scholarly journals Doświadczenie krzywdy w życiu i twórczości Józefa Szajny

2019 ◽  
Vol 16 (1/2) ◽  
pp. 183
Author(s):  
Dominika Sergiej
Keyword(s):  
Life Histories ◽  
Fine Arts ◽  
Concentration Camps ◽  
Traumatic Experiences ◽  
World War ◽  
Graphic Arts ◽  
World War 2 ◽  
Artistic Activity ◽  
The Subject ◽  
Presence Of People

<p>Prace Józefa Szajny są niezaprzeczalnie związane z jego niewyobrażalnym doświadczeniem bólu, głodu i traumy, które stały się częścią jego obozowego życia w Auschwitz i Buchenwaldzie. Śmierć wielu ludzi, ich upokorzenie i dehumanizacja sprawiły iż Szajna dorósł szybciej niżby tego oczekiwał.  Wszystkie te doświadczenia odbijają się w jego sztuce, zarówno rysunku jak i dramatach. W swoich pracach wielokrotnie używał fragmentów ubrań, butów, lin, ziemi, plastikowych ludzkich korpusów, fotografii. </p><p>Trauma drugiej wojny światowej dotknęła go bardzo mocno ale nie złamała. Swoim życiem i twórczością ukazywał jak się odradzać i "powstawać z kolan" jak sam mówił o swojej twórczości.   Celem niniejszego artykułu jest ukazanie siły człowieczństwa i godności ludzkiej w przekraczaniu dehumanizacji obecnej w obozach koncentracyjnych.</p><p><strong>The Experience of Injustice in the Life and Work of Józef Szajna</strong></p>SUMMARY<p>For many people the experience of trauma and injustice leaves a painful imprint with which they have to grapple till the end of their lives; they are unable to move beyond the sphere of their own inner suffering. Depression, aversion to living, bitterness is its frequent symptoms. World War 2 brought people inexpressible torments and sufferings. Everybody saved his/her physical and mental life as best as he/she could. The artists tried to break away from this surrounding nightmare by artistic activity. For some of them, art was a way of keeping their mental skill and psychical balance; for others it was a means for survival (especially for those in concentration camps). Józef Szajna (1922-2008) became a prisoner in KL Auschwitz in July 1941. During his imprisonment in the camp he was engaged in the underground activity, for which he was punished and assigned to a penal company where he contracted typhus. Then he was moved to a newly built camp of Birkenau, where he worked as a cleaner. In August 1943 he tried to escape but was caught and sentenced to death. He was waiting for the execution in a death cell for two weeks. On the way to the place of execution, the sentence was unexpectedly canceled. The death penalty was changed into life imprisonment. For six weeks he stayed in a death cell struggling with all possible inconveniences and the stress resulting from the presence of people who were awaiting the execution. After six weeks he was moved to the concentration camp of Buchenwald; he escaped from Buchenwald three weeks before the end of the war. After the war, Szajna started studies at the Academy of Fine Arts in Krakow. During his studies he suffered from various illnesses – the result of the years spent in the concentration camps. In 1952 he received a diploma in graphic arts, in 1953 in stage scenery. He graduated from both faculties with distinction. The traumatic experiences of the war, his imprisonment in Auschwitz-Birkenau and Buchenwald formed his personality. The experience of injustice infl uenced his later artistic output. Szajna, through art, “created himself from the beginning”. The author fi rst acquaints us with the subject matter of Szajna’s works, then analyses his selected works: Nasze życiorysy [Our Life Histories], Mrowisko [Swarms], Sylwety i cienie [Silhouettes and Shadows], Reminiscencje [Reminiscences], Drang nach Osten – Drang nach Western (a space composition). The next issues are: matter painting (implemented in Szajna’s works) and the synthesis of painting and theater ( the integral theater of Szajna). At the end, the author presents the artist’s message. His art formed a metaphorical story on the most important problems of human nature and its condition. The repercussions of the war-camp experiences were present in all his performances and plastic works. The greatness of his art consists in that this motif never acquired a naturalistic form or a form of a personal confession. Even when the artist used an authentic document, he gave it a general, symbolic sense creating a universal record of human fate.</p>

SOVIET PRISONERS OF WAR IN GERMANY, 1941–1945 – AN UNDESIRABLE TOPIC FOR GERMAN SOCIETY?

