Walter Benjamin and the Weak Messianic Power

Walter Benjamin (1892-1940) was a German intellectual of Jewish descent, a well-known literary critic, philosopher, sociologist, translator and essayist, and a key figure in continental philosophy. His works on topics such as historical materialism, German idealism, and Jewish mysticism have had a marked influence on contemporary aesthetic theories and the development of Western Marxism, including the Frankfurt School of Critical Theory. These articles will focus on the analysis of the concept of messianism, which Benjamin develops in his work “On the concept of history” or “Theses on the philosophy of history” (1940). Messianism here is neither a theological dogma nor a modern figure of the utopian. Benjamin’s messianic time does not refer to the future, but to the urgency of the “now.” The author contrasts the “weak messianic force” of the tradition of the oppressed, which demands the past with the realization of happiness and liberation in the present, and Jetztzeit – a model of messianic time, open and nonlinear time of rupture, based on modern (contemporary) forms of collective experience past and liberation memory (Eingedenken).

DNA, Historical Evidence and The Settlement of Sephardic and Ashkenazic Jews in Colonial Texas

The Lone Star state has long been a symbol of the American West, complete with cowboys, Native Americans, buffalo, cattle drives and the Alamo. Using DNA and genealogical analysis, together with historical documents, this article shows that both the original Spanish settlers and the later “Anglo” arrivals were primarily of Sephardic and Ashkenazic Jewish descent. These findings challenge traditional narratives of “how the West was won”, as well as the prevailing ideology of Anglo-American culture.

Relative Trajectories of Gait and Cognitive Decline in Aging

Background Gait and cognition decline with advancing age, and presage the onset of dementia. Yet, the relative trajectories of gait and cognitive decline in aging are poorly understood – particularly among those with the Motoric Cognitive Risk (MCR) syndrome. This study compared changes in simple and complex gait performance and cognition, as a function of age and MCR. Methods We examined gait and cognitive functions of 1,095 LonGenity study participants (mean age = 75.4±6.7 years) with up to 12 years of annual follow-up. Participants were of Ashkenazi Jewish descent, free of dementia, ambulatory, and had a 12.2 % MCR prevalence at baseline. Gait speed was measured at usual pace walking (single-task walking, STW-speed) and walking while talking (WWT-speed). Eleven neuropsychological test scores were examined separately, and as a global cognition composite. Linear mixed-effects models adjusted for baseline sex, education, parental longevity, cognitive impairment and global health were used to estimate changes in gait and cognition, as a function of age and MCR. Results STW-speed, WWT-speed, and cognitive tests performance declined in a non-linear (accelerating) fashion with age. STW-speed declined faster than WWT-speed and cognitive test scores. People with MCR showed faster rates of decline on figure copy and phonemic fluency. Conclusions Gait declines at a faster rate than cognition in aging. People with MCR are susceptible to faster decline in visuospatial, executive, and language functions. This study adds important knowledge of trajectories of gait and cognitive decline in aging, and identifies MCR as a risk factor for accelerated cognitive decline.

“The Sacrificed Army” – the Hungarian 2nd Army Between Memory and History

The fate of the Hungarian 2nd Army has a significant role in the Hungarian memory. The army was sent to the Eastern Front in 1942 suffered one of the great defeats of the Hungarian military history during the Soviet counter-offensive in January 1943. During the past almost 80 years, different narratives have emerged about it were evolved in the Hungarian public. In the paper the author shall analyse the most significant elements of these narratives. Firstly, there will be examined the genesis and underlying causes of the decision to send the 2nd Army to the Eastern front. The author counter a popular post-war myth that the Hungarian leadership sent out the Hungarian soldiers and labour servicemen with the intention of sacrifice that it could limit Hungary's involvement in the German war effort. Although the Hungarian military leadership discriminated against various social groups (primarily of individuals of Jewish descent, non-Hungarian nationalities) in military service, they did not aim to destroy them. Similarly, the higher proportion of reserve officers and lower social classes (peasantry, workpeople) in the army was misinterpreted. In the second part of the paper the author will examine the interpretations of the defeat in January 1943. As a part of this topic there will be shown how the public opinion and survivors overstated the loss data and the temperature conditions of “the Russian winter.” In addition, the author scrutinize the fighting and withdrawal in January 1943 from the viewpoint of the military discipline. Finally, he analyse the interpretations of two orders. The army commander, Colonel General Jány wrote in his order on 24 January that “the 2nd Army has lost its honour.” Although later he withdrew this order, it became the symbol of the barbarity and betrayal of the Hungarian military elite against the Hungarian soldiers. It received a different opinion on the order of the commander of the III Corps of 1 February 1943, in which Major General Stomm disbanded his formation - which was unprecedented in Hungarian history

