of New Creation:Jewish Tradition and Contemporary Literature.New York Press,1992,p.69
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 36.
[1]Patrica Blake,"A New Triumph for Idiosyncrasy",Time,Sep.5~(th),1983.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.69.
[3]Cf.Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed 03,04,2008)
[4]It is a fairly uncommon family name,most seen in Holland where freedom of religion and religious beliefs is a fundamental right while people are free to worship as they choose.
[5]Cf.Patrica Blake,"A New Triumph for Idiosyncrasy",Time,Sep.5~(th),1983.
[6]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.24.
[1]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.24.
[2]Voltaire(1694-1778),is an accomplished thinker in the French Enlightenment of 18th century.
[3]Cf.Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.15.
[4]French army officer of Jewish descent who was convicted of treason(1894),sentenced to life imprisonment,and ultimately acquitted when the evidence against him was shown to have been forged by anti-Semi(?)es.The persecution of Alfred Dreyfus,suggests the fate of cultural "dualism" at the fin de siècle and presages the twentieth-century consequences of the "birth stain".
[5]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.9.
[6]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.23.
[7]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.131.
[8]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.16.
[9]The motto is in Latine."Ad" is "to","Astra" is "Star" in English."Astra" also implies "astronomy".
[1]Cf.Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.6.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.8.Vieille du Temple is one of the most luxurious fashion shopping streets in Paris gathers rich people.Rue des Fancs Bourgeois Street is one of the longest and the most interesting street in Marias district in Paris,France traditionally has Sunday as a day of rest but Rue des Francs-Bourgeois is one of the few streets that is open on Sunday.While Sunday should be a day for Brill(Jews) to attend the religious activity,Brill's choosing of the road to get to the possionnerie here disclose that he is approaching to western civilization as possible as he can.
[4]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.9.
[5]Famour for her capacity to be all things to everyone,and a mutability enhanced by her exotic Rachel Felix is viewed as stained by her heritage.Born to itinerant peddlers(archetypal wandering Jews),the young Rachel became both a commodity to be carefully marketed and a theatrical phenomenon.Her amazing career inspired nineteenth-century novelists such as Charlotte Bront(e|¨),George Eliot,and Henry James,who incorporated in their fictions versions of her life and of her relationship with her exploitative father.Yet it was the underlying anti-Semitism of French culture and the reine de theatre that she became,that ironically made Rachel's theatrical talent all the more compelling
[6]Quote from Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/
[7]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.13.
[8]Cf.Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.14.
[1]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.22.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.27.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.29.
[4]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.29.
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.27.
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.3.
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, pp. 6-7.
4 Cynthia Ozick, Art and Ardor, pp. 168-169
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.36.
2 Cynthia Ozick, Art and Ardor, p. 168
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p.27.
4 Cynthia Ozick, Art and Ardor, p. 195
5 Cf. Understanding Ozick,
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 39.
2 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 11.
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 11.
4 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 11.
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 67.
2 Cf. Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 136.
3 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, pp. 118-119.
4 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 133.
5 Cf. Arlene Fish Wilner, Limning The Cannibal Galaxy: Cynthia Chick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/
[1]The research of this paragraph is based on the existing research of Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/
[2]Cynthia Ozick,"Bialik's Hint," in Metaphor and Memory,p.27.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.67.
[1]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.47.
[2]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.88.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,pp.67-70.
[4]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.69.
[5]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.70.
[6]Cynthia Ozick,Metaphor and Memory,,New York:Knopf,1989,p.66.
[7]Cynthia Ozick,"Bialik's Hint," in Metaphor and Memory,p.27.
1 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 94.
2 Cynthia Ozick, "Innovation and Redemption: What Literature Means," in Art and Ardor, p. 246.
1 Cynthia Ozick "Ruth," in Metaphor and Memory, p. 263.
2 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 75
3 Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature. New York Press, 1992, p. 75
4 Cynthia Ozick, Art and Ardor, p. 389.
5 Ozick, "A Liberal's Auschwitz," in The Pushcart Prize: First Edition (New York, 1967-77), 152
6 Cynthia Ozick, The Cannibal Galaxy. New York: Knopf, 1983, p. 93.
[1]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.101.
[2]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,p.23.
