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Extra resources for Dreaming of Michelangelo: Jewish Variations on a Modern Theme
Three Expectation Heine’s predilection for the marble snapshot is celebrated and ample in his paintings. four Wandering the Italian streets within the past due summer time of 1828, even the British travelers seem to him as depressing “statues whose noses were damaged off. ”5 in fact, it can no longer be Heine if this ardour weren't followed by means of irony, jest, and self-reflection. however it invitations us, still, to reflect on at the sleek Jewish come across with the plastic photograph, in particular with the plastic artwork of Michelangelo, which turns out to have encouraged the Jewish mind's eye with curious propensity. certainly, few different sculptures became as well-known in Jewish literature as Michelangelo’s famously horned Moses within the church of San Pietro in Vincoli. “No snapshot paintings has had a far better impact on me,” wrote Sigmund Freud approximately this Moses, whom he first met within the unique in 1901 and who may turn into a resource of fixation for the remainder of his lifestyles: “This guy . . . haunts me tirelessly. ”6 yet Freud’s preliminary response to the Moses, whose discovery all at once and “error” apparently reflected Heine’s “accidental” stumble upon with evening, was once now not itself expressively “Jewish. ” It reminds us, particularly, of what already Goethe pronounced concerning the sculpture: “I believe that Michelangelo’s superpowerful [überkräftige] statue . . . has taken such keep an eye on over my mind's eye that I now not can loose myself from its grip. ”7 in contrast to Goethe, besides the fact that, whose appreciation for Michelangelo was once nonetheless phenomenal in his century, Freud lived in a time either saturated with well known Michelangelism and marked through a renewed curiosity within the biblical Moses, that may construct upon Schiller’s recognized essay Die Sendung Moses (1790) and on Herder’s reflections on Hebrew poetry, and which had already left at the back of a substantial legacy of dramatization, together with Gioacchino Rossini’s opera Mosè (1800), or Sigismund Wiese’s all yet forgotten play Moses (1844). eight Writing of this phenomenon and the wide tendency of recent Jewish self-identification with the rediscovered prophet, Arnold Band lately coined the time period “Moses complex,” which he unravels traditionally from Naftali Herz Wessely, the good German Jewish enlightener, to the Hasidic mystic Nahman of Bratslav, to the Zionist philosopher Ahad Haam, to Sigmund Freud, and to which you can actually upload, between many others, the founding father of political Zionism, Theodor Herzl, dubbed sometimes the “Moses of the fin-de-siècle. ”9 Bluma Goldstein, in her bold learn in this topic, therefore speaks of Moses as a “cultural metaphor” for German and Austrian Jews within the 19th and 20th centuries, permitting them to show their very own predicaments of isolation, unassimilability, and diaspora life, whereas picking out Moses additionally with hopes for management and liberation. 10 now not not like the “Jewish” Michelangelo, the “Jewish” Moses emerged as an unrequited lover of humanity, a guy of contradictions, unanswered passions, and longing for freedom. A “man of extremes,” Ahad Haam referred to as him; “unhappy and lonely in his innermost heart,” wrote Adolf Gelber in 1905.