The ring of myths : the Israelis, Wagner, and the Nazis

This book examines the Israeli attitude towards Wagner in light of remembrance of the Holocaust and the shape of the new Israeli national identity. To many in Israel, Richard Wagner is a symbol of the concentration camps, or at least of a fierce sociopolitical controversy. Although the cancellation of a performance of the prelude to Wagner's Mestersinger von Nuremberg in 1938 was simply an impetuous response to the events of Kristallnacht in Nazi Germany, over the years this incident became part of a wider pattern as the Wagner boycott was extended to other composers suspected of collaborating with the Nazis. Today all the musicians living in the Third Reich have been rehabilitated except for Wagner, who is perceived as an intellectual whose views helped Hitler form his own racist world concept. Although the Israeli boycott is rooted in this connection between Wagner and Hitler, an additional and central aspect of it is the determination of politicians and broad sectors of the Israeli public to preserve the boycott as a fundamental part of Holocaust commemoration. An elucidation of the delicate intersection of culture and national identity, politics and society that underlies this issue reveals a pattern of collective behavior in which Wagner is a means of expressing other sociopolitical ideas. Examines the Israeli attitude towards Wagner in light of remembrance of the Holocaust and the shape of the new Israeli national identity. To many in Israel, Richard Wagner is a symbol of the concentration camps, or at least of a fierce sociopolitical controversy. Although the cancellation of a performance of the prelude to Wagner's Meistersinger von Nürnberg in 1938 was simply an impetuous response to the events of Kristallnacht in Nazi Germany, over the years this incident became part of a wider pattern as the Wagner boycott was extended to other composers suspected of collaborating with the Nazis. Today all the musicians living in the Third Reich have been rehabilitated except for Wagner, who is perceived as an intellectual whose views helped Hitler form his own racist world concept. Although the Israeli boycott is rooted in this connection between Wagner and Hitler, an additional and central aspect of it is the determination of politicians and broad sectors of the Israeli public to preserve the boycott as a fundamental part of Holocaust commemoration. An elucidation of the delicate intersection of culture and national identity, politics and society that underlies this issue reveals a pattern of collective behavior in which Wagner is a means of expressing other sociopolitical ideas "This book examines the Israeli attitude towards Wagner in light of remembrance of the Holocaust and the shape of the new Israeli national identity. To many in Israel, Richard Wagner is a symbol of the concentration camps, or at least of a fierce sociopolitical controversy. Although the cancellation of a performance of the prelude to Wagner's Meistersinger von Nurnberg in 1938 was simply an impetuous response to the events of Kristallnacht in Nazi Germany, over the years this incident became part of a wide pattern as the Wagner boycott was extended to other composers suspected of collaborating with the Nazis.". "Although the Israeli boycott is rooted in this connection between Wagner and Hitler, an additional and central aspect of it is the determination of politicians and broad sectors of the Israeli public to preserve the boycott as a fundamental part of Holocaust commemoration. An elucidation of the delicate intersection of culture and national identity, politics and society that underlies this issues reveals a pattern of collective behavior in which Wagner is a means of expressing other sociopolitical ideas."--BOOK JACKET. In the fall of 1938, following Kristallnacht, the symphonic orchestra in Palestine cancelled the performance of Die Meistersinger von Nürnberg. No one could foresee that this would be the beginning of a never-ending boycott. The boycott began in a society struggling for its existence and collective identity; it continues in a well-established culture that maintains close ties with Germany and German culture, when numerous Israeli institutions are involved in commemorating the Holocaust. At present Wagner is known in Israel mainly as a symbol of the Holocaust. From the late twentieth-century Wagner is the only composer who aroused strong opposition when attempts were made to publicly play his music. Analysis of this controversy sheds light on the changes that have taken place in Israel--from a pioneering to a traditional society, and from a socialist to a capitalistic one. In the Wagner Year The Ring of Myths appears in a revised edition, including interpretations from new perspectives on the place of the Holocaust in Israeli society and the processes of change until 2012 [Publisher description] In the fall of 1938, following Kristallnacht, the symphonic orchestra in Palestine cancelled the performance of Die Meistersinger von Nürnberg. No one could foresee that this would be the beginning of a never-ending boycott. The boycott began in a society struggling for its existence and collective identity; it continues in a well-established culture that maintains close ties with Germany and German culture, when numerous Israeli institutions are involved in commemorating the Holocaust. At present Wagner is known in Israel mainly as a symbol of the Holocaust. From the late twentieth-century Wagner is the only composer who aroused strong opposition when attempts were made to publicly play his music. Analysis of this controversy sheds light on the changes that have taken place in Israel -- from a pioneering to a traditional society, and from a socialist to a capitalistic one. In the Wagner Year'The Ring of Myths'appears in a revised edition, including interpretations from new perspectives on the place of the Holocaust in Israeli society and the processes of change until 2012. In the fall of 1938, following Kristallnacht, the symphonic orchestra in Palestine cancelled the performance of Die Meistersinger von Nürnberg. No one could foresee that this would be the beginning of a never-ending boycott. The boycott began in a society struggling for its existence and collective identity; it continues in a well-established culture that maintains close ties with Germany and German culture, when numerous Israeli institutions are involved in commemorating the Holocaust. At present Wagner is known in Israel mainly as a symbol of the Holocaust. From the late twentieth-century Wagner is the only composer who aroused strong opposition when attempts were made to publicly play his music. Analysis of this controversy sheds light on the changes that have taken place in Israel – from a pioneering to a traditional society, and from a socialist to a capitalistic one. In the Wagner Year The Ring of Myths appears in a revised edition, including interpretations... In the fall of 1938, following Kristallnacht, the symphonic orchestra in Palestine cancelled the performance of Die Meistersinger von Nürnberg. No one could foresee that this would be the beginning of a never-ending boycott. This analysis of the controversy sheds light on the boycott that began in a society struggling for its existence and collective identity and continues in a well-established culture that maintains close ties with Germany and German culture. At present Wagner is known in Israel mainly as a symbol of the Holocaust; he is the only composer who aroused strong opposition when attempts were made to publicly play his music. The Ring of Myths includes interpretations from new perspectives on the place of the Holocaust in Israeli society and the processes of change until 2012.--Provided by the publisher Na'ama Sheffi ; Translated From The Hebrew By Martha Grenzeback. Includes Bibliographical References (p. [167]-174) And Index.