Zeitschrift

Naharaim

Zeitschrift für deutsch-jüdische Literatur und Kulturgeschichte (Journal of German-Jewish Literature and Cultural History)

Herausgegeben von: Benjamin Pollock , Daniel Weidner und Christian Wiese
Managing Editor: Amit Levy

Sprachen: Deutsch, Englisch

Erstveröffentlichung: 20. Mai 2007

Erscheinungsweise: 2 Hefte pro Jahr

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Über diese Zeitschrift

Die Zeitschrift Naharaim wurde 2007 vom Franz Rosenzweig Minerva Forschungszentrum an der Hebräischen Universität von Jerusalem gegründet und erscheint seitdem zwei mal jährlich. Sie ist peer reviewed und veröffentlicht aktuelle Forschung zu philosophischen, literarischen und geschichtlichen Aspekten der deutsch-jüdischen Kultur auf Deutsch und Englisch.
Naharaim (hebr. Zweistromland) präsentiert biographische, kultur- und intellektualgeschichtliche Forschungen zum deutschprachigen Judentums; analysiert paradigmatische Denkfiguren der deutsch-jüdischen Moderne seit der Zeit der Emanzipation; zeichnet Konturen deutsch-jüdischer Erfahrung im Zusammenhang sowohl allgemeiner jüdischer Themen als auch außerjüdischer Problemhorizonte nach; thematisiert Phänomene der Säkularisierung als Prozess der Verwandlung religiöser Denkgehalte in eine diesseitsorientierte Weltauffassung; problematisiert die Theoriediskussion, die etwa in Frankreich, Nordamerika und Deutschland anhand von Themen aus der jüdischen Denkgeschichte geführt wird.

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A Migrant from an Imaginary Empire: Manfred Winkler’s Hebrew Poetry

3. Oktober 2025

Hannan Hever

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This article examines the post-imperial poetics of Manfred Winkler. Tracing the imperial imaginary from the Austro-Hungarian “Habsburg myth” through its disintegration in the Holocaust, Winkler reconfigures Israeli space as a heterotopic, palimpsestic site layered with memories of imperial tolerance, Jewish trauma, and Zionist displacement. Rejecting the dominant Zionist migration narrative – structured by the binary of exile and homeland – Winkler constructs a poetic identity grounded in multiplicity and non-binary spatiality. An analysis of the poems reveals how Winkler’s Hebrew poetry enacts a dialectical Aufhebung (Sublation) of the empire’s cultural legacy: both negating and preserving its pluralistic ideals within the later Israeli context. Winkler’s work emerges as a critique of the national literary canon’s erasure of diasporic and Holocaust-inflected voices, articulated most poignantly through his translations of Paul Celan’s poems and his affiliation with the marginalized Eked publishing house.
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Zur Rezeption von Paul Celans Werk in Manfred Winklers Lyrik

26. September 2025

Petro Rychlo

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This article deals with one of the aspects of the lyrical work of the German-Hebrew poet Manfred Winkler from Bukovina – the poetic reception of Paul Celan’s work. Winkler’s long-standing preoccupation with lyrical texts and the human person of his great compatriot was expressed in the constant presence of Celanian poetic images, motifs, and forms in the appropriation of his poetic discoveries (coagulation principle, compressed pictorial structures, staccato rhythm, rich sound painting), and in the translation of Celan’s groundbreaking poetry into Hebrew. All this takes place in the mode of allusions, reminiscences, quotations, and other intertextual forms, the adoption of the poem titles and individual lines of poetry as mottos for his texts, in numerous dedications of his poems to the older poet friend and master. It is no exaggeration to say that Celan was the paradigmatic poet for Winkler, who noticeably determined the direction of his poetic development.
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Der deutschsprachig-hebräische Dichter und Künstler Manfred Winkler (1922–2014)

23. September 2025

Jan Kühne, Monica Tempian

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Immanent Critique “From the Standpoint of Redemption:” Adorno’s Method and Its Sources in Kafka

