Jewishness

This book proposes that the idea of ‘Jewish’, or what people think of as ‘Jewishness’, is revealed in expressions of culture and applied in constructions of identity and representation. Part I considers how the kabbalistic red string found at sites throughout Israel conveys a political and psychological response to terrorism. It examines Jewish and non-Jewish narratives concerning a synagogue in eastern Europe and looks at expressions of cultural continuity in displaced persons camps in the aftermath of the Holocaust. It then discusses how Jewish folk music was presented as high art in early twentieth-century Germany. Part II enquires how the objects taken by emigrants leaving Germany for Palestine after Hitler's rise to power represented their identities. It examines how survivors' narratives become integrated into family identities and offers close readings of how the identities of Jews as enacted in post-perestroika films highlight conflicting Russian attitudes towards Jews. It then considers commercial establishments as ‘sacred spaces’ for Jewish secular identities. Part III opens with stories collected in Israel from Jews who lived in Carpatho-Russia. It then considers the characterization of the Jewish woman in French literature and decodes the Jewishness of modern radio comedy and Hollywood film. The idea of Jewishness is applied in the volume with provocative interpretations of Jewish experience, and fresh approaches to the understanding of Jewish cultural expressions.

2016 ◽  
Vol 57 (1-2) ◽  
pp. 35-47
Author(s):  
Márton Kerékfy

Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.


2019 ◽  
Vol 34 (1) ◽  
pp. 143-157
Author(s):  
David Silberklang

This article is part of the special cluster titled Conceptualizations of the Holocaust in Germany, Lithuania, Poland, and Ukraine since the 1990s, guest edited by Grzegorz Rossoliński-Liebe. The article addresses sources for understanding the complexion of the Shoah in Poland, through a focus on the Lublin District and Jewish forced labor there. From the opening story of the wedding of Shamai Grajer and Mina Fiszman in Lublin on April 17, 1942, the article extrapolates several central themes: two constants in Nazi policies and Jewish experience—forced population movements and forced labor, the behavior of the various actors involved in the story, and sources. The main individuals involved in the opening story highlight these subjects. Fiszman was a refugee deported in February 1940 from Stettin. Grajer, Fiszman, and Rabbi Zvi Elimelech Talmud, who performed the wedding, had all been selected as forced laborers when the majority of the Jewish community was murdered during the previous month, and they hoped that their labor would help them survive. The behavior of the main German actors in the story, Harry Sturm and Hermann Worthoff, was not uniformly evil, and the behavior of the Jewish actors was not uniformly “heroic.” The Bełżec forced labor complex in 1940 highlights the brutality and murderousness of much of the early forced labor in Poland. Yet, during the deportations to death in 1942 the Jews needed to “unlearn” the lessons of avoiding such labor if they were now to have a hope of surviving. Among the varied sources for this and the subsequent subjects addressed in the article, the Jewish sources provide a sense of what actually happened in these camps and situations.


Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 110
Author(s):  
Axel Stähler

Looking at short stories by writers as diverse as Brian Glanville, Ruth Fainlight, Clive Sinclair, Jonathan Wilson, James Lasdun, Gabriel Josipovici, Tamar Yellin, Michelene Wandor, and Naomi Alderman, and extending from the center of Jewish British writing to its margins, this article seeks to locate the defining feature of their ‘Jewish substratum’ in conditions particular to the Jewish post-war experience, and to trace its impact across their thematic plurality which, for the most part, transcends any specifically British concerns that may also emerge, opening up an Anglophone sphere of Jewish writing. More specifically, it is argued that the unease pervading so many Jewish British short stories since the 1970s is a product of, and response to, what may very broadly be described as the Jewish experience and the precarious circumstances of Jewish existence even after the Second World War and its cataclysmic impact. It is suggested that it is prompted in particular by the persistence of the Holocaust and the anxieties the historical event continues to produce; by the confrontation with competing patterns of identification, with antisemitism, and with Israel; and by anxieties of non-belonging, of fragmentation, of dislocation, and of dissolution. Turned into literary tropes, these experiences provide the basis of a Jewish substratum whose articulation is facilitated by the expansion of Jewish British writers into the space of Anglophone Jewish writing. As a result, the Jewish British short story emerges as a multifaceted and hybrid project in continuous progress.


