Zsidó kultúra, művészet és könyvkiadás Szinérváralján
a szecessziós retorika sajátosságai a könyvkiadói nyelvezetben
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a szecessziós retorika sajátosságai a könyvkiadói nyelvezetben
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A történelmi egyházak és a zsidó közösségek viszonya Csehszlovákiában, Romániában és Magyarországon 1920-tól a Holokausztig. Budapest, CEC, 2014.
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This essay explores from a new perspective the intricate ways in which Jews have encountered and engaged with Germany and Poland after the Holocaust. It looks at the emotions expressed by Jews who travelled to both countries from roughly the late 1940s to the present moment in an attempt to build a textual montage of the juxtaposing feelings that Jews have had towards the region. In so doing, it attempts to show that Germany and Poland have represented for Jews not only a “ruined landscape” of death, but an emotionally complex space in which a wide range of emotional reactions have intersected.
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Although the starting point for the author of the essay is a specific book – Pinkes Szczekocin. Księga pamięci Szczekocin [Pinkes Szczekocin. Memorial Book of Szczekociny], it actually becomes an impetus to far more extensive consideration. Analyzing the narrative phenomenon of memorial books, that is works commemorating the Jewish communities of particular cities and towns exterminated in the Holocaust, the author ponders over how the specificity of such writing’s reception has changed. Memorial books, directed mainly to the descendants of the extermination survivors, become today an important source of knowledge about Jewish history and culture for Poles living in cities where Jewish life flourished before the war.
More...Słowa Biblii w żydowskich inskrypcjach nagrobnych
The purpose of this article is to point the Jewish gravestone’s inscriptions as a source of interdisciplinary research. They contain for example the rich Biblical onomastics and phraseology and also a lot of citations from Bible – especially in eulogies and lamentations. The matzevot and inscriptions can be a starting point to the comparative studies on the level of language, theology, culture: including sepulchral tradition of Jews and Christians.
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The Jazz Singer (1927), a film based on Samson Raphaelson’s short story, “The Day of Atonement,” published in 1922, and inspired by the life of one of the most successful twentieth century Jewish actors, Al Jolson, played an important role in the film industry, as it anticipated the end of the silent film era, and it also managed to offer a closer look at the atmosphere of the Jewish American life, illustrating the main issues that the Jewish American families had to deal with at the beginning of the twentieth century. Later on, three more films were made, and they adapted the original story to the realities of the periods when they were shot, the 1950s, and the 1980s, respectively. The aim of this paper is to highlight the way in which the film industry addressed intergenerational dynamics in Jewish American families during the 1920s and the 1980s, respectively, by comparing and analyzing the original Jazz Singer (1927) and its 1980 remake, with respect to the arising conflict between tradition and ambition, to identity issues, and to the relations established between family members, in conversation with critical sources by Vincent Brook, Joel Rosenberg, and Stephen Whitfield.
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This article analyzes the imagery shared by interwar Bessarabian peasants about their Jewish neighbors and traces the role that this imagery played in determining gentiles’ attitudes or behavior during the summer of 1941. It is built on a vast array of sources, including, over three hundred testimonies of Jewish survivors, and archival materials studied at the National Archives of the Republic of Moldova and the US Holocaust Memorial Museum. During the start of the war, civilians had brief interregnum allowing them to act on their own, unrestrained by local authorities. At this time, robberies in Jewish towns and villages occurred on an unprecedented scale across the region, with open involvement of numerous groups of civilians; sometimes these robberies were accompanied by assaults and murders. This paper argues that the plunder of Bessarabian Jewry was something more complex than war banditry. For these peasants, the robbery of Jewish goods represented a ‘natural’ way to balance what they perceived to be an unjust economic and social situation that had lasted too long and which could finally be resolved. During the summer of 1941 the peasants of Bessarabia undertook, on their own initiative and for their own benefit, a mass plunder which had the effect of expropriating property from their Jewish neighbors. Men, women, and even children took part in this “mass operation.” The plunder recast the economic topography of Bessarabian society, anticipating the actions of the Romanian state, which joined this process by legally nationalizing all property and assets owned by Jews in Bessarabia on September 4, 1941.
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The following article places Igor Ostachowicz‟s novel The Night of the Living Jews (2012) on the background of texts of other contemporary Polish authors, such as Sylwia Chutnik and Elżbieta Janicka, and shows that the reoccurrence of the Jews as ghost figures in those texts serves as a metaphor for hunting past. For years the Jews of Poland were forgotten by their pre-war neighbours. They were silenced by the narratives of communism, Polish national martyrdom, and a polonocentric view of history. Igor Ostachowicz gives a voice to the un-mourned ghosts of the Jews of Poland. Although, the novel is an examination of Polish national conscience and the way Poles have dealt (or have not dealt) with the trauma of the Holocaust, Auschwitz becomes a metaphor, a universal symbol which Ostachowicz uses to make an argument not related to the history of the Holocaust.
