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Sándor Bacskai´s „The First Day“ – as the first volume – begins with the golden age of the Jewish orthodoxy and ends in the time of returning from the forced labor camps, concentration camps.
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This publication is the translation of the original Memories of Ráv Élijáhu Domán (Domán Ernő), written in Hebrew. The original document is saved and stored in Yad Vashem, The Holocaust Martyrs' and Heroes' Remembrance Authority . The translation and has been made by István Domán, the son of Ráv Élijáhu Domán, in September-October 2004.
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Jews were given a guarantee of equality by the Emancipation Act no. XVII/1867, which meant the same role for them like for all other citizens of Europe: to fulfil civil obligations and be loyal to the Hungarian statehood and the crown. They had to stop operating as a separate unit, that is, they had to suppress through reforms the cultural and ethnic particularities that distinguished them from the rest of the population and, consequently, to blend in with the majority, keeping their own religion at the most. Assimilation was intended as the consequence of emancipation and, in fact, its fulfilment. Such a liberal model, based on the Enlightenment ideals of the French Revolution, was in place everywhere in Western Europe. In the Hungarian intentions the assimilation had to take place toward the dominant ethnic Hungarian (Magyar) culture in order to strengthen its tenuous position within the boundaries of the historic Kingdom of Hungary, or, in other words, to increase at least statistically the number of ethnic Hungarians compared to other “nationalities”. In the beginning of the 20th century, Jews in Hungary amounted to about 6 % of the total population, which was a really high number compared with 1 % in Germany. The assimilation process in Hungary took place much faster than in Western Europe, or in less time, generally between the Compromise and World War I, and was most evident in the area of language. The difference was also in the fact that while the assimilation took place in the West in strong national cultures and modern economies, in Hungary it unrolled in generally less developed economic, cultural and political conditions.
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The research premise addresses the question whether and how the historical politics of Germany and Austria affects the cinematic representations of Jews. Both countries are responsible for the consequences of World War II, but they have dealt with their wartime heritage differently. The dissertation investigates to what extent the assumed rhetoric of the debate on Nazism and the Holocaust shapes the cinematic representations of Jews. Also, taking into account the present situation of the Jewish minority in these countries. Selected examples from Austrian and German films make up interesting research material for comparative analysis. By stressing possible similarities and differences between the two national cinemas, it allows to capture certain patterns in presenting Jews as well as indicates their national invariants. The methodological approach draws on theories in the field of memory studies. Particular attention is directed to the question whether analysed films reproduce anti-Semitic stereotypes, or whether their approach is creative and subversive. The dissertation also reflects on the problem whether the generation of Survivors and their descendants are presented in the same way, or whether their cinematic images are constructed in relation to the same or different stereotypes: the Jew as the Other, or the Jew as a Victim?
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The author of the article focuses on the issue of anti-Semitism in Roman Dmowski’s publications, with particular attention paid to his novel Legacy. In the following steps of the analysis, the author describes the National Democracy ideologist’s attitude towards Jews in his official political writings and long prose pieces published under a pseudonym, showing the interdependencies between these two spheres of activity (political and artistic). The research uses mainly the tools of psychoanalysis and gender studies.
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Creating performances for the celebration of important events is not a modern invention, but it is an extremely interesting phenomenon due to the ability to respond to the needs of given times, the range of impact (territorial and reception), and usually a short operating time. The fiftieth anniversary of March 1968 was full of performances dealing with the emigration of Polish citizens of Jewish origin who were forced to leave by launching an anti-Semitic campaign. In my paper, I will analyze the dramaturgy of three performances: “A Few Foreign Words in Polish” directed by Anna Smolar with a text by Michał Buszewicz created for a specific production, Michał Zadara's “Justice” as a theatrical investigation into a crime involving “King Oedipus” by Sophocles and “Notes from exile” directed by Magda Umer and adapted from a book by Sabina Baral. Despite the common starting point, which is the theme of the events of March 1968, the aforementioned performances are characterized by a different approach to both the undertaken problem and dramatic solutions. The main concept of the paper is "postmemory", that is the structure of the transfer of trauma between generations, and its subsequent redefinitions. An important issue will also be examining the relationship between memory and history, the function of photography and the principles of building a postmemory archive.
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The publication serves as a support for secondary school teachers for the development of activation teaching in history.
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