scholarly journals Kilka słów na marginesie Dziennika z getta Miriam Korber-Bercovici

2021 ◽  
pp. 405-424
Author(s):  
Monika Borzęcka
Keyword(s):  
World War Ii ◽  
Everyday Life ◽  
Publishing House ◽  
Jewish Woman ◽  
World War ◽  
Elie Wiesel ◽  
The Holocaust

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.

scholarly journals Preventing Anti-Semitism and Other Forms of Barbarism in the Present and in the Future through Art: Using the Example of the Play “The Investigation. Oratorio in 11 Songs” by Peter Weiss

2021 ◽  
Vol 5 (2) ◽  
pp. 267
Author(s):  
Oliver Keune
Keyword(s):  
World War Ii ◽  
Teaching Experience ◽  
Right Wing ◽  
Fake News ◽  
World War ◽  
Elie Wiesel ◽  
Peter Weiss ◽  
Anti Semitism ◽  
The Holocaust ◽  
Alternative For Germany

75 years have passed since the liberation of Auschwitz, but racism, nationalism and xenophobia (including anti-Semitism) are still widespread; in fact, due to an increasingly solipsistic policy of international leaders, hostility against those who don’t match race, religion, culture or sexual orientation is even experiencing a renaissance. Fake news start to replace facts. In Germany, politicians of the (democratically elected) right-wing party AfD (Alternative for Germany] publicly question the significance of the holocaust. According to the polls, around 33% of European youths have little or no knowledge about the attempted annihilation of Jews during World War II. In order to prevent the return of barbarism it is essential to remember and understand the characteristics that actually led to barbarism in the first place. Peter Weiss’ play Die Ermittlung: Oratorium in 11 Gesängen [The Investigation. Oratorio in 11 Songs] written in 1965, takes a very thorough look at what Auschwitz was, how it had been made possible and how it survived in society even after the war. The following article examines the play and its context in literature and films on the Holocaust, paying particular attention to the possibility of explaining the, as Elie Wiesel has put it, “unexplainable” and converting it into a teaching experience for current generations.

scholarly journals Bombs in Vilnius: Radicalization of Antisemitic Attitudes and Practices Before World War II

2021 ◽  
Author(s):  
Natalia Judzińska
Keyword(s):  
World War Ii ◽  
Everyday Life ◽  
Specific Model ◽  
Social Drama ◽  
World War ◽  
Attitudes And Practices ◽  
The Holocaust ◽  
The City

Bombs in Vilnius: Radicalization of Antisemitic Attitudes and Practices Before World War IIOn the eve of the Holocaust Poland saw enormous acts of antisemitic violence in every aspect of everyday life. This article proposes an analysis of antisemitic acts and actions that under Polish rule took place in Vilnius. In early 1937, the city witnessed a wave of antisemitic bomb attacks. Vilnius violence is set in the context of pogroms in other cities, but it remains an example and a specific model of unconditional radicalization of both nationalist attitudes and practices among Poles from different classes and social strata. The study focuses on the participation of students, prospective or actual members of the intelligentsia, in this “festival of violence”, and analyzes those events within the concepts of pogrom and Victor Turner’s social drama. Bomby w Wilnie. Radykalizacja postaw i praktyk antysemickich przed II wojną światowąW przededniu Zagłady przez Polskę przetacza się fala przemocy antysemickiej o charakterze pogromowym, która widoczna jest w niemalże każdym aspekcie życia codziennego. Niniejszy artykuł przedstawia analizę aktów i działań antysemickich, które zdarzyły się w Wilnie pod rządami polskimi. Na początku roku 1937 miasto zmierzyło się z serią zamachów bombowych. Chociaż omówiona przemoc osadzona jest w kontekście sytuacji w innych miastach, pozostaje jednak i przykładem, i swoistym wzorem bezwarunkowej radykalizacji nacjonalistycznych postaw i praktyk wśród nieżydowskich Polaków i Polek pochodzących z różnych klas i warstw społecznych. Autorka koncentruje się w badaniach głównie na udziale studentów – przyszłych członków inteligencji – w tym „festiwalu przemocy” i analizuje opisywane wydarzenia w ramach koncepcji pogromu oraz Turnerowskiego dramatu społecznego.

Painted Memories

2007 ◽  
Vol 7 (4) ◽  
pp. 26-29
Author(s):  
mayer kirshenblatt ◽  
barbara kirshenblatt-gimblett
Keyword(s):  
World War Ii ◽  
World War ◽  
Daily Diet ◽  
The Holocaust ◽  
Yom Kippur ◽  
Root Vegetables

Mayer Kirshenblatt remembers in words and paintings the daily diet of Jews in Poland before the Holocaust. Born in 1916 in Opatóów (Apt in Yiddish), a small Polish city, this self-taught artist describes and paints how women bought chickens from the peasants and brought them to the shoykhet (ritual slaughterer), where they plucked the feathers; the custom of shlogn kapores (transferring one's sins to a chicken) before Yom Kippur; and the role of herring and root vegetables in the diet, especially during the winter. Mayer describes how his family planted and harvested potatoes on leased land, stored them in a root cellar, and the variety of dishes prepared from this important staple, as well as how to make a kratsborsht or scratch borsht from the milt (semen sack) of a herring. In the course of a forty-year conversation with his daughter, Barbara Kirshenblatt-Gimblett, who also interviewed Mayer's mother, a picture emerges of the daily, weekly, seasonal, and holiday cuisine of Jews who lived in southeastern Poland before World War II.

“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.

Fragments of the Holocaust

2018 ◽  
Author(s):  
David Duindam
Keyword(s):  
World War Ii ◽  
Critical Analysis ◽  
Museum Studies ◽  
Historical Study ◽  
World War ◽  
Holocaust Memory ◽  
Holocaust Memorial ◽  
Memorial Museum ◽  
The Holocaust ◽  
A Site

Why do we attach so much value to sites of Holocaust memory, if all we ever encounter are fragments of a past that can never be fully comprehended? David Duindam examines how the Hollandsche Schouwburg, a former theater in Amsterdam used for the registration and deportation of nearly 50,000 Jews, fell into disrepair after World War II before it became the first Holocaust memorial museum of the Netherlands. Fragments of the Holocaust: The Amsterdam Hollandsche Schouwburg as a Site of Memory combines a detailed historical study of the postwar period of this site with a critical analysis of its contemporary presentation by placing it within international debates concerning memory, emotionally fraught heritage and museum studies. A case is made for the continued importance of the Hollandsche Schouwburg and other comparable sites, arguing that these will remain important in the future as indexical fragments where new generations can engage with the memory of the Holocaust on a personal and affective level.

Remediation and hypermediacy: Ezekiel’s World as a case in point

2018 ◽  
Vol 19 (2) ◽  
pp. 199-229
Author(s):  
Ayelet Kohn ◽  
Rachel Weissbrod
Keyword(s):  
World War Ii ◽  
Original Work ◽  
Second Generation ◽  
Holocaust Survivors ◽  
World War ◽  
Graphic Narrative ◽  
The Holocaust ◽  
Graphic Narratives ◽  
Jewish Resistance ◽  
Resistance Movement

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.

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