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Dvadeseto stoljeće iznjedrilo je najradikalnije oblike zla u politici, dotjeravši do u povijesti nezapamćena stupnja negiranje ljudskosti određenih skupina, koje je dovelo do najvećih masovnih zločina koji su se ikad počinili. Nekim prividnim paradoksom, ono je također iz njed rilo neviđene forme negiranja zločina, konstituirane u prave ideologije ko je tvore kao neki korolar samom zločinu, ako ne i njegov konsupstancijalni element.
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The author proves the relevance of the notion of a topos for the studies on the narratives of the Shoah, emphasising its unique status of the phenomenon which on the one hand is a ready‑made interpretation of a given situation/event/image, and on the other shows the contextual oscillations of their meanings, actualised in a specific use. Having noted the most interesting contemporary ways of using topoi in the humanities (Reinhardt Koselleck, et al., “Geschistlische Grundbegriffe”, Mieke Bal, “Travelling Concepts in the Humanities” etc.) and their less known exegeses in literary theory (e.g. Paolo Valesio, “Novantiqua”), then having referred to the proto‑classification of the common places in the Holocaust discourse (“Słowa niewinne”, “LTI”, “Encyklopedia getta” etc.), and finally having commented upon the contemporarily used tools of the related studies (imagery, trace etc.), the author outlines the project of the dictionary of the topoi of the Shoah in Polish literature, film, journalism and other narrative forms.
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The article discusses the topos of the death train in Polish literature and collective imagination. In the first part, the author presents the genesis of the topos and reconstructs its meanings. In the second part, he focuses on the specific problems related to including the entry in the future dictionary of the topoi of the Holocaust. The topos of the death train is one of the oldest ones in the collection of the Holocaust‑related themes. It is often perceived as a synonym to the Shoah. The author of the article enumerates and briefly interprets the most significant literary and cultural examples of the death trains.
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The article discusses a key issue in the writings of Imre Kertész (1929–2016), that is, contemplation on the effects of the concentration-camp trauma on the further life of survivors. In his books, the author touches upon problems faced by former inmates of concentration camps, often drawing on his own experience. The Nobel Prize winner reflects upon the former prisoners’ personalities, their problems in building relationships and their image of love and family distorted by war experiences. He also stresses the fact that many of them, unable to adapt to normal life, decided to commit suicide, while his escape from the trauma was just his writing.
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Upamiętnianie Polaków ratujących w czasie wojny Żydów stało się w ostatnich kilkunastu latach jednym ze sztandarowych haseł polskiej polityki historycznej, której głównym celem jest wzmacnianie dobrego samopoczucia narodowego. Poszukiwanie prawdy historycznej o czasach okupacji schodzi tutaj – mimo deklaracji, że jest inaczej – na daleki plan. Liczy się przede wszystkim mitotwórcza wartość tych zabiegów. W walkę na tym froncie angażowały się m.in. Ministerstwo Spraw Zagranicznych, Kancelaria Prezydenta RP, Ministerstwo Kultury i Dziedzictwa Narodowego, Instytut Pamięci Narodowej, Muzeum Historii Żydów Polskich Polin, ks. dr Tadeusz Rydzyk wraz z Radiem Maryja i „Naszym Dziennikiem”, Fundacja Reduta Dobrego Imienia – Polska Liga przeciw Zniesławieniom, „Gazeta Polska” oraz liczne organizacje prorządowe i pozarządowe.
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Galeria „Zagłada” jest częścią wystawy stałej Muzeum Polin. Wystawę tworzy siedem galerii historycznych (od X w. do czasów powojennych) oraz symboliczny „Las”, w których przedstawiono tysiąc lat dziejów polskich Żydów. Koncepcja galerii „Zagłada” została opracowana przez dwoje wybitnych polskich naukowców – prof. Barbarę Engelking i prof. Jacka Leociaka. Muzeum Polin zostało stworzone jako miejsce otwarte na dialog, refleksję i krytyczną analizę przeszłości. Zgodnie ze słowami Konstantego Geberta „jest to Muzeum pytań”. Według klasyfikacji Piotra Piotrowskiego Muzeum Polin należy do muzeów-forów, budujących społeczeństwo otwarte.
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Pierwszy długometrażowy film László Nemesa Syn Szawła (oryg. Saul fia), nagrodzony najważniejszymi nagrodami świata filmu (m.in. Złotą Palmą w Cannes, Cezarem, Złotym Globem czy Oscarem za najlepszy film nieanglojęzyczny), od pierwszych dni po węgierskiej premierze stał się przedmiotem dyskusji. Historia członka Sonderkommando Szawła Ausländera, toczącego 48-godzinną walkę o pochowanie chłopca, zmusiła węgierską opinię publiczną do niemożliwej do zatrzymania i uniknięcia (w obliczu kolejnych nagród i recenzji z prasy światowej) konfrontacji z tematem Zagłady.
