Suzanne Kehde – författare

Using texts ranging from the writings of Schlegel to the speeches of the fiftieth-anniversary commemoration of D-Day, these essays explore the ways in which nostalgia brokers the relations between the master narratives of gender and the master narratives of nationalism.

"A well-organized and engaging read."—Religious Studies ReviewThe first in-depth look at...an important nineteenth century Jewish thinker and historian. Well-written [and] well- researched."—The Jerusalem Post Magazine"A significant contribution to our understanding of the rise of modern Judaism in its East European manifestation."—ChoiceHarris examines Nachman Krochmal's work, particularly as it aimed to guide Jews through the modern revolution in metaphysical and historical thinking, thus enabling them to commit themselves to Judaism without sacrificing intellectual integrity.

Most Americans think of Betsy Ross as she was depicted in Charles Weisberger's popular painting The Birth of Our Nation's Flag--a motherly figure, sewing at the hearth. In fact, as Jo Ann Menezes's analysis in Nostalgia, Gender, and Nationalism points out, Ross was a widowed businesswoman who ran an upholstery shop out of her house. In Weisberger's painting, all signs of economic industry are erased and Ross's house is transformed into a home rather that the site of cottage industry. Ross is constructed as the perfect heroic mother, worthy of sacred creation; thus, our flag was born. Ross's transformation into an icon neatly illustrates the conjunction of soaring nationalism and the establishment of woman as a fixed domestic presence and serves as an excellent example of the master narratives revealed in Nostalgia, Gender, and Nationalism. The essays in this provocative anthology explore the connections between nation and gender and the ways in which nostalgia functions to bind these two presumably unrelated constructions together.Collectively they suggest that women pay a special fee on behalf of the nation, even though it is traditionally represented as an honorarium given to them and that, in fact, the nation-state takes as a foundational principle the subordination of women.

Most Americans think of Betsy Ross as she was depicted in Charles Weisberger's popular painting The Birth of Our Nation's Flag--a motherly figure, sewing at the hearth. In fact, as Jo Ann Menezes's analysis in Nostalgia, Gender, and Nationalism points out, Ross was a widowed businesswoman who ran an upholstery shop out of her house. In Weisberger's painting, all signs of economic industry are erased and Ross's house is transformed into a home rather that the site of cottage industry. Ross is constructed as the perfect heroic mother, worthy of sacred creation; thus, our flag was born. Ross's transformation into an icon neatly illustrates the conjunction of soaring nationalism and the establishment of woman as a fixed domestic presence and serves as an excellent example of the master narratives revealed in Nostalgia, Gender, and Nationalism. The essays in this provocative anthology explore the connections between nation and gender and the ways in which nostalgia functions to bind these two presumably unrelated constructions together.Collectively they suggest that women pay a special fee on behalf of the nation, even though it is traditionally represented as an honorarium given to them and that, in fact, the nation-state takes as a foundational principle the subordination of women.