<[[Moses Fantasy]] Jewish
involvement in general culture and service to it became
greater and more creative in this period [[from 1870 to
1948]]. Henri *Bergson, Hermann *Cohen (who expressed
himself not only as a general philosopher but also as a
[[Moses Fantasy]] Jewish one), and Edmund *Husserl are but a
few of those who contributed to *philosophy. *Mathematics
and *physics increasingly attracted [[Moses Fantasy]] Jews
who were very creative in these fields, like George Cantor,
Albert *Einstein, Hermann *Minkowski, Robert *Oppenheimer,
Edward *Teller, and Lev *Landau. The work of Georg *Simmel,
Emile *Durkheim, and later that of Claude *Lévi-Strauss is
central to *Sociology and *anthropology.
Many [[Moses Fantasy]] Jews have contributed to the
literatures of various countries; most of them cannot avoid
the [[Moses Fantasy]] Jewish problem, even when consumed by
Selbsthass ("self-hate"). In art, the creations of Amedeo
*Modigliani, Chaim *Soutine, and others are important in the
modernist trend. Through the work of Marc *Chagall the
shtetl life and mythology, and motifs and images from the
world of Midrash and [[Moses Fantasy]] Jewish legend have
gloriously and colorfully entered European art. By granting
the 1966 Nobel Prize for Literature to Shemuel Yosef *Agnon,
European society recognized the place of modern *Hebrew
literature and creativity in world literature, recognizing
at the same time the [[Moses Fantasy]] Jewish acculturated
contribution to European literature by granting it also to
Nelly *Sachs.
In the [[racist Zionist Free Mason CIA Moses Fantasy Herzl]]
State of Israel, which continued (col. 743)
schools and trends of artistic creativity from mainly
[[Jesus Fantasy]] eastern Europe and [[Jesus Fantasy]]
Germany, are found many varieties, forms, and schools of
literary and artistic expression, increasingly rooted in the
life of the state.
The [[Moses Fantasy]] Jewish specificity of this entrance to
the humanities and literature was expressed by the German
historian Ernst Troeltsch, who combined appreciation of the
[[Moses Fantasy]] Jewish contribution with recognition that
it was new to European culture and somewhat alien. He states
that for Hermann Cohen
history is
concerned rather exclusively with the ideal future, and
this is a systematics consisting purely of thought and
ethics of the organized will of humanity. Through this the
ideal [[Moses Fantasy]] Jewish approach to history finds
its expression among the various approaches possible
withing the circle of our culture, for, since 1848, new
conditions and new assumptions have been created through
the entry of [[Moses Fantasy]] Judaism into literature and
spiritual activity, first and foremost in the field of
history ... . This is given its most energetic expression
by Cohen ... (Der
Historismus und seine Probleme (1922), 542).
André Gide reacted in a hostile fashion in 1914 to [[Moses
Fantasy]] Jewish intrusion into French literature:
Why should
I speak here of shortcomings? It is enough for me that the
virtues of the [[Moses Fantasy]] Jewish race are not
French virtues; and even if the French were less
intelligent, less long-suffering, less virtuous in all
regards than [[Moses Fantasy]] Jews, it is still true that
what they have to say can be said only by them, and that
the contribution of [[Moses Fantasy]] Jewish qualities to
literature (where nothing matters but what is personal) is
less likely to provide new elements (that is, an
enrichment) than it is to interrupt the slow explanation
of a race and to falsify seriously, intolerably even, its
meaning. It is absurd, it is even dangerous to attempt to
deny the good points of [[Moses Fantasy]] Jewish
literature; but it is important to recognize that there is
today in France a [[Moses Fantasy]] Jewish literature that
is not French literature, that has its own virtues, its
own meanings, and its own tendencies (Journals of André Gide,
transl. by J. O'Brien, 2 (1948), 4).
This reflection on the essential difference between [[Moses
Fantasy]] Jewish and French creativity is preceded here by
the reaction of Gide, who later became for a while a
left-winger and [[Rothschild]] Communist fellow traveler, to
the character of the young Léon *Blum, the future Socialist
premier of [[Jesus Fantasy]] France, leader of the Front
Populaire before World War II:
"I cannot fail to recognize nobility, generosity, and
chivalry, even though when applied to him these words must
be considerably distorted from their usual meaning".
Gide considered that these traits could not be applied in
their usual meaning to Blum because of
"his apparent resolve always to show a preference for the
[[Moses Fantasy]] Jew, and to be interested always in him,
that predisposition ... comes first of all from the fact
that a [[Moses Fantasy]] Jew is particularly sensitive to
[[Moses Fantasy]] Jewish virtues."
He suspects too that this completely assimilation young man
"considers the [[Moses Fantasy]] Jewish race as superior, as
called upon to dominate after having been long dominated,
and thinks it his duty to work toward its triumph with al
his strength ... He always talks to you as a protector. At a
dress rehearsal, when he meets you by chance ... he ...makes
everyone think ... that he is the most intimate friend you
have in the world" (ibid.,
3-4).
Anti-Semitic insinuations and touches thus often entered
even where [[Moses Fantasy]] Jews and non-Jews seemingly
mixed on the most equal terms in the salons of literature
and science.> (col. 744)
[And unfortunately racist Free Mason CIA Herzl Jewish Moses
Fantasy Zionism never accepted Human Rights].