17. September 2025

Robert Ziegelmann

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At the conclusion of “Minima Moralia,” Theodor W. Adorno invokes a “standpoint of redemption.” I interpret this formulation as a methodological self-description and argue that it does not conflict with critical theory’s commitment to immanent critique. After distinguishing between two divergent accounts of immanent critique in recent scholarship, I turn to the idea of a “standpoint of redemption” or “inverse theology,” traced back to Siegfried Kracauer’s early writings on Franz Kafka. In his “Notes on Kafka,” Adorno develops motifs from Kracauer into his most thorough articulation of the negativist-messianic device. Instead of contrasting social phenomena with ideal alternatives, “inverse theology” presents the absurd as normal, rendering reality uncanny through analogies that depict humans as animals and the present as if it belonged to a distant past. In this way, the standpoint of redemption emerges indirectly, by estranging everyday life. Adorno’s reading of Kafka thus clarifies his own method of social critique. This method neither contradicts the version of immanent critique that, I contend, most faithfully captures the tradition of critical theory, nor does it entail substantive theological commitments. Rather, it can be understood as a form of “inverse utopianism.”
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Rabbi Jacob Sonderling and the Arts

17. September 2025

Kenneth H. Marcus, Simon Erlanger

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In synagogues in both Germany and the United States during the first half of the twentieth century, Rabbi Dr. Jacob Sonderling (1878–1964) used the arts, primarily music and drama, in an attempt to renew the Jewish liturgy. His main position for almost 30 years was to serve as rabbi at the Society for Jewish Culture/Fairfax Temple in Los Angeles, which he founded in 1935 and where he could freely apply his ideas, inspired in part by the theory of the five senses from Rabbi Moses Isserles’s Torat Ha-Olah. Drawing on Sonderling’s writings, archival materials in the United States and Austria, an oral history interview with Sonderling’s granddaughter Diane Sonderling Gray, and other sources, we argue that Sonderling’s efforts to renew Jewish religious and cultural life through the arts resulted to a great extent from the change in his religious outlook in Europe from Orthodox to Reform Judaism. Since an understanding of Sonderling’s work makes little sense without an analysis of his complex religious background, the article begins with a discussion of his life and career in Europe before turning to his immigration to the United States in 1923 and his subsequent work in Los Angeles.
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Über den Bukowiner „Exzeptionalismus“. Eine Reflexion

12. September 2025

Andrei Corbea-Hoişie

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Manfred Winkler’s Statuettes – Shy Monumentality

12. September 2025

Ariel Hirschfeld

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The poet Manfred Winkler is hardly known as a plastic artist. This essay is a descriptive meditation on the unique style of his statuettes, said to embody a tension between distinct sculpture and raw matter. Influenced by Central European Modernism, especially Expressionism and Neue Sachlichkeit , Winkler maintains a unique style that bridges tradition and modernity. Unlike the Israeli “Bezaleli” school, Winkler remains loyal to the committed expressiveness of artists like Käthe Kollwitz. The essay explores Winkler’s plastic style, termed “shy monumentality,” as a blend of Central European Modernism’s humility and his poetic naiveté. This naiveté, informed by Schiller’s conception of the term, gives his sculptures an ambiguous complexity, which is the focus of this essay.
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Deutsch-hebräische Symbiose: Zur Poetologie der Selbstübersetzung in Manfred Winklers Kafka-Adaptionen

12. September 2025

Jan Kühne

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This paper investigates the poetics of self-translation in the bilingual oeuvre of Manfred Winkler (1922–2014), an Israeli poet from the Bukovina, writing in both German and Hebrew. At the heart of the analysis lies Winkler’s poetological concept of a “symbiosis” between German and Hebrew, which serves as a point of departure for examining the tension between German-speaking Jewish heritage and Zionist Hebraism in his translingual work. Focusing on Winkler’s German and Hebrew adaptations of Kafka’s Metamorphosis , the article demonstrates how lyrical self-translation enacts the transformation of the self as a dialogical process of translingual creativity and poetic evolution. Building on the botanical metaphors found in Winkler’s theoretical reflections, the study proposes a model of autogamous and allogamous translingualism—distinguishing between different modes of poetic self-translation, from internal variation to external inspiration.
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Mimetic Violence and Sacred Performance in Charlotte Salomon’s Leben? oder Theatre?