[3]Cynthia Ozick,The Cannibal Galaxy.New York:Knopf,1983,pp.97-98.
[4]Cynthia Ozick,"Literature as Idol:Harold Bloom",Art and Ardor,E.P.Dutton,Inc.,New York,1984.p.178
[1]Cynthia Ozick,"Literature as Idol:Harold Bloom",Art and Ardor,E.P.Dutton,Inc.,New York,1984.p.178
[2]Cf.Norman Finkelstein,The Ritual of New Creation:Jewish Tradition and Contemporary Literature.New York Press,1992,p.64
[3]Cf.Katha Pollitt,"The Three Selves of Cynthia Ozick",The New York Times Book Review(May 22,1983):p.9.
[4]Cf.Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed 03,04,2008)
[5]HP-Time.com;Patricia Blake,"A New Truimph for Idolsyncrasy",Times,1983
[1]Finkelstein,"The Struggle for Historicity:Cynthia Ozick's Fiction",The Ritual of New Creation:Jewish Tradition and Contemporary Literature,Albany:State University of New York Press,1992,p.67.
[2]Paul Theroux,"The Meseries and Splendours of the Short Story".Encounter 39,no.3,September,1972,by Encounter Ltd.
1. Cf, Ellen Pifer, "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985, p. 90.
2 Michael Upchurch, San Francisco Chronicle, http://www.complete-review.com/reviews/ozickc/putterp.htm
1 Cynthia Ozick, "Toward New Yiddish", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 175.
2 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 241.
3 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, pp. 241-242.
4 Cynthia Ozick, "Innovation and Redemption: What Literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p. 239.
[1]David Stern,Parables in Midrash:Narrative and Exegesis in Rabbinic Literature,Harvard University Press,1994,p.11.
[2]David Stern(1942-),a professor in University of Pennsylvania Professor,serves as director of Jewish study program and teaches in Comparative Literature program.Dr.Stern's essays and reviews on modern Jewish literature and culture have appeared in The New Republic,Commentary,The New York Times Book Review,and Tikkun.He is also an editor of Prooftexts:A Journal of Jewish Literary History.Dr.Stern has written widely on midrash(the Biblical commentaries of the Rabbis),and is the author of several books including "Parables in Midrash:Narrative and Exegesis in Rabbinic Literature"(Harvard University Press);"Rabbinic Fantasies:Imaginative Narratives from Classical Hebrew Literature"(Yale University Press);and "Midrash and Theory:Ancient Jewish Exegesis and Contemporary Literary Studies"(Northwestern University Press).
[3]Cf.David Stern,Parables in Midrash:Narrative and Exegesis in Rabbinic Literature,Harvard University Press,1994,p.24.
[4]Cf.David Stern,Parables in Midrash:Narrative and Exegesis in Rabbinic Literature,Harvard University Press,1994,p.39
[5]Cf.Cynthia Ozick,"Toward New Yiddish",Art and Ardor,E.P.Dutton,Inc.,New York,1984,p.175.
1 Cynthia Ozick, "Toward a New Yiddish", Art and Ardor, E.P.Dutton, Inc., New York, 1984. p. 177.
3 Cynthia Ozick, "Innovation and Redemption: What literature Means", Art and Ardor, E.P.Dutton, Inc., New York, 1984, p.246.
4 In the actantial model of narratology, But the deep-layer structure always lies: "(God)—to taboo; "To Violate—to punish ,to escap " the focus: "To Violate—being punished", In paradise-lost, Babie, Cain.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 233.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 234.
3 Jack Miles, God: A Biography.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 15.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997,,,p. 23.
1 Cf. Elaine M. Kauvar, "Cynthia Ozick's Book of Creation: Puttermesser and Xanthippe", Contemporary Literature 26, no. 1 (Spring 1985)
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 99.
3 Elaine M. Kauvar, "Cynthia Ozick's Book of Creation: Puttermesser and Xanthippe", Contemporary Literature 26, no. 1 (Spring 1985)
1 Cf. Elaine M. Kauvar, "Cynthia Ozick's Book of Creation: Puttermesser and Xanthippe", Contemporary Literature 26, no. 1 (Spring 1985)
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 69.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 109.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 95.