2021 ◽  
pp. 105-116
Author(s):  
Valeriy P. Ljubin ◽  
Keyword(s):  
German Society ◽  
Second World War ◽  
Prisoners Of War ◽  
Civil Society Organizations ◽  
Concentration Camps ◽  
Documentary Films ◽  
World War ◽  
History Of ◽  
The Subject ◽  
Second World

In German and Russian historiography, the tragic fate of the Soviet prisoners of war in Germany during the Second World War has not been suffi- ciently explored. Very few researchers have addressed this topic in recent times. In the contemporary German society, the subject remains obscured. There are attempts to reflect this tragedy in documentary films. The author analyses the destiny of the documentary film “Keine Kameraden”, which was shot in 2011 and has not yet been shown on the German television. It tells the story of the Soviet prisoners of war, most of whom died in the Nazi concentration camps in 1941– 1945. The personal history of some of the Soviet soldiers who died in the German captivity is reflected, their lives before the war are described, and the relatives of the deceased and the surviving prisoners of war are interviewed. The film features the German historians who have written books about the Soviet prisoners. All the attempts taken by the civil society organizations and the historians to influence the German public opinion so that the film could be shown on German television to a wider audience were unsuccessful. The film was seen by the viewers in Italy on the state channel RAI 3. Even earlier, in 2013, the film was shown in Russia on the channel “Kultura” and received the Pushkin Prize.

scholarly journals Modern Generation and Education: History of Indonesia

2019 ◽  
Author(s):  
Josua Ng
Keyword(s):  
Higher Education ◽  
Modern Society ◽  
Education History ◽  
World War ◽  
World War 2 ◽  
Generation Z ◽  
History Of ◽  
Part Time ◽  
The Subject ◽  
Net Gen

Our modern society is made up by people from multiple generations. The ones that are currently on the rise &amp; will take dominance includes Generation Y (Millennials), and Generation Z, commonly known as the iGeneration or Net Gen. While the early Millennials are currently entering the workforce, the rest are either pursuing education or doing part-time jobs. With the current world economy being very unstable, these young people were forced to choose either pursue higher education or take freelance jobs to help their family. In the case of higher education, what will become of their interest in subjects of education, since they are more than likely driven under pressure to complete their education and get higher-paying jobs, rather than pursuing on subjects where their passion may lie in. This paper aims to answer that, specifically the subject of the History of Indonesia during World War 2.

scholarly journals A Földközi-tengeri Szövetséges Légierõ1 Magyarországra vonatkozó felderítése, valamint a szövetséges légitámadások általános fotókiértékelése a II. világháború idején

2018 ◽  
Vol 30 (1) ◽  
pp. 146-168 ◽  
Author(s):  
András Pál Oláh
Keyword(s):  
Air Force ◽  
Turning Point ◽  
World War ◽  
World War 2 ◽  
History Of ◽  
The Subject ◽  
The Mediterranean

The research of Allied Air Forces’ air raids on Hungary during World War 2 has come to a turning point. Hungarian historians have been content with roughly documenting the events; the thorough research of the background together with the motives for the attacks are yet to be explored. In my study I examined the Mediterranean Allied Air Force’s practice of photographic reconnaissance, intelligence and photographic interpretation, using the related documents and files. The Intelligence files of the Mediterranean Allied Air Force are major sources of the history of Allied air raids on Hungary in World War 2, and I pointed out that the complete research of the data on the subject by examining every piece of document available would lead to a more accurate understanding of the events. In addition to emphasizing the importance of the vast amont of data and documents on the subject, my intention was to provide reference to further research.

scholarly journals After the War and Repressions: Mediating of Traumatic Experiences in Estonian Life Stories

2021 ◽  
Vol 83 ◽  
pp. 105-122
Author(s):  
Tiiu Jaago ◽  
Keyword(s):  
Family Relationships ◽  
Life Stories ◽  
Second World War ◽  
Cultural Trauma ◽  
Traumatic Experiences ◽  
World War ◽  
Urban Legends ◽  
Political Events ◽  
The Subject ◽  
Second World

This article looks at how contemporary life stories reflect the historical-political events that took place in the 1940s, and their impact on the development of family relationships. The focus is on the expression of traumatic experiences caused by these events. Observable events, such as the Second World War, living under a foreign power, political repressions, escape to the West, etc., and their impact on Estonian society have been analysed by Estonian sociologists using the concept of cultural trauma. Literary researchers have studied this subject from the perspective of literary trauma theory. This article provides an analysis of Estonian life stories, which is based on the tools of folkloristic narrative research and the trauma conception. Although the narrators do not use the word ‘trauma’, it can be assumed that they express their traumatic experiences in some special way. It appears, for instance, that these first-person narratives provide a laconic description of the situation, relatively free of the emotion that possessed the narrator in the situation being described. The narrative style is determined by the distance between the narrator and the event that traumatizes them. This distance can be created by the narrator through using urban legends and rumours to characterize the general attitudes of the period being described. When the events of the twentieth century were discussed in the stories told in the 1990s, the dynamics of family relationships between two or three generations came to the fore in the stories told in the present time. The changing focus of the stories, shifting from events to the subject of intimacy, directs researchers to observe the transmission and transformation of trauma in a new context.

