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The figure of a Jew is one of the most common literary concepts in the works of Russian post-modernism. It arouses particular interest among artists from conceptual circles. A characteristic feature of Jewish characters of this type is bias, expressed primarily in the selection of strictly defined features, traditionally attributed to Semitic people. The abandonment of in-depth psychologization and the creation of a universal model of the Jew makes it possible to use this concept in a literary game, the main aim of which is to deconstruct certain phenomena of political and social life. The analysis carried out by the author of the article allows to observe the artistic and philosophical concepts used for this purpose, as well as the broader plan of the current social view of Jews and the Jewish cultural context. The figure of a Jew is one of the most common literary concepts in the works of Russian post-modernism. It arouses particular interest among artists from conceptual circles. A characteristic feature of Jewish characters of this type is bias, expressed primarily in the selection of strictly defined features, traditionally attributed to Semitic people. The abandonment of in-depth psychologization and the creation of a universal model of the Jew makes it possible to use this concept in a literary game, the main aim of which is to deconstruct certain phenomena of political and social life. The analysis carried out by the author of the article allows to observe the artistic and philosophical concepts used for this purpose, as well as the broader plan of the current social view of Jews and the Jewish cultural context.
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The Torah texts (the book of Genesis) are the base for the appointing and describing of the thirteen degrees-stages of Joseph’s raising as the characteristic and full from that is typical for the Judaic mental tradition. Then this tradition is described as a model to be compared with the examples from the Prophets (Mordecai, Daniel) as well as with other texts including the literary ones and the well-known historical facts.
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Jakub’s Books by Olga Tokarczuk talk about Józef Frank (1726–1791), the creator of “probably the most significant phenomenon of public life in which the Jewish communities participated in the beginnings of the modern era”. The writer, thanks to his hero, considered the successor of the leaders of the largest messianic movement, Sabbatai Zvi and Baruchja Ruso, guides the reader through the multicultural and multiethnic Polish Republic in the turbulent 18th century.
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This contribution deals with the attitude of the Slovenian newspapers towards Jewish immigration in the second half of the 19th century. In spite of their small number, which only began to increase slightly in the sixties of that century, there was great fear and opposition to Jewish competition and damaging influence. In an anti-semitic spirit, the newspapers reported on Jewish immigration outside Europe, supporting the idea of a Jewish state which would have seen the Jews leave Europe. The newspaper articles, which were warning against Jewish immigration, were full of prejudice and witness to Slovenian anti-semitism which was part of a wider mid-European attitude.
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The review of: Ruth Wodak / Peter Novak / Johanna Pelikan / Helmut Gruber / Rudolf de Cillia / Richard Mitten: Wir sind alle unschuldige Täter. Frankfurt, Suhrkamp, 1990, 401 strani.
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The review of: Der Mord an den Juden im Zweiten Weltkrieg. Entschlussbildung und Verwirklichung. Herausgegeben von Eberhard Jückel und Jürgen Rohwer. Stuttgart 1985, 246 str.
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The end of the 1930s was critical for the democratic regime of the Czechoslovak Republic and the international situation after the signature of the Munich agreement on 29th September 1938. The movement for autonomy for Slovakia resulted in the declaration of Slovak autonomy on 6th October 1938. The Hlinka´s Slovak People‘s Party (HSĽS) immediately started to establish a single ruling party system. During this relatively short 6-month period, until the declaration of the Slovak State in March 1939, significant political changes were dramatically implemented. The conservative, nationalist, and Christian regime of the HSĽS initiated the process of forming a “new” Slovakia under the protective umbrella of Nazi Germany, including the struggle against its enemies – real and also fictitious. The move to Slovak Autonomy represented a significant transition period when the planning and organisation of the initial phase of the Holocaust and the persecution of other potential opponents was begun by political representatives.
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The study analyses the legislative tools used to liquidate the democratic regime in Slovakia from the autumn of 1938, when it was proclaimed to be politically autonomous. The new autonomous government made use of the existing judicial tools, namely those related to military mobilisation, and set about the rapid preparation of its own regulations. Limitations to civil rights and freedoms that were introduced to defend the democratic system from the direct threat posed by the Third Reich, especially those regarding freedom of speech and assembly, thus were quickly turned against democracy itself. The study documents the extent to which an initial departure from a general pluralist environment within civic society has become a condition for the introduction of openly anti-Jewish legal regulations.
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This article examines the effects of anti-Semitism on the journalism of Karol Körper. Karol Körper was a Catholic priest and a politician within Hlinka’s Slovak People’s Party from about 1935 to the early 1940s. Specifically, the article follows the formation of anti-Semitism conspiracies provoked by campaigns against “Judeo-Bolshevism” that resulted in proposal for the resolution of the so-called Jewish question from 1936–1938. It further shows how these tendencies contributed to Körper’s Fascist radicalism which was not only based on anti-Semitism but also on the cult of personality and political martyrdom. Körper especially developed these ideas while in the position of the main cleric in Hlinka’s Guard in 1939 and 1940.