1 http://www.complete-review.com/reviews/ozickc/putterp.htm (Accessed, 04.07,2008)
4 Cf. Linda Hutcheon, Narcissistic Narrative: The Metafictional Paradox, Waterloo: Wilfrid Laurier up, 1980, p. 25.
5 Linda Hutcheon, A theory of parody: The teachings of twentieth-century art forms. Chicago: University of Illinois Press. 1985, p. 32.
1 Ellen Pifer', "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985. p.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 123.
3 The Puttermesser Papers a tour-de-force from Ozick, Dec. 5~(th) 1998
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 23.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 25.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 23.
7 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 42.
1 The briefly introducation of Golemmyth in ancient history is mainly quoted from the existing research by Robert Looby, From the clay of the Kabala to the steel of Metropolis. The Golem Myth., ,2004, http://www. threemonkeysonline. com/threemon_article_the_golem_myth_film_literature. htm(Accessed, 04.07,2008)
2 Cf. Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969. pp. 192-193.
3 Cf.Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, pp. 46-47.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 44.
2 Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969. pp. 192-193.
4 Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969, pp. 192-193.
6 Gershom Scholem, On the Kabbalah and Its Symbolism. New York: Schoken, 1969, pp. 192-193.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 85.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 67, p.74.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 69.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 148.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 148.
[1]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,pp.98-99.
[2]Professor Patricia Waugh is Head of Department of English Studies.She joined the department in 1989 and has been a professor since 1997.
[3]Patricia Waugh,Metafiction:The Theory and Practice of Self-consciuos fiction.London:Methuen,1984.p.18.
[4]Iconolasm means image breaking,opposition to the religious use of images Veneration of pictures and statues symbolizing sacred figures,Christian doctrine,and biblical events was an early feature of Christian worship.
[5]Sometimes it is difficult to distinguish parody from copy.So some works employing parody as their main strategy are denounced and suspected as a copy.
[6]Arlene Fish Wilner,Limning The Cannibal Galaxy:Cynthia Ozick's Moral Imagination http://findarticles.com/p/articles/mi_m2220/is_4_40/ai_53935168/(Accessed,04.07,2008)
[7]The background in this part is based on the existing research of Josphe,http://www.jewishvirtuallibrary.org/jsource/biography/Ozick.html
1 Cf. Peter Kerry Powers, Disruptive Memories: Cynthia Ozick, Assimilation, and the Invented Past. Meilis Volume 20,Number 3(Fall 1995): http://findarticles.conVp/articles/mi_m2278/is_n3_v20/ai_18298427 (Accessed, 04.07,2008)
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 17.
3 This example is based on Ellen Pifer's existing research "Invention and Orthodoxy", Contemporary American Women Writers: Narrative Strategies, The University Press of Kentucky, 1985.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 28.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 28.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 36.
[1]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.37.
[2]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.36.
[3]Jeffrey J.Williams is a professor of English and literary and cultural studies at Carnegie Mellon University and editor of the Minnesota Review.
[4]Jeffrey J.Williams,Theory and the Novel:Narrative Reflexivity and the British Tradition,Cambridge University Press 1998,pp.21-22.
[5]高辛勇,《修辞学与文学阅读》,北京大学出版社,1997,p.93.
1 Cf.高辛勇, 《修辞学与文学阅读》, 北京大学出版社, 1997, p.93.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 3.
[1]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.5.
[2]Cynthia Ozick,"The Lesson of the Master",Art and Ardor,E.P.Dutton,Inc.,New York,1984,pp.292-293.
[3]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.12.
[4]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.13.
[5]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.13.
[6]Cynthia Ozick,The Puttermesser Papers,New York:Alfred,A,Knopf.Inc,1997,p.13.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 12.
2 Cf. Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 3.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 12.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 18.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 16.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 16.
7 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 19.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 24.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 14.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 16.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 17.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 17.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 18.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 36.
5 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 42.
6 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 36.
7 Cf. Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 37.
8 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 37.
9 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 38.
1 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 39.
2 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 40.
3 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 38.
