scholarly journals A bizalom éjszakájában

2016 ◽  
Vol 55 (1-2) ◽  
Author(s):  
Tamás Valastyán

The configuration of faith and desperation constitutes a pattern in modernity that appears in different ethical, epistemic and aestethic contexts. I think that this pattern is outlined in the poetry and essays of Szilárd Borbély and what is more, it has essential power. We may say that the existence after the holocaust can be measured by its own relations in contrast to genocide. Existence is already a relation to genocide. In my essay I present the attempts of Borbély Szilárd to show that horrible measurement. Or more exactly: I cannot explore the characters of his deep, colourful laminated, and sometimes controversial answers; I just focus on three points: At first I present the dilemmas of dealing with the poetic life-work of Miklós Radnóti; then I discuss the polemic relation to the holocaust interpretation of Kertész Imre; and finally I try to approach the poems in A Testhez [To the Body] which derive their truth from the memory of holocaust survivors.

Author(s):  
Michael J. Bazyler ◽  
Kathryn Lee Boyd ◽  
Kristen L. Nelson ◽  
Rajika L. Shah

The Nazis and their cohorts stole mercilessly from the Jews of Europe. In the aftermath of the Holocaust, returning survivors had to navigate unclear and hostile legal paths to recover their stolen property from governments and neighbors who often had been complicit in their persecution and theft. While the return of Nazi-looted art and recent legal settlements involving dormant Swiss bank accounts, unpaid insurance policies and use of slave labor by German companies have been well-publicized, efforts by Holocaust survivors and heirs over the last 70 years to recover stolen land and buildings were forgotten. In 2009, 47 countries convened in Prague to deal with the lingering problem of restitution of prewar private, communal, and heirless property stolen during the Holocaust. The outcome was the Terezin Declaration on Holocaust Era Assets and Related Issues, aiming to “rectify the consequences” of the wrongful Nazi-era immovable property seizures. This book sets forth the legal history of Holocaust immovable property restitution in each of the Terezin Declaration signatory states. It also analyzes how each of the 47 countries has fulfilled the standards of the Guidelines and Best Practices of the Terezin Declaration. These standards were issued in 2010 in conjunction with the establishment of the European Shoah Legacy Institute (ESLI), a state-sponsored NGO created to monitor compliance. The book is based on the Holocaust (Shoah) Immovable Property Restitution Study commissioned by ESLI, written by the authors and issued in Brussels in 2017 before the European Parliament.


Diogenes ◽  
2020 ◽  
Vol 28 (1) ◽  
Author(s):  
Lazar Admadhov ◽  

“Hidden Jewish children”, Holocaust survivors. Traumatisms and mourning. Retrospective studies. This contribution concerning traumatism and the mourning of Jewish children, holocaust survivors hidden in France during WWII, is a retrospective study on the psychological consequences in a situation of genocide in childhood. In this article two different types of research, carried out in France, will be underlined. The first concerns a group of former hidden children who created an association, more than half-century after the end of the war, to establish a self-therapeutic group. The second research studies former hidden children who have remained isolated and generally have had difficulties in metabolizing their traumatic experiences.


2018 ◽  
Vol 19 (2) ◽  
pp. 199-229
Author(s):  
Ayelet Kohn ◽  
Rachel Weissbrod

This article deals with Kovner’s graphic narrative Ezekiel’s World (2015) as a case of remediation and hypermediacy. The term ‘remediation’ refers to adaptations which involve the transformation of the original work into another medium. While some adaptations strive to eliminate the marks of the previous medium, others highlight the interplay between different media, resulting in ‘hypermediacy’. The latter approach characterizes Ezekiel’s World due to its unique blend of artistic materials adapted from different media. The author, Michael Kovner, uses his paintings to depict the story of Ezekiel – an imaginary figure based on his father, the poet Abba Kovner who was one of the leaders of the Jewish resistance movement during World War II. While employing the conventions of comics and graphic narratives, the author also makes use of readymade objects such as maps and photos, simulates the works of famous artists and quotes Abba Kovner’s poems. These are indirect ways of confronting the traumas of Holocaust survivors and ‘the second generation’. Dealing with the Holocaust in comics and graphic narratives (as in Spiegelman’s Maus: A Survivor’s Tale, 1986) is no longer an innovation, nor is their use as a means to deal with trauma; what makes this graphic narrative unique is the encounter between the works of the poet and the painter, which combine to create an exceptionally complex work integrating poetry, art and graphic narration.


