The triumph of Zionism has clouded recollection of competing forms of Jewish nationalism vying for power a century ago. This study explores alternative ways to construct the modern Jewish nation. Jewish nationalism emerges from this book as a Diaspora phenomenon much broader than the Zionist movement. Like its non-Jewish counterparts, Jewish nationalism was first and foremost a movement to nationalize Jews, to construct a modern Jewish nation while simultaneously masking its very modernity. This book traces this process in what was the second largest Jewish community in Europe, Galicia. The history of this vital but very much understudied community of Jews fills a critical lacuna in existing scholarship while revisiting the broader question of how Jewish nationalism - or indeed any modern nationalism - was born. Based on a wide variety of sources, many newly uncovered, this study challenges the still-dominant Zionist narrative by demonstrating that Jewish nationalism was a part of the rising nationalist movements in Europe.

All art ultimately illumines the culture in which it is created, even if that culture usually serves merely as a backdrop to the projection of some more ideal or alternative reality by the artist. But with so-called Pop Art, the very backdrop of mass-culture became the foreground subject of art itself. By magnifying the lack of taste and extreme vulgarity or kitsch that are inevitable by-products of an increasingly globalised mass-culture, artists have not only ironically drawn attention to that debasement of taste, but equally stressed their own detachment from it, as though to assert that they themselves are privileged beings who stand outside society and remain untainted by its corruptions. For the most part these artists simply celebrated pop-culture but one of them – the subject of this book – went much further. Through pioneering a variety of techniques, but principally by means of the visual isolation of imagery, its repetition and enforced similarity to printed images, and the use of garish colour to denote the visual garishness that is often encountered in mass culture, Andy Warhol threw much direct or indirect light upon modern anomie or world-weariness, nihilism, materialism, political manipulation, economic exploitation, conspicuous consumption, media hero-worship, and the creation of artificially-induced needs and aspirations.