2019 ◽  
Vol 42 (4) ◽  
pp. 681-713
Author(s):  
Marianne Ruel Robins

Abstract This article examines the ways in which values associated with Protestant rescuers have impacted the historiography of the rescue during the Holocaust and the testimonies of witnesses. It considers two regions, the Poitou and the Plateau Vivarais-Lignon, to analyze three moral assumptions: the rescuer as resister, as generous host, and as respectful Christian. Using anthropological approaches to hospitality, it reveals the shortcomings of these assumptions. First, the association of rescue and resistance, though understandable, obscures the chronology, the unevenness, and the relative safety of Protestant involvement in the rescue. Second, the rescuers' assumed generosity simplifies the reciprocity at work in hospitality as well as the materiality of the rescue. Third, a systematic characterization of rescue as altruism or expression of philo-Semitism prevents a more complex exploration of the relationships between Protestant hosts and Jewish guests. In particular, hospitality as a form of rescue could certainly generate mutual appreciation, but also acculturation and tensions. Comment les valeurs associées aux protestants français ont-elles influencé, et les témoignages, et l'historiographie du sauvetage ? Cet article se penche sur trois figures morales associées au sauveteur protestant, celle du résistant, celle de l'hôte généreux, et celle du chrétien tolérant, et ce, dans deux régions, le Poitou et le Vivarais-Lignon. En s'appuyant sur une analyse anthropologique de l'hospitalité, il révèle les limites d'une approche morale du sauvetage. D'une part, l'association du sauvetage avec la résistance, quoiqu'en partie fondée, néglige les variations chronologiques, la variété des formes de participation et la sécurité relative dont bénéficiaient les sauveteurs français. D'autre part, la générosité présupposée des sauveteurs obscurcit la réciprocité à l'œuvre dans l'hospitalité ainsi que la matérialité du sauvetage. Enfin, associer systématiquement sauvetage et altruisme ou philosémitisme rend difficile une interprétation plus complexe des relations entre juifs et protestants. De fait, l'hospitalité offerte aux juifs au cours du sauvetage a pu générer aussi bien une appréciation réciproque que des tensions et des formes d'acculturation.


2021 ◽  
pp. 405-424
Author(s):  
Monika Borzęcka

A Few Words on the Margin of the Diary Written in the Djurin Ghetto by Miriam Korber-Bercovici The purpose of the article is to present fragments of the diary of Miriam Korber-Bercovici, a young Jewish woman deported with her whole family from Southern Bukovina to the Transnistria Governorate under the Antonescu regime. The excerpts translated from the original Romanian into Polish mainly concern the author’s experiences of deportation and everyday life in the Djurin ghetto. They were selected in order to acquaint Polish readers with the situation of the Jews of Bukovina and Bessarabia displaced to the Transnistria Governorate during World War II. The diary was first published in Romania in 1995 as Jurnal de ghetou. The presented translation is based on the second edition of the diary published in 2017 by Curtea Veche Publishing House and Elie Wiesel National Institute for Studying the Holocaust in Romania.


2021 ◽  
pp. 377-405
Author(s):  
Angelique Leszczawski-Schwerk

Between the Pillars of Welfare, Cultural Work, Politicization, and Feminism: The Zionist “Circle of Jewish Women” in Lviv, 1908–1939 The Circle of Jewish Women (“Koło Kobiet Żydowskich”), founded in Lemberg/Lviv in 1908 and active until 1939, played a vital role in the organization of Zionist women in the city and other places in Eastern Galicia. It was founded, among others, by Róża Pomeranc Melcer, one of the pioneers of Zionist women’s associations in Galicia and the first and only Jewish woman parliamentarian in the Second Polish Republic. Nevertheless, the history of the Circle, as well as the work of its many active members—many of whom perished in the Holocaust—has been almost forgotten and is rarely explored. The author of the article argues that this organization not only represents social welfare, but it also embodies elements of social support, cultural work, politicization, and feminism. Therefore, the author emphasizes the role the Circle played in the process of organizing Zionist women in Lviv and Galicia before World War I and especially during the interwar period in the Second Polish Republic, and how it contributed to women’s emancipation. Thus, the history of one of the most important Zionist women’s organizations is reconstructed and its versatile work facets explored in more detail.


2019 ◽  
pp. 70-100
Author(s):  
Emily Richmond Pollock

In König Hirsch, Henze imagined operatic tradition primarily as an Italian inheritance consisting of vocal beauty, formal artificiality, and emotional expression. König Hirsch mediated Henze’s experiences living and listening in Italy through the musical modernism in which he had been trained immediately following the war. Tributes to conventional operaticism included stylized incantations, moments of hysterical coloratura, a villainous Credo, and several instances of folk-music pastiche. A close reading of Henze’s characterization of the musician figure Checco, who expresses himself partly through diegetic “Neapolitan” song, shows the collision between Henze’s modernism and his newfound italianità. The opera’s arias later became emblems of the opera’s expressive excesses; the conductor of the premiere, Hermann Scherchen, subjected them to severe cuts, setting off a fight over the artistic status of traditions of vocalism and emotion that ensured Henze’s definitive break with the avant-garde.


2000 ◽  
Vol 58 (4) ◽  
pp. 527
Author(s):  
Erika Bourguignon ◽  
Edith Hahn Beer ◽  
Susan Dworkin

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