A-17 Examining Cognitive Trajectories in SuperAgers within the LonGenity Study

Objective Rogalski and colleagues (2013) use the term SuperAgers to indicate individuals aged 80 and older who have exceptional memory with the goal of clarifying factors that impact successful aging. Using a modified definition, we explored cognitive trajectories of SuperAgers within our longitudinal study of the genetic factors associated with exceptional longevity (OPEL) in individuals of Ashkenazi Jewish descent. Method LonGenity Study participants complete annual physical and cognitive assessments which include the Free and Cued Selective Reminding Test (FCSRT) and WMS-R Logical Memory (LMI). All participants who completed a visit at age 80 were included in the analysis (N = 230; 56.5% female; mean education 17.57 ± 2.74 years; 46.5% OPEL; median follow-up 4 years). Twenty-one participants met modified SuperAger criteria (FCSRT: >38 and LMI: >25; no other cognitive impairment). Descriptive statistics, t-tests, and linear mixed effects models of cognitive trajectories were used to examine the differences between SuperAgers and non-SuperAgers. Results Although there were no differences in demographics or familial history of exceptional longevity, SuperAgers were less likely to have a history of cardiac problems (p = 0.02). Overall cognitive functioning remained stable with age in the SuperAgers, whereas non-SuperAgers demonstrated declining overall cognition with age (β = −0.029, CI: −0.036—0.022). Memory task performances demonstrated a similar discrepancy in trajectories. Conclusion(s) In our unique and high functioning population, SuperAgers as defined at age 80 do not demonstrate the typical cognitive declines thought to be associated with age. Vascular risk factors appear to play a role, but further investigation including exploring genetic markers and MRI is warranted.

Chopin, Polish national culture and the question of “racial Purity”: Zofia Lissa’s voice in the debate over racial issues in the 1930s

The question of racial “purity” or “identity” was part of the fashionable discussion on human races in the 1930s. In 1938 a debate over Chopin’s “racial identity” took place in the Warsaw press, triggered by the publication a book entitled Polacy-chrześcijanie pochodzenia żydowskiego (Poles — Christians of Jewish Origin) by Mateusz Mieses, an outstanding Judaist and representative of one of Poland’s Jewish communities. Mieses’ aim was to familiarise the Polish reader with the very little-known scale on which the ethnically Jewish element had penetrated over the many centuries into the families of the Polish landed gentry, intelligentsia and even aristocracy. As a result, Mieses claimed, many eminent Poles known in Polish history had some Jewish blood in their veins. In addition to the more or less convincing examples of such assimilation, Mieses also quotes some rather dubious ones, including the genealogy of Chopin. On the basis of unconfirmed rumours and the composer’s facial features in some unidentified portrait he claims that Chopin was half Jewish through his mother Justyna Krzyżanowska. Mieses’ conclusions — as well as his entire methodology — were sharply criticised by the reviewer of Wiadomości Literackie as well as by Zofia Lissa, at that time a young scholar at the threshold of a brilliant musicological career. Lissa pointed out that establishing Chopin’s “racial affiliation” is difficult for a lack of reliable and objective sources. For a long time all images of Chopin available to researchers had been either portraits or sculptures, which — as artistic creations — used to deform his face. However, Lissa argued that most of his portraits point to his Dinaric characteristics, which were also confirmed by the two surviving real-life likenesses of the composer (referred to by the author as “racially unprejudiced” sources) — namely, his death mask and the only surviving daguerreotype. Taking into account the findings of contemporary (mainly German) anthropology, Lissa concluded that Chopin was a typical Dinaric with some Nordic features, and it was from his mother that Fryderyk inherited his few physical traits characteristic of that type. On the other hand, Lissa denied that there was any connection between Chopin’s music and his “racial identity”. It seems a paradoxical that Lissa — a scholar of Jewish descent — drew on Nazi theories formulated by German anthropologists to show that Chopin had no demonstrable Jewish ancestors. But if we place this debate in the context of its time, and of one specific period in the ideological and scholarly evolution of Zofia Lissa herself — things do not look so simple any more. Her emphasis on the role of the social environment and her rejection of Einchenauer’s theses concerning the impact of “race” on the character of music testify to Lissa’s intensifying links to the Marxist-Leninist ideology, which she most likely began to absorb in that very period.

