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Sara Gliksman-Fajtlowicz, a painter, came from a well-off family of Majerowiczs, the owners of opticians’ shops in Łódź. She studied at private painting and drawing schools in Łódźand Warsaw. Before the outbreak of World War II, she was active in the Polish art milieu. In 1933, she became a member of the Trade Union of Polish Artists (Związek Zawodowy Polskich Artystów Plastyków, ZZPAP) and participated in its exhibitions in Łódź, Warsaw, Kraków,and Lviv. She painted mainly landscapes, still lifes, and—less frequently—portraits. She published her works in the union magazine Forma. In 1940, she was displaced to the Łódźghetto where she worked as a graphic artist at the Statistics Department. Thanks to this she could obtain art materials. Her clandestine activity was documenting life in the ghetto in paintings and drawings. She survived the liquidation of the ghetto and then was forced to work on cleaning that area. Liberated on 19 January 1945, she returned to her house where some of her prewar works had survived. After 1945 she continued her artistic career and exhibited with the ZZPAP, as well as with the Jewish Society for the Encouragement of Fine Arts. In 1957, she emigrated to Israel. Gliksman died in Tel Aviv in 2005. The aim of this article is to verify and describe Sara Gliksman’s biography, to present her activities in the Polish-Jewish artistic community of postwar Poland, as well as to place her works in the context of issues concerning survivors’ memory and artistic attitudes toward the Holocaust, and art as a manifestation of hope for the rebirth of Jewish life and culture in postwar Poland in the second half of the 1940s and the beginning of the 1950s.
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This study focuses on presenting the specific Central European region of Bukovina, in its day the last crown land of the Austro-Hungarian monarchy, which today is divided between Ukraine and Romania. A specific national-cultural situation formed in its capital of Chernivtsi at the beginning of the twentieth century: the Jewish minority, using standard German as its language of communication and sensing the approach of its annihilation, clung to literary creativity, consisting primarily in intensive poetry writing. After the Second World War, the literary work of these authors was published in the diaspora. In addition to the name of Rose Ausländer, the poet Paul Celan especially gained renown, and it was from his late work, written towards the end of his life, that the Israeli poet Ilana Shmueli, originally from Chernivtsi, took inspiration. The work of both these authors is directed towards hermeticism and cipher, but this is in no way detrimental to the intensity of the poetic communication of the tragedy of the Shoah.
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This study aims to characterise the ways in which Hasidic storytelling is adapted in Jiří Langer’s prose work Devět bran (Nine Gates). The main emphasis is on his manner of creating an illusion of ‘skaz’, which the author, in agreement with Hana Kosáková’s and Boris Eikhenbaum’s work, understands as a narrative form, imitating spontaneous verbal utterance. The following interpretation shows two major principles of Jiří Langer’s narrative strategy of anonymising the narrator, and of illusive speech: Firstly, the conscious usage of verbal material as if with artlessness and ease, using hidden rhythmisation, language deformation and playfulness. Secondly, he employs storytelling in everyday Hasidic life, convincing the reader of the narrator’s own insignificance.
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In this contribution we analyse images of Jews in two prose works by the writer Mychajlo Šmajda. These are the novel Lemkos (1964) and the short story Contraband (1989), both of which are written in Ukrainian. Ukrainian literature in Slovakia is represented by members of the Ukrainian (previously Ruthenian-Ukrainian) minority, who are considered the indigenous population of the northeastern part of Slovakia. These hitherto unexplored literary monuments reflecting the legacy of the Jewish minority represent a source of intangible wealth and the only mementos of this ethnic group, which once constituted an integral component of the history of Europe.
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Rewiev of: Jevreji I i II. Zbornik radova sa XV međunarodnog naučnog skupa “Srpski jezik, književnost, umetnost”, Dragan Bošković i Časlav Nikolić, ur., Filološko-umetnički fakultet, Kragujevac 2021., 392 str. (I tom) i 408 str. (II tom).
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The main aim of this article is to analyze Jewish religious extremism in its individual and collective forms, and to examine the attitudes, actions and rhetoric of radical individuals and groups towards the peace process and Oslo Accords with Palestinians. The research problem concerns the impact of the activity of radical Jewish groups on the socio-political situation in Israel and the internal security of the country. The main hypothesis of the paper assumes that the actions of Jewish extremists, both in the individual and group dimensions, are directed against agreements with the Palestinian Liberation Organization and are an attempt to undermine the peace process. The research questions accompanying the hypothesis focus on two issues: what methods and forms of action are used now and were deployed in the past by Jewish radicals and what are the consequences of their activity. In this context, a question can also be asked about the evolution of radical Jewish movements. The research methods used in the study are behavioral, institutional – legal and historical. This article shows that the activity of Jewish extremism is not only a serious threat, but also a challenge to Israel’s national security.