scholarly journals Feeling like a State. The Sentiments Tide of Swiss Diplomacy through the Eye of the Algorithm

Administory ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 112-146
Author(s):  
André Ourednik ◽  
Guido Koller ◽  
Peter Fleer ◽  
Stefan Nellen
Keyword(s):  
Social Movements ◽  
Sentiment Analysis ◽  
20Th Century ◽  
Expressive Language ◽  
Regional Scale ◽  
World War ◽  
Administrative Practices ◽  
World War 2 ◽  
The Social ◽  
The Subject

Abstract Can emotions be observed throughout the years at the regional scale of continents and countries? Does variation in their intensity correlate with historical events and with the evolution of diplomatic and administrative practices? If so, who is the subject of emotion? We seek answers by a remote reading analysis of the reports of Swiss ambassadors in the first half of the 20th century. We examine the conditions under which super-individual subjects of emotion can be aggregated from large textual datasets, and propose a theoretical framework for their interpretation. In specific examples, we show how algorithmic sentiment analysis let us identify the exceptionally expressive language of the Swiss ambassador in Tokyo during World War 2, or the posture of the Swiss administration with regard to the social movements in Scandinavia. Our findings yield both methodological recommendations and theoretical bridges between various disciplines concerned with emotions and their expression in written documents.

scholarly journals Multimodal Stylistics in Graphic Novel: Understanding the Visual Language Syntax in Art Spiegelman’s Maus

2021 ◽  
Vol 4 (1) ◽  
pp. 45-51
Author(s):  
Baishalee Rajkhowa
Keyword(s):  
World War Ii ◽  
Comic Book ◽  
Graphic Novel ◽  
Concentration Camps ◽  
Traumatic Experiences ◽  
The Novel ◽  
World War ◽  
Verbal Language ◽  
The Holocaust ◽  
Words And Images

Maus (2003) by Art Spiegelman is a graphic novel of unfolding his father, Vladek's, World War II ordeal and how he survived the holocaust. It is a gripping story of Spiegelman's own parents' experience in Poland during 1930s when Nazis invaded and persecuted the Jews. With a broken language, gaps in communication and visual strategy, Maus takes the readers across Europe unravelling the experiences of World War II and the Nazi Concentration camps. The characters are depicted as anthromorphic animals; the Nazis as cats, the Jews as mice and the Polish as pigs. It can be named as an autobiography or a memoir featuring a metareferential frame story with an author as narrator (Art) who tells his father (Vladek) that he wishes to write a comic book and so incited him to tell about " his life in Poland and the war" (Spiegelman, 2003). A graphic novel is written in a comic strip format which uses a combination of text and illustration in order to tell a story. The linguistic elements in a graphic narration are important as words and images cannot be analysed in similar terms. Multimodal stylistics represents this in the light of lexical and grammatical aspects of the verbal language. Maus (2003) represents a story of the holocaust and the traumatic experiences of Vladek.  It is a heteroglossic text with the presence of foreign languages and an authorial voice. The novel not only gives a different meaning but also an altogether different perspective to the verbal and visual significance.

“The heart above the ruins”: Miriam Waddington’s Poetry, the Spanish Civil War, and Jewish Canadian Literature

1969 ◽  
Vol 26 ◽  
Author(s):  
Emily Robins Sharpe
Keyword(s):  
Human Rights ◽  
World War Ii ◽  
Civil War ◽  
Spanish Civil War ◽  
World War ◽  
Canadian Literature ◽  
The Earth ◽  
The Holocaust ◽  
The Subject ◽  
War Consequences

The Jewish Canadian writer Miriam Waddington returned repeatedly to the subject of the Spanish Civil War, searching for hope amid the ruins of Spanish democracy. The conflict, a prelude to World War II, inspired an outpouring of literature and volunteerism. My paper argues for Waddington’s unique poetic perspective, in which she represents the Holocaust as the Spanish Civil War’s outgrowth while highlighting the deeply personal repercussions of the war – consequences for women, for the earth, and for community. Waddington’s poetry connects women’s rights to human rights, Canadian peace to European war, and Jewish persecution to Spanish carnage.

ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING

2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  
Keyword(s):  
Performance Practice ◽  
Piano Music ◽  
Traumatic Experiences ◽  
Special Role ◽  
Native Culture ◽  
History Of ◽  
The Subject ◽  
And Performance ◽  
The Many ◽  
Special Meaning

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.

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