The Ring of Myths: Israelis, Wagner and the Nazis

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Contents: Glossary of Political Parties
An End that Marked a Beginning
Legends, Tribes, and Anti-Semitism: Ideas and Issues in Wagner's Work
Racism, Music, and Power: The Nazification of Wagner
Music, Politics, and Morality: The Beginning of the Boycott in Palestine
Toward Germany, Away from Germans
The 1960s: An End to Forgetting -- The Establishment of Symbols
The 1970s: Political Furor, Musical Calm
The 1980s: Xenophobia and Overt Political Intervention
The 1990s: The Last Round
Epilogue: The Commemoration of Wagner in Israel -- Problems and Puzzles
Notes
Bibliography
Index.

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In the fall of 1938, following Kristallnacht, the symphonic orchestra in Palestine cancelled the performance of Die Meistersinger von Nürnberg. No one could foresee that this would be the beginning of a never-ending boycott. The boycott began in a society struggling for its existence and collective identity; it continues in a well-established culture that maintains close ties with Germany and German culture, when numerous Israeli institutions are involved in commemorating the Holocaust. At present Wagner is known in Israel mainly as a symbol of the Holocaust. From the late twentieth-century Wagner is the only composer who aroused strong opposition when attempts were made to publicly play his music. Analysis of this controversy sheds light on the changes that have taken place in Israel -- from a pioneering to a traditional society, and from a socialist to a capitalistic one. In the Wagner Year "The Ring of Myths" appears in a revised edition, including interpretations from new perspectives on the place of the Holocaust in Israeli society and the processes of change until 2012.

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