12. September 2025

Ben Wexler

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Charlotte Salomon’s Leben? oder Theatre? , a collection of paintings arranged into a work of theatre, represents a semi-autobiographical response to the social and aesthetic crisis of German Jewry during the rise of the Nazi party. This article uses a theoretical background in mimesis, performance, and ritual to understand Salomon’s social and aesthetic intervention. Salomon uses structures of doubling and mimesis to emphasize the divergence of German and Jewish society. At the aesthetic level, she embraces Modernist art as an alternative to conservative fascist representational conventions. At the social level, she critiques the conformist character of the bourgeois German Jewish family, exposing its underlying patriarchal violence. Her own project seeks to reconstruct German Jewish society through the artist’s own creative performance of art and family history, constructing a ritual community in solitude.
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Retraction of: Das literarische Schaffen Manfred Winklers: Werkübersicht, Genese und Textpraktiken

11. September 2025

Monica Tempian

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Von Bindestrichen und Trennlinien. Die Bukowina nach der Bukowina

19. August 2025

Florian Kührer-Wielach

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Zusammenfassung Der Beitrag untersucht den erinnerungskulturellen Umgang mit der Bukowina im 20. und 21. Jahrhundert als Beispiel für transnationale, komplexe Identitätskonstruktionen im postimperialen Raum Ostmittel- und Südosteuropas. Ausgehend vom Nachlass des deutsch-hebräischen Dichters Manfred Winkler wird die Bukowina als erinnerungskulturelles „Ökosystem“ beschrieben, dessen Bewohner von „Bindestrichidentitäten“ geprägt waren. Bindestriche können in diesem Sinne integrativ und/oder trennend wirken. Es werden zentrale Merkmale eines transnationalen „Bukowina-Komplexes“ wie Mythisierung, Ethnisierung und getrennte Erinnerung analysiert und nach historischen und erinnerungskulturellen Dynamiken zwischen Mehrheit und Minderheit, Exil und Herkunft, Verlust und Repräsentation gefragt. Darauf aufbauend wird vorgeschlagen, die Anwendung von Konzepten der „Plurikulturalität“ und einem „Dritten Raum der Erinnerung“ zu erproben, um sich einer gemeinsamen Erinnerungskultur anzunähern.
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Kühn und zeitgemäß. Eine frühe poetologische Einlassung Manfred Winklers

23. Juli 2025

Markus Bauer

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Anabasis als Weg zwischen den Künsten

14. Juli 2025

Enikő Dácz

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Anabasis shapes Manfred Winklerʼs lyrical path in many variations, leading him through the fields of other arts and between them. The present article follows this lyrical path, whereby it understands itself as anabasis, a “wandering through uncharted territory”, in the sense of Alain Badiou. Winklerʼs path to poetry implies an encounter that turns into an embrace or entanglement, forcing the creative self to constantly adapt and reminding the reader of Celanʼs conception of the poem as a dialogue, while recalling image quotations when oscillating between different art fields. Winklerʼs palette of intermedial references is broad, ranging from Michelangelo and Botticelli to Vincent van Gogh, Marc Chagall, Paul Gauguin, Edvard Munch, and Pablo Picasso. However, less famous artists such as Gyula Zilzer, Hans Fronius or Caspar Neher also belong to the expanded fields of this poetry.
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“It does not have to be Palestine” – Zionist Dreams and the Poetics of the Dysfunctional Guard in Kafka’s Later Work

26. Juni 2025

Sarah Stoll, Jonathan Schmidt-Dominé

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Departing from the long-standing polarized debates around Kafka’s personal relationship to Zionism as well as the marks of Zionist ideas and culture on Kafka’s works, we try to analyze aspects of Kafka’s poetics within this context, rather than trying to ascribe a fixed ideological content to his writings. Against this backdrop, we give a reading of less-known texts from the later period of Kafka’s śuvre, in particular small, lyrical forms, with a focus on Kafka’s treatment of the Exodus myth and the motive of the dysfunctional guard or watchman..
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Moses Samuel Lowe - Engraver, Draughtsman and Miniature Painter of German (Jewish) Enlightenment

