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001			194281
003			IT-RoAPU
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006			m|||||o||d||||||||
007			cr || ||||||||
008			190523s2018 nju fo d z eng d
020			_a9780691187471 _qPDF
024	7		_a10.1515/9780691187471 _2doi
035			_a(DE-B1597)9780691187471
035			_a(DE-B1597)501663
035			_a(OCoLC)1076412072
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aE184.37 _b.A13 2001eb
072		7	_aHIS036060 _2bisacsh
082	0	4	_a305.892/4073 _223
084			_aonline - DeGruyter
100	1		_aAlexander, Michael _eautore
245	1	0	_aJazz Age Jews / _cMichael Alexander.
264		1	_aPrinceton, NJ : _bPrinceton University Press, _c[2018]
264		4	_c©2001
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tCONTENTS -- _tINTRODUCTION -- _tINTERLUDE:Jazz Age Economics -- _tPART I. "Biznez Iz Biznez": The Arnold Rothstein Story -- _tINTERLUDE: Jazz Age Politics -- _tPART II. Frankfurter among the Anarchists -- _tINTERLUDE: JAZZ AGE CULTURE -- _tPART III. "Mammy, Don't YouKnow Me?": Al Jolson and the Jews -- _tCONCLUSION: JAZZ AGE JEWS -- _tNOTES -- _tBIBLIOGRAPHY -- _tACKNOWLEDGMENTS -- _tINDEX
520			_aBy the 1920s, Jews were--by all economic, political, and cultural measures of the day--making it in America. But as these children of immigrants took their places in American society, many deliberately identified with groups that remained excluded. Despite their success, Jews embraced resistance more than acculturation, preferring marginal status to assimilation. The stories of Al Jolson, Felix Frankfurter, and Arnold Rothstein are told together to explore this paradox in the psychology of American Jewry. All three Jews were born in the 1880s, grew up around American Jewish ghettos, married gentile women, entered the middle class, and rose to national fame. All three also became heroes to the American Jewish community for their association with events that galvanized the country and defined the Jazz Age. Rothstein allegedly fixed the 1919 World Series--an accusation this book disputes. Frankfurter defended the Italian anarchists Sacco and Vanzetti. Jolson brought jazz music to Hollywood for the first talking film, The Jazz Singer, and regularly impersonated African Americans in blackface. Each of these men represented a version of the American outsider, and American Jews celebrated them for it. Michael Alexander's gracefully written account profoundly complicates the history of immigrants in America. It challenges charges that anti-Semitism exclusively or even mostly explains Jews' feelings of marginality, while it calls for a general rethinking of positions that have assumed an immigrant quest for inclusion into the white American mainstream. Rather, Alexander argues that Jewish outsider status stemmed from the group identity Jews brought with them to this country in the form of the theology of exile. Jazz Age Jews shows that most Jews felt culturally obliged to mark themselves as different--and believed that doing so made them both better Jews and better Americans.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 23. Mai 2019)
650		0	_aJews _zUnited States _vBiography.
650		0	_aJews _zUnited States _xIdentity.
650		0	_aJews _zUnited States _xPolitics and government _y20th century.
650		0	_aJews _zUnited States _xSocial life and customs.
650		7	_aHISTORY / United States / 20th Century. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780691187471?locatt=mode:legacy
856	4	2	_3Cover _uhttps://www.degruyter.com/cover/covers/9780691187471.jpg
942			_cEB
999			_c194281 _d194281