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The article is an attempt to analyze the phenomenon of Jewish football in interwar Kraków. On the basis of books on the topic, newspaper articles and recollections of witnesses, the author describes the significant role of the Jews in the development of football in Poland. The primary focus, however, is the importance of competitive sports for minority representatives, especially in the context of their relationship with the Catholic majority. The main objective of this paper is to present Polish-Jewish relations in interwar Kraków from the perspective of the four competing clubs: Jutrzenka, Maccabi, Wisła and Cracovia. The teams not only battled on the sports field but also represented the entire spectrum of ideological views and attitudes. Differences between the left-wing Jutrzenka, Zionist Maccabi, democratic Cracovia and nationally-oriented Wisła reflected important antagonisms between Poles and Jews, as well as divisions within ethnic groups.
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Although the modern stage in the development of Hebrew began in Europe about two hundred years ago, after 1948 the language and its literature became confined for the most part to the state of Israel. The tumultuous course of Jewish history in the past two centuries has by and large emptied the Jewish Diaspora of Hebrew. And yet in the past few decades we are witnessing a growing number of Hebrew writers who are no longer confined by geography. Although they still publish their works in Israel, they write them elsewhere, mainly in the United States and Europe. Increasingly, too, their works reflect their habitat as well as the peoples and cultures of their countries of residence. Are we witnessing the birth of what can perhaps be termed a “post-national Hebrew” era, an era in which Israel remains an inspiring cultural center, but no longer the only location for the creation of original works in Hebrew? This article looks at various Hebrew novels that were written outside of Israel in the last few decades and examines the contours of what may perhaps be a new chapter in the history of modern Hebrew.
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The article explores the events known as the “pimp pogrom,” which took place in Warsaw in May 1905, as presented by the Jewish press. The analysis of the sources has provided new insights into the events, which were very complex in their nature. For many years, the Jewish community of Warsaw struggled with a problem of prostitution and white slavery. The inaction of the Russian authorities and police as well as the ineffectiveness of abolitionist organizations provoked the feeling of hopelessness and evoked a rank-and-file initiative of the Jewish working class. The pre-revolutionary turmoil only accelerated the explosion of violence against the marginalized and suspicious elements of the society.
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The kabbalistic doctrine of cosmic cycles (shemittot and yovel) or worlds periodically created and returning into the state of chaos has been fully developed in the treatise entitled Sefer ha-Temunah, composed by an anonymous author probably in the mid-fourteenth century within the areas of the Byzantine Empire. The allusive style of the text is balanced by its clear structure, which constitutes the framework for the doctrine of cosmic cycles. This paper investigates the cluster of motifs exposed in the introduction to Sefer ha-Temunah and further developed in the treatise: (a) sefirah Binah and its symbolism, (b) ascension of the vital soul (nefesh) to Binah as a place of its origin, and (c) the concept of primordial Torah (Torah elionah) as a tool by which Binah affects each of the following worlds. The article reveals the relation between these motifs as organized around the notion of sefirah Binah, which is the crucial concept in the process of creation and destruction of worlds presented by the anonymous author of Sefer ha-Temunah.
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Mordekhai David Brandstetter (1844−1928) was one of the prominent creators of Hebrew Haskalah literature in its latest phase. His most celebrated contribution is connected with HaShahar, the leading periodical of late Haskalah literature, edited by Peretz Smolenskin between 1869−1884. Most of the readings of Brandstetter’s writings have focused so far on the dozen short stories and novellas he published in HaShahar. Much less attention has been devoted to the later stage of his literary work that outstretched far beyond that era. This study focuses on those late works, some twelve stories that were written after the publication of Brandstetter’s collected writings in 1891. These stories are still rooted in Galician Jewish life, but they reflect the ambition to adhere to new materials and poetics, following the radical changes in Hebrew literature from the 1880’s onward towards realism, modernism and Zionism.
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The interface between politics and theology in the discourse of Zionism and Jewish nationalism has occupied writers, historians and literary critics since the end of the nineteenth century, and has received renewed attention recently. This paper analyzes David Frishman’s critique of Hayim Nahman Bialik’s literary work, highlighting Frishman’s anti-Zionist and anti-messianic stance. It then uses Frishman’s critique as a basis for critically examining the contemporary debate over the secularization of modern Hebrew literature.