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The international political situation and the Nazi plans for Central Europe culminated in the late 1930s. The organisation of the collaboration with pro-Nazi and separatist Slovak representatives accelerated after the “Anschluss” of Austria in March 1938. From then on, Slovak territory was only separated from Nazi Germany by the Danube River. The proximity of the two major centres – Vienna and Bratislava – enabled the Nazis to affect the political development of Slovak autonomy and influence public opinion to favor the break-up of Czechoslovakia through the use of various propaganda tools. Modern technology further shortened the distance between places that were already physically close to each other. The main aim of this paper is to focus on Slovak radio broadcasts from the Reich‘s Vienna radio station. It was established at the time of the Sudetenland crisis on 15th September 1938 and was organised by Ľudovít Mutňanský and Rudolf Vávra, members of the Foreign Hlinka Guard (FHG). Studying the period of Slovak autonomy is crucial for gaining an understanding of the original purpose for this broadcast – an attempt to influence public opinion in favor of the dissolution process. Taking into consideration the radicalisation of the broadcast pertaining to the racial perception of the Jewish community, contrary to the ideology of the Hlinka‘s Slovak People‘s Party (HSĽS) at that time, special attention is paid to the role of anti-Semitism in the Slovak program.
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Antisemitism was part of the anti-Jewish policy of the “ľudák” regime in Slovakia during World War II. Deportations to the concentration camps in occupied Poland meant that the overwhelming majority of the Slovak Jewish community was wiped out. Shortly after the war, two groups of Holocaust survivors were formed. One group, in an effort to prevent their descendants from learning the truth about what they had been through, kept their past secret. On the contrary, the other group felt an inner need to talk about the concentration camps. Even decades later, the succeeding generation of children still experienced the trauma suffered by their loved ones. It has become their own trauma, because they have found themselves in a situation where they, too, have to come to terms with the Holocaust, with the past which is merciless and which has a common denominator for both generations: being impacted by Jewishness.
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The review of: Herbert Rosenkranz, Verfolgung und Selbstbehauptung. Podnaslov: Die Juden in Österreich 1928—1945, Wien 1978, 399 str.
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Anselm Kiefer has been present on the international art scene for decades. He is ranked among the most outstanding contemporary artists. The significance of his art springs from both the variety and importance of the subjects he treats, in particular the question of the Holocaust, and the diversity of artistic media and originality of formal solutions he employs. His erudite oeuvre derives from German and world history, culture, Bible, Kabbalah, mythology, legends, literature, philosophy, and theories of science. The formula of my article was inspired by the observations on Kiefer’s art articulated in a monograph by Daniel Arasse. I apply elements of analytical and hermeneutic methods to indicate the numerous contexts in which the motif of ‘fall’ appears in Kiefer’s art. I also point to the possibility of various interpretations of this motif. I examine general, formal qualities of Kiefer’s oeuvre and analyze some chosen artworks he authored, e.g., Fallen Pictures, Icarus, Resurrexit, Winter Forest, The Breaking of the Vessels, and Starfall. The motif that comes to the fore in Kiefer’s art is primarily that of the Holocaust and of the possibility of representation ‘after Auschwitz.’ Referring to particular works of the artist, I highlight the issue of the continuation of the myth in the present in his art in order to show how the works in question derive from the antique, biblical and kabalistic traditions, simultaneously connecting these traditions to the drama of the history of the 20th century. By reference to Kiefer’s artworks already analyzed in Polish literature, as well as to those less known, I indicate the complexity of their inspiration and message, as well as the evolution of Anselm Kiefer’s artistic attitude observed during his career.
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The review of: Leon Poliakov, Il nazismo e lo sterminio delgi Ebrei (prevod iz francoščine). Torino, Einaudi 1971. 414str. 3.izd.
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The author compares the descriptions of the two opposite religious experiences engendered in the period of destruction of the Warsaw ghetto, and the two images of God connected to it. One experience emerges from the consolation sermons of rabbi Kelman Szapira from Piaseczno, in which the immense suffering of the murdered Jews corresponds to the image of God, who suffers. The other experience is contained in the poem of Kacenelson Pieśń o zamordowanym żydowskim narodzie, particularly in the song 9 Do niebios, where the poet, after the vehement accusations against “the heaven” breaks the Israel’s covenant with God, and the murdered Jewish children take his place. The frame for comparison is the motif of transcendental tragedy, which originates as a result of the transformations of the antithetic images of God, combining in one schema of events, derived from the tragedy, the images of “God-tragedy”, blamed for the disaster, and “tragic God”, identified with the faultless suffering.
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