Jewish mimicry

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Jewish mimicry is an anti-Semitic term that alleges Jews to disguise their alleged racial otherness by merely adapting themselves outwardly to the peoples under which they live through mimicry , while remaining immutably Jewish inwardly and biologically. The term mimicry is borrowed from biology . When animals or plants adapt to others in shape and color for protection, this is known as mimicry (imitation).

Kremer (2007) interprets the accusation of mimicry as a reaction of the anti-Semites to the assimilation of Jews as a result of Jewish emancipation .

Use and application

The publicist Hans Blüher , exponent of the youth movement , judged:

“The Jews are the only people who practice mimicry. Mimicry of blood, name and shape. [...] But when the Jew practices mimicry, he hides all his substance. [...] The Jewish mimicry is anchored in the fate of the race, that is, in the idea of ​​Judah. ​​"

NSDAP chief ideologist Alfred Rosenberg said:

"Since the whole question is a national and international one at the same time, it would of course be desirable if the other peoples also got behind the essence of Jewish mimicry and grabbed the snake by the neck."

On February 18, 1943, Propaganda Minister Joseph Goebbels incited the following in the Berlin Sports Palace:

“The methods of mimicry, that is, the systematic adaptation to the environment, are known to the Jewish race. She has always tried to put her host colonies to sleep and anesthetize them, thereby paralyzing their defenses against acute and life-threatening threats from them. "

In the reserved film Jud Süß (1940), which was made under Joseph Goebbels' artistic direction, the idea of ​​the “Jew in disguise” plays a central role. The character Joseph Süß Oppenheimer changes her appearance before traveling from the Frankfurt Jewish ghetto to Stuttgart . The figure Duke Karl Alexander of Württemberg calls shortly before her death Oppenheimer to take off his mask - "the last" The aggressive anti-Semitic pseudo-documentary The Eternal Jew (1940) uses consistently the idea of a Jewish mimicry and provides the right in the first Sentence clear:

“The civilized Jews we know from Germany only give us an imperfect picture of their racial characteristics. This film shows original footage from the Polish ghettos, it shows us Jews what they look like in reality before they hide behind the mask of a civilized European. "

See also

literature

  • Sander Gilman : Jewish self-hatred . Anti-Semitism and the hidden language of the Jews. Frankfurt am Main 1993.
  • Mathias Brodkorb : From Understanding to Unmasking About “New Right” and “Jewish Mimicry” under the conditions of politicized science. In: Yearbook Extremism & Democracy. Volume 22, 2009, p. 32ff.
  • Arndt Kremer: “ The foreign peoples use a language to hide their thoughts. The accusation of mimicry: Imitation and camouflage in Jewish handling of language (Agitation 2) ”, in: German Jews, German language: Jewish and anti-Jewish language concepts and conflicts, 1893-1933 (= Studia linguistica Germanica, Volume 87). Walter de Gruyter, Berlin & New York 2007.

Individual evidence

  1. ^ Hans Blüher: Secessio Judaica. Philosophical foundation of the historical situation of Judaism and the anti-Semitic movement. Berlin 1922, p. 19.
  2. ↑ Nature, principles and goals of the National Socialite German Workers' Party, Deutscher Volksverlag 1932, p. 25.
  3. ↑ Compare also Jens Kegel: “Do you want total war?”: A semiotic and linguistic overall analysis of Joseph Goebbels' speech in the Berlin Sportpalast on February 18, 1943 . Niemeyer, Tübingen 2006, p. 343, FN. 214; Joan Clinefelter: "A Cinematic Construction of Nazi-Antisemitism: The Documentary Der Ewige Jude ", in: Robert C. Reimer (Ed.): Cultural History through a National Socialist lens: essays on the cinema of the Third Reich . Camden House, Rochester, NY 2000, p. 139.