4 Cynthia Ozick, The Puttermesser Papers, New York: Alfred, A, Knopf. Inc, 1997, p. 5.
5 esoteric system of interpretation of the Scriptures based upon a tradition claimed to have been handed down orally from Abraham. Despite that claimed antiquity, the system appears to have been given its earliest formulation in the 11th cent. (Scholem 128-44, 168-74)
6 Sorrel Kerbel, Jewish Writers of the Twentieth Century, Fritz Dearborn, New York, 2003
[1]高辛勇,《修辞学与文学阅读》,北京大学出版社,1997,p.93.
[2]Carol Shields,The Stone Diaries.Random House of London,1993.p.124.
[3]Elaine,M,Kauvar,Ozick's books of Creation,New York,Chelsea Press,1986,p.157.
[4]The Complete Review.http://www.complete-review.com/reviews/ozickc/putterp.htm
[5]Cf.Elaine M.Kauvar,"Cynthia Ozick's Book of Creation:Puttermesser and Xanthippe",Contemporary Literature 26,no.1(Spring 1985)
[1]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.174.
[2]Cynthia Ozick,Art and Ardor,E.P.Dutton,Inc.,1983,p.175.
1 Peter Kerry Powers, Disruptive Memories: Cynthia Ozick, Assimilation, and the Invented Past, Meilis Volume 20, Number 3 (Fall 1995) p. 379.
2 Cf. Cynthia Ozick, Art and Ardor, New York: Knopf, 1984, p. 177.
3 Cynthia Ozick, Bloodshed, New York: Knopf, 1976, p. 6.
1 Ruth R. Wisse, The Modern Jewish Canon: A Journey Through Language and Culture, Free Press, 2002, p. 4.
2 Cf. Janet L. Cooper, "Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick-Critical Essay". MELUS, Vol. 25, No. 1, Jewish American Literature (Spring, 2000), pp. 181-195
3 Lawrence S. Friedman, Understanding Cynthia Ozick. University of South Carolina Press, 1991. p. 39
1 Cf. Victor Strandberg, Greek Mind/Jewish Soul, Madison: The University of Wisconsin Press, 1994, p. 142.
2 Cynthia Ozick, Metaphor and Memory, New York: Alfred A. Knopf, 1989, p. 224.
3 Victor Strandberg, Greek mind/ Jewish Soul, Madison: The University of Wisconsin Press, 1994.
1 "all literatures are idoltary",is a proposition that famous critic Harold Bloom proposed in 1978.
2 Cynthia Ozick, Metaphor and Memory, New York: Knopf, 1989, p. 224.
3 Cf. Norman Finkelstein, The Ritual of New Creation: Jewish Tradition and Contemporary Literature New York Press, 1992, p. 64
1 Cynthia Ozick, Art and Ardor, New York: E.P. Dutton, INC, 1984, p. 255.
2 Cynthia Ozick, Art and Ardor, New York: Knopf, 1983, p. 176.
1.A.Alvarez,The New York Book Review,10 Nov.1983.
2.Alan L.Berger,Gloria L.Cronin,Jewish American and Holocaust Literature.New York:State University of New York Press,2004.
3.Alan L.Berger,Holocaust Theology:A Reader(review) Shofar:An Interdisciplinary Journal of Jewish Studies,Volume 22,Number 2(Winter 2004):pp.194-195.
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5.Benjamin Harshav,Language in Time of Revolution.University of California Press,1993.
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7.Carol Shields,The Stone Diaries.Random House of London,1993.p.124.
8.Catherine Rainwater and William J.Scheick,ed.Contemporary American Women Writers.The University Press of Kentucky,1985,p.120.
9.Cynthia Ozick,"A Contraband Life," Commentary 39,No.3,(March 1965):pp.89-92.
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21.David H.Hirsch,"Jewish Identity and Jewish Suffering in Bellow,Malamud,and Philip Roth,"Saul Bellow Journal,8,1989,pp.47-58.
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23.David Stern,Parables in Midrash:Narrative and Exegesis in Rabbinic Literature.Harvard University Press,1994,pp.11-39.
24.David Walden,"The Jewish Stories of Cynthia Ozick",Studies in American Jewish Literature 1,No.1,(Spring 1975):pp.3-38.
25.Daniel Walden(ed.),Twentieth-Century American-Jewish Fiction Writers,Detroit:Gale Reserch,1984.
