Amidst the growing forums of kinky Jews, orthodox drag queens, and Jewish geisha girls, we find today's sexy Jewess in a host of reflexive plays with sexed-up self-display. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. But why does "sexy" work to update tropes of the Jewish woman? And how does sex link to humor in order for this update to work? Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

About the Author
Hannah Schwadron is Assistant Professor in the School of Dance at Florida State University

Reviews
"In this fascinating, sweeping analysis of female Jewish comics from Fanny Brice to the Schlep Sisters, and popular film to punk pornography, Schwadron brilliantly considers the intersections of embodiment and movement with gender, race and sexuality. This is a groundbreaking study in which the writing is as layered, provocative, and self-reflexively ironic as the remarkable women she studies." -- Naomi Jackson, Associate Professor of Dance, Arizona State University "To be a funny, sexy Jewess as theorized by Hannah Schwadron, is to be the at the leading edge of 21st Century scholarship, as dance, identity, sexual politics and intellectual rigor meet-up on the pages of this radical, timely, and very important book." -- Douglas Rosenberg, Founding Director, The Conney Project on Jewish Arts, University of Wisconsin-Madison "Whether the subject is old-school comediennes like Fanny Brice, controversial comics like Sarah Silverman, Jewish porn and neo-burlesque stars, or the assimilated 'Jewish princesses' of Hollywood, Schwadron's deftly perceptive writing and idiosyncratic humor makes for an absolutely engaging read that adds much to the fields of Jewish studies, gender and queer studies, media studies, and performance and dance studies." -- Rebecca Rossen, author of Dancing Jewish: Jewish Identity in American Modern and Postmodern Dance


Awards
Winner of Winner of the 2019 Dance Studies Association Bueno First Book Award.



Book Information
ISBN 9780190624194
Author Hannah Schwadron
Format Hardback
Page Count 222
Imprint Oxford University Press Inc
Publisher Oxford University Press Inc
Weight(grams) 506g
Dimensions(mm) 242mm * 164mm * 19mm