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This paper presents the tasks and aims that Nahum Sokolow believed Hebrew literature should have in Jewish life and in the Jewish national movement. Before his official joining the Zionist movement, Sokolow believed that the contribution of Hebrew literature to the formation of Jewish nationalism was more significant than the return of the Jews to their historical territory. This position did not change significantly after his joining the Zionist movement in 1897. In addition the paper evaluates Sokolow’s significant input to the development of the Jewish literary center in Warsaw and a new Hebrew literary style.
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The article gives a general overview of Hebrew literary life in Warsaw, and provides new perspectives on Hebrew fiction written in and about the city in the period of 1880−1920. The study results from the need to understand Hebrew literature within the inherently multilingual, transnational nature of the Jewish literary activity in the city and is based on a large corpus of Hebrew fictional texts that scholars did not consider earlier. It describes Hebrew literary life in Warsaw, as well as the different ways in which Warsaw’s cityscape and the urban experience are represented in Hebrew stories and novels written between 1880 and 1920.
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The article scrutinises various aspects of cultural activities in Hebrew literary centers in interwar Poland (1919–1939). The research is based on Hebrew literary periodicals published in the cities of Warsaw, Krakow, Vilnius and Lviv.Taking into consideration the common practice of scholars to neglect or ignore both the historical importance and the literary value of the output of diasporic centers, the main goal of the study was to show the internal dynamic of the Polish center. By describing literary initiatives undertaken in various cities, the author demonstrated the spectrum of cultural and literary activities, along with differences between the centers and mutual relations of their representatives.
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The article discusses the image of Poland in the works of two Hebrew poets, Uri Zvi Greenberg and Avot Yeshurun, whose biographies are closely connected with Poland. Both of them expressed their complex and often contradictory feelings towards their European past but each of them did it in his own way. Greenberg in his main works created a national and political narrative. Even when he referred to personal memories, they were usually combined with a social diagnosis. In contrast, Yeshurun in his poetry expressed, above all, personal feelings of devotion to the abandoned town and family as well as longing and sense of guilt.
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According to a 450-year-old tradition, the Brest Bible is regarded as the first translation of the whole Holy Scripture from the original languages into Polish. The present article deals mainly with the relation between the Brest Bible and Hebrew and Aramaic versions. Even a cursory analysis reveals that the Brest translators generally followed hebraica veritas. Yet, they took advantage of Stephanus’s Bible (Geneva 1556/57), which besides the Vulgate contained a literal translation of the Hebrew Bible into Latin, accomplished by Santes Pagnini. This version made it possible to convey hebraica veritas without resorting to the Hebrew text. In places where there are significant differences between the printed editions of the Hebrew Bible of the 16th century and Pagnini’s version (e.g. Ruth 2:23; 3:15; 4:1), the Brest Bible follows Pagnini. The Brest translators followed Pagnini’s text in Stephanus’s edition verse by verse, adapting the division into chapters and verses to the Polish text. The analysis of onomastics and the system of transcription in the Brest Bible leads to the conclusion that the translators followed the previously accepted principles of proper names translation as well as left some Hebrew and Aramaic terms untranslated. The influence of the Vulgate might have been the result of mistakes which emerged as a result of taking advantage of two Latin versions simultaneously, printed alongside by Stephanus (see 1 Chr 4:2). There are reasons to doubt if the Brest translators were translating directly from the original version. Chances are they translated directly from Pagnini’s version printed by Robert Stephanus. In order to confirm this with all certainty and without a shadow of a doubt, strenuous and tedious research, comprising larger parts of the text, conducted verse by verse, is absolutely crucial.
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Dorothea Schalit, a Jewish girl, and Heinz Hampel, a Protestant, met in Sopot (Zoppot), then a town incorporated into the Free City of Gdańsk (Danzig), in the 1920s. They got married and were active in the leftist and democratic circles. After 1933, when the municipal authorities became dominated by the Nazis, the Hampels did not leave the Free City. Despite the increasing pressures and insults from the NSDAP members, Heinz Hampel refused to divorce Dorothea. Owing to their courage and the aid from few friends, the couple managed to survive in Sopot and in March 1945 saw the Red Army enter the town. They lived there until 1950 when they decided to emigrate to Israel. Till their death they stayed in Jerusalem. The presented text consists of a historical introduction written by Grzegorz Berendt and the report of the Hampels on their life in Sopot prior to the entry of the Russian army into the city. The said report was incorporated into the collections of Yad Vashem Institute, the Holocaust Martyrs’ and Heroes’ Remembrance Authority.
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