24. Juni 2025

Uta Lohmann

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The engraver, draughtsman, and miniature painter Moses Samuel Lowe (1756–1831) is almost forgotten today. This essay searches for traces of his life and his artistic work. Lowe’s work in the educated circles of Berlin is particularly explored. As one of the first Jewish artists to receive an academic education, Lowe was characterized by tireless creativity and inventiveness. He gained his artistic experience mainly within the sociable networks of the Berlin Enlightenment and the Prussian Haskalah, to which he remained ideologically and conceptually connected throughout his life. His portraits gave individual faces to many of the thinkers in these scholarly and literary circles. Lowe also provided illustrations for their publications, which, with their often allegorical expressiveness, served the vivid cognition of the recipients and thus contributed significantly to the educational intention of the writings.
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Manfred Winklers Poetologie der Inspiration

9. Juni 2025

Hans-Jürgen Schrader

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Throughout his life, Manfred Winkler thought restlessly about the impulses for his poems (as well as for his clay statuettes). In his Celan essay, in countless letters, and often in his poems themselves, he tried to give an account of the extent to which his artistic activity was the result of an inner calling, an unconscious creative urge that could hardly be controlled rationally, while it still remained subject to his own will, a certain intention of expression and form. For Winkler, an inspirational impulse, an indeterminate mood, bars of music, or the rhythms of verses, words, or phrases, seemed to be more essential to his art than calculated messages or technical and formal refinement. Even though he spoke of these inspirations in an unpretentious, sobering way, his approach could be characterized as a pre-classical, and later also impressionistic, concept of poetry.
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Das literarische Schaffen Manfred Winklers: Werkübersicht, Genese und Textpraktiken

28. Mai 2025

Monica Tempian

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Despite winning the Israeli Prime Minister’s Prize for Hebrew Literature in 1999, German-language survivor-writer, translator, painter, and sculptor Manfred Winkler (1922–2014) has only recently received sustained scholarly attention. One of the reasons for this is that Winkler has spent much of his lifetime and his long published writing career crossing geographical, national, ideological, and linguistic borders, and the cultural and general historical significance of his poetry was only recognized in the context of a growing interest in the life histories of German-language refugees and immigrants to Israel, and their transcultural literary production. This article discusses Winkler’s literary oeuvre and its genesis, reflecting current knowledge of the sources and the research findings that emerged during the editorial work conducted by the author since 2014. It outlines the central themes, writing practices, and tendencies in the work of a multilingual writer and (self-)translator, who represents the darkness of war by orchestrating the memory of the Shoah and the events of the Jewish-Arab conflict with a sense of grief rather than from a position of judgment and in doing this delineates the fault lines and turning points of almost the entire 20th century.
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A. Dirk Moses und die „Katechismusdebatte“: Epistemologische und methodologische Abwege einer erneuerten deutschen Erinnerung

23. Mai 2025

Hendrik Hebauf

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A. Dirk Moses‘ Essay Der Katechismus der Deutschen , der 2021 den „Historikerstreit 2.0“ auslöste, ist Indikator für einen möglichen Wandel innerhalb des bundesrepublikanischen Holocaustverständnisses, weg von der Singularitätsthese hin zur Einbettung des Holocaust in ein koloniales Gewalt-Kontinuum. Der Aufsatz setzt sich anhand von Moses‘ ebenfalls 2021 erschienener Monografie Problems of Genocide mit den Verbindungslinien zwischen diesen Wandlungen und Moses‘ akademischem Werk, insbesondere seinem postkolonialen Geschichtsverständnis auseinander. Dabei wird Moses Blick auf die mit dem „Historikerstreit 2.0“ eng verbundenen Themen Holocaust, Zionismus und Kolonialismus untersucht. Anhand des NS-Vernichtungskriegs, sowie der Geschichte israelischer Holocausterinnerung wird einerseits die Konsistenz seines Geschichtsverständnisses diskutiert, andererseits die Verbindung dieses Geschichtsverständnisses zur gegenwärtigen Debatte um eine Diversifizierung deutscher Erinnerungspolitik herausgearbeitet. Der Aufsatz versteht sich gleichzeitig als Reflexion der gegenwärtigen Debatte um Holocausterinnerung und Kolonialismus, sowie als Beitrag zu ihr.
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Erwin Panofsky’s Iconology Concerning His Biography as a German-Jew Scholar