Female artists in the context of Viennese Art Nouveau

This article analyzes the activity of female artists and the problems of their relationships in the society during the period of Viennese Art Nouveau of the late XIX – early XX centuries. The subject of this research is the works of female artists of the Vienna Secession and the materials of the Belvedere art exhibitions. It is noted that the problem of gender relationship during the period of Viennese Art Nouveau was given considerable attention; the cultural and artistic creativity were viewed from the perspective of the impact of this problem upon the mentality and minds of the society. The relevance of the selected topic is substantiated by the heightened interest in studying the specificity of the phenomenon of Viennese Art Nouveau and the role of woman in its formation. The novelty of this research lies in the attempt to determine the specificity of the impact of female beginning upon the culture of Viennese Art Nouveau, both as an artistic image that is the centerpiece, and in the image of female artists who supported its development. The conclusion is made that despite the shift in worldview orientations and artistic paradigms fin-de-siècle, the problem of gender relationship and apparent competition between female and artists for their position remained strongly pronounced. The author determines the considerable impact of female artists (many of whom were of Jewish descent immigrated or deceased during the World War II) upon comprehension of the phenomenon of Viennese Art Nouveau.

MEMORIAL SITE AS COMMITMENT SPACE. IDEOLOGICAL AND ARTISTIC CONCEPT OF THE MUSEUM AND MEMORIAL SITE IN SOBIBÓR

The implementation of the new ideological and artistic concept of the Museum and Memorial Site in Sobibór on the site of the former Nazi German death camp selected in the 2013 competition is discussed. The winning design is analysed; apart from the arranging of the area of the former camp, it also envisaged raising of a museum, the latter stage already completed with the building opened to the public in 2020. The concept of ‘commitment space’ is proposed by the Author as best characterising a memorial site created on the premises of the former Nazi concentration camps and death camps for the people of Jewish descent. As a departure point, earlier examples of commemorating similar sites are recalled, beginning with the early monuments from the 1940s, through the 1957 competition for the International Monument to the Victims of the Auschwitz-Birkenau Camp, the latter of major impact on the process of the redefinition of monuments. The then awarded design of the The Road Monument by Oskar Hansen and his team, however unimplemented owing to the protest of former Auschwitz prisoners, became from that time onwards a benchmark for subsequent concepts. Also the mentioned memorial design on the area of the former Belzec extermination camp from 2004 is related to James E. Young’s concept of a counter-monument. The main subject of the paper’s analysis is, however, the reflection on means thanks to which the currently mounted Museum and Memorial Site in Sobibór, including the permanent display at the newly-raised Museum, become ‘commitment space’ for contemporary public on different perception levels of their multi-sensual activity essential in the process of remembrance.

Conflicting Identities

This chapter traces Rahv’s role in forming the canon of 20th century Jewish writing: to use his words, works by writers of Jewish descent. It considers his championing of Franz Kafka, Isaac Bashevis Singer, Bernard Malamud, and Saul Bellow. The significance of modernism, Zionism, and Yiddish in their works is foregrounded. Their stories of Jewishness are interwoven with Rahv’s to illuminate his affirmation of Jewish language and culture, which was marked, however, with ambivalence and irony. To explain Rahv’s ambivalent Jewishness in the 1940s and 50s, this chapter considers what two of his closest friends and associates had to say about him: William Barrett and Mary McCarthy, whose satirical depiction of him in the 1949 “roman à clef” The Oasis provoked Rahv to initiate a law suit. The chapter closes with reflections on what Jewishness meant in Rahv’s world and my own during the 1950s.

Cold War Fears

This chapter explores the production and reception history of a notable Cold War Soviet thriller, The Dead Season, directed by Savva Kulish, a former cameraman and collaborator of Mikhail Romm and Maiya Turovskaya on a famous documentary about life in the Third Reich, Ordinary Fascism. Kulish’s background and his own Jewish descent prompted him to adopt a highly serious approach to the story of a former Nazi war criminal who is now resident in “a certain Western country.” Rather than an exciting adventure story, the film became an exploration of psychological tension, as the discussion here makes clear.