A Quote by Ross Douthat

For American philo-Semites, the Jewish experience wasn't just one minority experience among many, but a signal and elevated case. — © Ross Douthat
For American philo-Semites, the Jewish experience wasn't just one minority experience among many, but a signal and elevated case.
For many American-Jewish writers, the dominant motifs have been cultural, secular, sometimes comic, often satirical. Writing about the religious component of Judaism, I found my own themes independent of the New York experience and the immigrant experience.
My experience as a Jewish American has often been as a spectator of one-sided conversations, or more like monologues, about Israel, Jewish History, Jewish identity, etc. Although there are profound divisions amongst Jews on all of these topics there are not many opportunities for deep and thoughtful dialogue about them.
Presently, the Commission for Commemorating 350 Years of American Jewish History has been brought about to encourage and sponsor a variety of historical activities that advance our understanding of the American Jewish experience as it marks this milestone anniversary.
Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.
The American Jewish left gets a lot of press time. But the American Jewish right does not. And in many ways, the American Jewish right is every bit as well-organized and perhaps better funded than the American Jewish left. And they also come out with criticism.
I have no patience for those in the American Jewish community who just go around slandering people as anti-Semites without realizing that what they're doing is really trivializing anti-Semitism.
Whenever there is a reaching down into innermost experience, into the nucleus of personality, most people are overcome by fear and many run away. . . The risk of inner experience, the adventure of the spirit, is in any case alien to most human beings. The possibility that such experience might have psychic reality is anathema to them.
The majesty of the American Jewish experience is in its success marrying its unique Jewish identity with the larger, liberal values of the United States. There is no need anymore to choose between assimilation and separation. We are accepted as equals.
Those who call themselves anti-Zionists usually insist they are not anti-Semites. But I struggle to see what else to call an ideology that seeks to eradicate only one state in the world - the one that happens to be the Jewish one - while empathetically insisting on the rights of self-determination for every other minority.
This American Jewish music is a new experience for us at least consciously.
Contemporary anti-Semites claim they have nothing against Jews - they just hate the Jewish state.
One thing that sticks in my mind is that jazz means freedom and openness. It's a music that, although it developed out of the African American experience, speaks more about the human experience than the experience of a particular people.
I wish reporters were more in tune to the difference between the Asian experience and the Asian-American experience. I think often they lump the two together and think that when I talk about Asian-American narratives that they can cite 'Crouching Tiger, Hidden Dragon' or 'Mulan' as proof of concept when it's a different experience.
I think there's just a lot of compassion in art. Again, when you're doing something that resonates with somebody else, you're going through an experience another person has had, whether it's been a painful experience or a joyous experience or a happy experience.
I decided early on that I wanted to participate in the greater American experience, rather than the parochial one in Mississippi. But I have an urge as a writer to meld the Southern experience into the larger American one.
People should go to the works and experience them. Because just having an idea or picture in mind is absolutely not the experience that's necessary. Even just landing in Albuquerque or Salt Lake City or Las Vegas was immediately part of the experience. And then you'd get in a car from the airport and take these very long trips - in Michael Heizer's case, it was three hours by car to get to his work. And then there's walking around and into the piece and seeing it from different angles. The kinetic experience of being a part of it physically was very important for me.
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