23. Mai 2025

Yonatan Harel

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This article will inspect Erwin Panofsky’s innovations in the field of art history, as they were presented in his 1932 seminal German article. Its goal is to argue that the source for these innovations lies in his biography as a German Jewish scholar during the Weimar years. To do so I will present his innovations, survey his biography in light of his time and that of his peers, and, lastly, dwell on a unique section in his 1932 article – his critique of Martin Heidegger’s aesthetics. As will be seen, this critique is the peak of Panofsky’s conscious actions to stray away from debating his Jewishness in public or to be labeled as one; a path he took due to his biography and that led him to ground his innovations.
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Von Sprache zu Sprache: Winkler Translating Rübner Translating Himself

22. Mai 2025

Michal Ben-Horin

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In his 1957 Hebrew language poetry collection, Ha’esh ba’even (The Fire in the Stone), Tuvia Rübner included a poem dedicated to his sister who was murdered in Auschwitz. A close reading of this poem shows its strong connection to German poems he published in various collections during the 1990s, some of which were written shortly after he immigrated to Mandatory Palestine from Bratislava in 1941. Such dwelling between languages comes to the fore in Manfred Winkler’s German translation of Rübner’s Hebrew poem. Focusing on this poem, while employing theories from translation and memory studies, this article examines the relationship between literary self-translation and the working-through of trauma. I argue that the oscillation between German and Hebrew encapsulates the transition between reflection and experience, as well as the enactment and the mourning, of the terrible loss. In analyzing Winkler’s translational choices, the article sheds light on Rübner’s “self-translations,” while calling attention to Winkler’s own engagement with both languages in dealing with the horror of the Holocaust.
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Why Would a Monarchist Vilify the Rich? Marx and Engels on Balzac

6. Mai 2024

Tal Meir Giladi

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Engels explained his admiration for Balzac by pointing to an apparent discrepancy between Balzac’s literature and his politics. Despite his sympathies for the French nobility, Balzac’s realism “compelled” him to portray this class in unflattering terms. In this article, I challenge Engels’s reading, arguing that Marx’s scattered remarks on Balzac take us in a different direction. Specifically, I argue that in his remark on Balzac’s The Peasants Marx pinpointed the author’s preoccupation with the spread of bourgeois ideology into the nobility. Building on this remark, I analyze several of Balzac’s works showing that insofar as Balzac lambasted the nobles, his critique was primarily directed towards nobles who had adopted bourgeois ways. In this light, and against Engels’s observation, Balzac’s critique of the nobles appears to stem from his sympathy to aristocratic values rather than conflicting with them. In showing that affinities between Balzac, Marx and Engels did not depend on Balzac expressing anti-noble sentiment, I argue that the admiration the fathers of communism had for the monarchist’s prose exemplifies a partial, yet typical convergence between socialists and conservatives in their critique of modern bourgeois society.
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Das literarische Schaffen Manfred Winklers – Werkübersicht, Genese und Textpraktiken

2. April 2024

Monica Tempian

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Though awarded the Israeli Prime Minister’s Prize for Hebrew Literature in 1999, the multifaceted Manfred Winkler (1922–2014), encompassing roles as a German and Hebrew poet, survivor-writer, translator, painter, and sculptor, has only recently garnered sustained scholarly attention. This delayed recognition can be attributed, in part, to Winkler’s lifelong commitment to traversing geographical, national, ideological, and linguistic boundaries throughout his extensive career. It is only in the wake of a burgeoning interest in the life narratives of German-language refugees and immigrants to Israel, alongside their transcultural literary contributions, that the cultural and historical significance of Winkler’s poetry has come to light. This article delves into Winkler’s literary corpus and its inception, drawing upon the latest insights and research findings obtained through the author’s archival and editorial work since 2014. It provides an overview of the predominant themes, writing practices, and tendencies within the works of this multilingual author and (self-)translator. Winkler, through his poignant portrayal of the traumas of war and the memories of the Holocaust and the Jewish-Arab conflict – with a sense of grief rather than from a position of judgment – delineates the fault lines and pivotal moments of nearly the entire 20th century.
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Die Wandelnde Mandel – Manfred Winkler und Paul Celan