2018 ◽  
Vol 48 (1) ◽  
pp. 92-112
Author(s):  
Lukasz Krzyzanowski

The rapidly growing historiography on the aftermath of the Holocaust in Poland has focused primarily on post-war anti-Semitism. Scholars have traditionally concentrated on the post-war death, community destruction and emigration of Holocaust survivors rather than their attempts to return to their former homes. This article explores who these survivors were and what their return was like. Using the medium-sized industrial town of Kalisz in western Poland as a case study, the article argues that the composition of survivors' communities and the difficulty of adapting to the new economic reality, together with the already well-researched anti-Jewish violence, played a significant role in preventing a revival of Jewish communal life in provincial Poland in the immediate aftermath of the Second World War.


Author(s):  
Jonathan Webber ◽  
Chris Schwarz ◽  
Jason Francisco

This chapter talks about the people who are creating and maintaining projects that memorialize both the Jewish life that existed in Polish Galicia for centuries and the enormity of the Holocaust during which it was destroyed. It discloses the public acknowledgment of the Jewish heritage that has been ongoing since Poland regained its democratic freedom in 1989, which led to the revival of Jewish life. It also describes the main Holocaust memorial in Kraków, which is comprised of symbolic abandoned chairs scattered through an entire city to highlight the Jewish absence. The chapter mentions non-Jewish Poles who have become aware of the past in Poland that included Jews and Jewish culture. It details post-Holocaust Poland in the 1970s that was severely restricted and in danger of facing extinction as 90 percent of Holocaust survivors had emigrated.


Author(s):  
George R. Mastroianni

Chapter 4 focuses on the considerable psychological literature devoted to the question of the role played by psychopathology in the Nazi movement and the Holocaust. Both the Nazi leaders and the German population as a whole were thought by some to exhibit signs of psychopathology. The dominant paradigm in psychology before, during, and shortly after World War II was psychoanalytic, and Freudian analyses were common. The notion that psychopathology played a significant role in either Nazism or the Holocaust has largely been abandoned. The psychological consequences of the horrific experiences to which many Holocaust survivors were subjected led to the identification of a disorder called by some “concentration camp syndrome.” Our modern-day understanding of posttraumatic stress disorder (PTSD) owes a considerable debt to the legacy of Holocaust survivors.


2020 ◽  
Vol 60 (2) ◽  
pp. 6-14
Author(s):  
Gaweł Janik
Keyword(s):  
The Body ◽  

The article is an attempt to critically read the Polish comic book "Episodes from Auschwitz: The Carriers of a Mystery" by Michał Gałek and Michał Pyteraf. The author draws attention to the risks associated with the choice of the comic as a medium talking about the trauma of the Holocaust. Placing a comic book within publications that fit the current of historical politics, the author of the article pointed to the elements that testify to his polonocentrism. The image of the body was analyzed, with particular emphasis on differences in the presentation of prisoners of the camp, men selected to work in the Sonderkommando branches and its members. Attention was paid to the fetishization and eroticization of the Jewish body, which is dangerously close to the Nazi body.


2015 ◽  
Vol 50 (2-3) ◽  
pp. 39-50
Author(s):  
Dagmara Drewniak

Abstract In her I Was a Child of Holocaust Survivors published in Canada in 2006, Bernice Eistenstein undertakes an attempt to cope with the inherited memories of the Holocaust. As a child of the Holocaust survivors, she tries to deal with the trauma her parents kept experiencing years after WWII had finished. Eisenstein became infected with the suffering and felt it inescapable. Eisenstein’s text, which is one of the first Jewish-Canadian graphic memoirs, appears to represent the voice of the children of Holocaust survivors not only owing to its verbal dimension, but also due to the drawings incorporated into the text. Therefore, the text becomes a combination of a memoir, a family story, a philosophical treatise and a comic strip, which all prove unique and enrich the discussion on the Holocaust in literature. For these reasons, the aim of this article is to analyze the ways in which Eisenstein deals with her postmemory, to use Marianne Hirsch’s term (1997 [2002]), as well as her addiction to the Holocaust memories. As a result of this addiction, the legacy of her postmemory is both unwanted and desired and constitutes Bernice Eisenstein’s identity as the eponymous child of Holocaust survivors.


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