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Over the last two years, the Jewish Museum in Prague (JMP) has seen an increased interest from the public in sharing information and material related to the fate of family, relatives, friends, neighbours, or acquaintances who were defined as Jews under the Nuremberg Laws and who were subject to racial persecution. We have also been repeatedly approached by contributors to our earlier project Nalezené tváře [Long-lost Faces] and by visitors to our exhibition series Od té doby věřím na osud [Since Then I Believe in Fate], which focused on the transports of Protectorate Jews to Nazi-occupied Poland, Belarus and the Baltic States. Material is donated to the JMP both on the initiative of donors and through our own activities, which involve personal meetings with potential donors, Shoah survivors and their family members.
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This April, a display banner with a stylized ladder leading to the inscription ‘Secrets in the Attic’ appeared on the facade of the Regional Museum in Chrudim.
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The article focuses on three poems authored by Aron Lyuboshitsky (1874–1942?), a Hebrew teacher, author, poet, editor, and translator, who lived and worked in Warsaw and Łódź, and his contribution to building a Jewish national identity through his literary works for children and youth. The prism through which the article views Lyuboshitsky’s activities is that of ethno-symbolism, a concept drawn from the field of cultural studies. For an ethno-symbolic analysis of his works, three key criteria were considered: (1) linking the present to the past; (2) using cultural symbols; and (3) actively promoting the formation of a shared ethnocultural identity. Lyuboshitsky’s literary-cultural and didactic oeuvre was devoted to reawakening the Jewish nation by appealing to the younger generation. He interconnected the Hebrew language, Hebrew literature, the Jewish people, and the Holy Land.
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The article discusses and analyzes excerpts from the reports of the Kiev general governors from the years 1864–1872 devoted to the Jewish community. These reports are a very important, but, so far, hardly used source referring to the history of the Southwestern Krai (governorates: Kiev, Podolia and Volhynia). In the first years after the January Uprising, the most important task for the Russian administration in this area was carrying out activities aimed at weakening Polish influence. The Jewish question was therefore left in abeyance. Only General Governor Alexander Dondukov-Korsakov paid more attention to it, fearing that the Jews, after the weakening of Polish influence, would take the leading position in the country’s economy. The analysis of the reports proves that all the general governors considered the Jews as a detached group living at the expense of society. The main reason for this situation was specificity of the Jewish religion. They believed that the key to solving the Jewish question could be the abolition of the Pale of Settlement and permission for Jews to settle throughout the Russian Empire. However, the opinions and proposals contained in the reports did not have a major impact on the policy of the state.
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Existence in the ghetto was tantamount to descent into an abyss, also an abyss of time. Barbara Engelking („Czas przestał dla mnie istnieć”. Analiza doświadczenia czasu w sytuacji ostatecznej, 1996) formulates the conceptions of “abyssal category”, “abyssal situation”, and “abyssal time”. The term, which originates from the Greek abyssos, describes the ghetto experience / the experience of the Holocaust. Time spent in the ghetto is abyssal, a life in the fissures of time. I consider testimonies written there and then: the essay about hunger by Leib Goldin, the account by Stella Fidelseid (hiding in a bunker from the outbreak of the Warsaw Ghetto Uprising all the way to December 1943), and fragments of Pamiętnik by Janusz Korczak, and seek in those records something that might be described as “the perspective of tomorrow”. Furthermore, I ponder on how the horizon of “tomorrow”, comprehended literally as the next day and metaphorically as a distant or near future, can reveal itself in abyssal time, bereft of the past and the future and submerged in the extreme “now”.
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This is a story about a journey – real and mental – against the background of a war or actually two wars. A voyage under the banner of Bruno Schulz and Serhiy Zhadan, from Drohobycz to Gorlice, a small town in the Carpathian Mts., in which more than half of the pre-war population was composed of Jews, almost all of whom died in the Holocaust. The town grew on their blood and bodies. But this is also a journey beyond the town’s material dimension, to the land of shadows which had never departed but are still there. The past has not disappeared – on the contrary, it has as if accumulated and settled down on walls and trees, in the air and on the paving. The author follows traces and is interested in that, which at present is poorly known, unfamiliar, marginal, ignored, forgotten or slighted. In doing so, she attempts to extract from non-existence the stories of those about whom very little is known, and to establish a language in which we could talk to them. A language that, to cite Professor Roch Sulima, constitutes seeing through “nothingness, a process of coming nearer to the world with tenderness and not with perception-rule”.
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An essay dedicated to Jakub Woynarowski’s book Martwy sezon (The Dead Season), or – as it is described by Paweł Drabarczyk – “a chimeric visual poem” inspired by the prose of Bruno Schulz.
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