1. Januar 2000

Hiroaki Sekiguchi

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Manfred Winkler met Paul Celan, his fellow countryman from Bukovina, in October 1969. At the reading in Jerusalem, Winkler asked Celan whether a line in his poem “da sah ich dich, Mandelstamm” referred to the trunk of the almond tree or the poet Mandelstam. Through this conversation, the images “almond tree” and “almond” became an important cipher for the relationship between Winkler and Celan. After this encounter, Winkler wrote at least 20 poems under the direct influence of Celan, in which he quotes from Celan’s vocabulary. In another untitled poem of his, “Mandel” does not appear, but only the word “Niemand”. They have the element “mand” in common, probably in allusion to the poet Ossip Mandelstam, who, like Winkler und Celan, symbolizes the poet in exile. Here, the poetic transformation of the almond is driven to the phonetic level of the word. Thus, the almond continues to transform itself in Winkler’s poems, and there is no end to it.
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„Ich bin in den Karpaten geboren“ – Manfred Winklers rumänische Herkunft

1. Januar 2000

Markus Bauer

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Manfred Winkler‘s beginnings as a poet and author are closely linked to his Romanian past. Born in the former Bukowina, the Eastern outpost of the Austrian-Hungarian-Empire, it was its landscape and the capital Czernowitz/Cernăuți, as well as the fate of the Jewish population that decisively shaped his German-language poetry. When, after World War II, Winkler moved to Temeswar/Timişoara, he published his first collection of poems, Tief pflügt das Leben (Bucharest, 1956) and became an active member of the Romanian German language literary scene. This article explores the traces and facts of Winkler‘s biography and examines the first publications of the emerging author under the particular circumstances of Romania in the 1950s.

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Special Issue: Encounters Between Hebrew and German: Literary Cross-Cultural Relations 1900–2024; Guest Editor: Judith Müller

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Special Issue: Jewish Wit, Zionist Satire, and Humane Humor in Sammy Gronemann’s Life and Work; Guest Editor: Jan Kühne

Bildung and Therapy: German-Jewish Self-formation

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Special Issue: Back to Redemption: Rosenzweig's Star 1919–2019 (Part I)

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Special Section: Die Kreatur – Lesarten einer Zeitschrift, Edited by: Daniel Weidner

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Special Section: Tangled Heritage: Jewish Publishing Cultures in the Interwar Period, Edited by: Arndt Engelhardt

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Special Section: Deutsch-israelische Annäherungen in Geisteswissenschaften und Kulturpolitik, Edited by: Irene Aue-Ben-David, Michael Brenner und Kärin Nickelsen

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Special issue: German Orientalism and the Jewish ‘Arab Question’: On the Study of Arabic Language and Culture in the Jewish Community in Mandatory Palestine, Issue Editors: Yfaat Weiss and Yonatan Mendel

Die Zeitschrift Naharaim veröffentlicht Sonder- und Themenhefte, die sich auf wichtige und neu aufkommende Themen im Bereich der Forschung konzentrieren. Die Zeitschrift hat ein strenges Verfahren eingeführt, um sicherzustellen, dass alle Manuskripte für Sonderausgaben denselben Qualitätsstandards und Peer-Review-Verfahren unterliegen wie reguläre Manuskripte. Weitere Informationen über die Peer-Review-Politik der Zeitschrift finden Sie in den "Hinweisen für Autoren".

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Herausgeber

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Daniel Weidner, Berlin
Christian Wiese, Frankfurt a.M.

In Zusammenarbeit mit

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Gabriel Motzkin, Jerusalem
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Eric Santner, Chicago, IL
Galili Shahar, Tel Aviv
Sigrid Weigel, Berlin

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Amit Levy
The Franz Rosenzweig Minerva Research Center
for German-Jewish Literature and Cultural History
The Hebrew University of Jerusalem
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