26.Edmund White,"Images of a Mind Thinking",The New York Times Book Review,11 September,1983.
27.Elaine M.Kauvar,Contemporary Literature 26,No.4(Winter 1985):pp.309-385.
28.Elaine M.Kauvar,Cynthia Ozick's Fiction.Indiana University Press,1993.
29.Elaine,M,Kauvar,Ozick's books of Creation.New York,Chelsea Press,1986.
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31.Ellen Pifer,"Invention and Orthodoxy",Contemporary American Women Writers:Narrative Strategies.The University Press of Kentucky,1985,pp.90-106.
32.Esther Frank,"Reading Jewish Women's Writings",Dept.of Jewish Studies,McGill University,1997.
33.Eugene Goodheart,"Cynthia Ozick's Trust",Critique:Studies in Modern Fiction 9,no 2(Winter 1967-1968).
34.Eve Ottenberg,"The Rich Vision of Cynthia Ozick," The New York Times Magazine(10.April,1983):pp.4-62.
35.Gershom Scholem,On the Kabbalah and Its Symbolism.New York:Schoken,1969,p.42.159-161.pp.192-193.
36.Gershom Scholem,The Messianic Idea in Judaism.New York Press,1995,p.1.
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42.Henry L.Feingold,A Time For Searching:Entering the Mainstream,1920-1945.Baltimore and London:The Johns Hopkins University Press,1992.p.25.98.
43.James Gardner,"Nice Jewish Golem",National Review,1997,Vol.49,Issue 16 p.2.
44.Jane Statlander,Cultural Dialetic-Ludwig lewisohn and Cynthia Ozick.Peter Lang,2002.
45.Janet L.Cooper,"Triangles of History and the Slippery Slope of Jewish American Identity in Two Stories by Cynthia Ozick - Critical Essay".MELUS,Vol.25,No.1,Jewish American Literature (Spring,2000):pp.181-195.
46.Jeffrey J.Williams,Theory and the Novel:Narrative Reflexivity and the British Tradition.Cambridge University Press 1998,pp.21-22.
47.John Toland,Hitler:The Pictorial Documentary of His Life.New York:Doubleday,1978.pp.8-36.
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51.Josephine Z.Knopp,"Ozick's Jewish Stories",Harold Bloom,ed.Modern Critical Views:Cynthia Ozick,Chelsea House Publishers,1986,pp.21-30.
52.Katha Pollitt,"The Three Selves of Cynthia Ozick",The New York Times Book Review(May 22,1983):pp.7- 35.
53.Lawrence S.Friedman,Understanding Cynthia Ozick.University of South Carolina Press,1991.
54.Mark Krupnick,Jewish Writing and the Deep Places of the imagination.The University of Wisconsin,2005,pp.73-95.
55.Mark Krupnick,"Cynthia Ozick as the Jewish TS Eliot",Soundings 74(Fall-Winter 1991):pp.351-368.
56.Mark Schechner,"Other People's Stories",Review of Bloodshed and Three Novellas by Cynthia Ozick,Moment(April 1976):pp.74-77.
57.Mervyn Rothstein,"Cynthia Ozick's Rabbinical Approach to Literature",The New York Times Book Review,25 March,1987.
58.Michael Greenstein,"The Muse and the Messiah:Cynthia Ozick's Aesthetics",Studies in American Jewish Literature 8.1(1989):pp.50-65.
59.Milton M.Gordon,Assimilation in American Life:The Role of Race,Religion,and National Origins.New York:Oxford University Press,1964.
60.Max Apple,"Wresting Life from the Void",The New Leader,12 Dec.1983.
61.Norman Finkelstein,The Ritual of new Creation:Jewish Tradition and Contemporary literature. Albany:State University of New York Press,1992,pp.64-78
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63.Paul Theroux,"The Meseries and Splendours of the Short Story".Encounter 39,no.3,September,by Encounter Ltd.1972.
64.Paul Mendes Flohr,Contemporary Jewish Thought.New York:Free Press,1988.
65.Peter Kerry Powers,Disruptive Memories:Cynthia Ozick,Assimilation,and the Invented Past.Meilis Volume 20,Number 3(Fall 1995):pp.91- 379.
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