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Aesthetics of RenewalMartin Buber's Early Representation of Hasidism as Kulturkritik$
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Martina Urban

Print publication date: 2008

Print ISBN-13: 9780226842707

Published to Chicago Scholarship Online: March 2013

DOI: 10.7208/chicago/9780226842738.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 15 October 2019

Conclusion

Conclusion

Chapter:
(p.156) Conclusion
Source:
Aesthetics of Renewal
Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226842738.003.0011

This chapter presents some final thoughts from the author. It suggests that had Buber not abandoned his aesthetics of renewal and confined his poetic representation to a phenomenological commentary, while allowing select excerpts of Hasidic lore to speak for themselves in their distinctive diction and style, he might have developed a truly novel kind of anthology. Although he maintained an active interest in Hasidism, he ceased to experiment with the anthological genre. Buber's later anthologies, particularly his Die Erzählungen der Chassidim, became literary anthologies proper and, indeed, approached the model of Bialik's Sefer ha-'aggadah. Not surprisingly, then, in 1961 he was awarded the Bialik Prize for the Hebrew version of the former collection of Hasidic tales, 'Or ha-ganuz. By then he no longer had to strive how best to mediate the importance of the mystical imagination for spiritual renewal, for ironically the sober political vision of his earlier adversary, Theodor Herzl, and his slogan “If you will, it is no fairy-tale,” had long become reality.

Keywords:   Martin Buber, anthology, Hasidism, aesthetics, renewal

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