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In the context of the canonization of John Paul II, the author reflects on his experience of the concentration camp at Auschwitz. It is a difficult experience, therefore it can more reveal the Pope as a man and a pastor, his way of thinking and perceiving reality. Through canonization this way is indicated to us as a pattern. John Paul came often to Auschwitz, where he saw the place of denial of God and man, but also a place of victory of man over contempt, hatred and death through faith in God, which generates love for Him and for man. The symbol of such a victory is St. Maximilian Maria Kolbe, martyr of love that as Christ gave his life for the fellow prisoner Francis Gajowniczek. In this heroic deed – in the opinion of the Pope – Christ himself was present, so the camp at Auschwitz is not only hell on earth, but also the Golgotha of our times, the cemetery of the martyrs, the sanctuary of the patron of difficult century. Pope John Paul II arrived there to pray and make a reflection on the contemporary man’s condition, who in Christ the Redeemer can still conquer evil with good and to build the peace based on respect for the rights of person and nations.
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The article is devoted to two films by the independent operator, director and producer Arkadiusz Gołębiewski: The Story of the Kowalski Family (Historia Kowalskich), which raises the subject of the Holocaust, and Quarter L (Kwatera Ł), which deals with Stalin’s crimes in Poland. They are interpreted not as historical works, but as films about memory and - in the case of the latter - memory in statu nascendi. Their involvement in political and historical polemics and their relationship to the vision of history supported by the Polish State are analyzed.
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Review of: James R. Thompson - To Our Children, Memoirs of Displacement A Jewish Journey of Hope and Survival in Twentieth Century Poland and Beyond Boston: Academic Studies Press (www.academicstudiespress.com), 2016. xii + 219 pages. Index, illustrations. ISBN 978-1-61811-478-5. Hardcover.
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The Holocaust has pedagogical significance not only for Jews and for Israel, but perhaps even more so for Christians, Europeans, North Americans, and others. Its ramifications are especially salient with regard to theology and notions of nationality and ethnicity. Examples are given from historical and liturgical texts, as well as belles letters.
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The reception of the Holocaust in popular culture is like a set of the broken images of the past. There are fluent differences between fiction and reality, between texts and facts, between knowledge and ignorance. This article concerns the forms of the influence of poplar culture on the representations of the Holocaust. Broken image can reveal a part of same event, the same fact. There are intellectual and axiological challenges between revealing and abusing the “Auschwitz” in the contemporary texts of culture. There are three main parts of the article: The contexts of the terms, Opened arguments and How instrumentally where are described the mechanisms of reduction, instrumentalization and mediatization of the reception of the Holocaust.
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Andrzej Brzozowski directed a live action short subject based on Zofia Nałkowska’s short story Aside of the Railway in 1963. The film was banned by the communist authorities and presented for the first time as late as in 1992. This is a story of runaway Jewish woman who jumped out of a train aiming at a concentration camp somewhere in Poland occupied by he Nazis. With a heavily wounded knee she lies aside of the railway looking at Polish countrymen who gathered near her and see no chance to help her as they fear of the Nazis. When she ask them not to carry her to Germans’ one of the onlookers shots her on the spot. Brzozowski made numerous modifications to present the tragic situation from the short story in film. One of them is the change of the point of view. In film it is the POV of the wounded woman, when in the short story it is presented by a witness who told the writer about the events only after the war. Brzozowski also changed the time of events from spring in the story to snowy winter in the film and focused on two main characters – the Jewish woman and the man who seemed most determined to help her and shot her in the end.
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The article titled Images performed by words in Howard Jacobson’n novel Kalooki Nights. Remarks about inter semiotic relations among words and pictures concerns the inter semiotic tensions among words and pictures. The theoretical model is supported by the interpretation of Howard Jacobson’s novel titled Kalooki Nights. This novel redefines the limits of representation and reception of the Holocaust in the context of identity and contemporary world. Exploring the forms of “reading” (“looking at”) of the linguistic codes as the visual codes, such terms like “transframing” and “performing” refer to the patterns of creation the fictional worlds (constructed by the words which are treated as the images). The being of words still means looking through them, through their semantic flaws. This inter semiotic translations are rooted in the will of creation (Eros) and the will of destruction (Thanatos). The history of interpretations of these two sources of semiosphere touches the limits of questions: what can be shown in written world.
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This article focuses on the reception in Israel of Sugihara Chiune, a Japanese diplomat who served in Kaunas in 1939-40 and granted transit visa to several thousands of refugees, mostly Jews. The article explains the mechanisms that influenced the recognition of Sugihara in Yad Vashem during a 16-year hiatus since his name first reached this institution. It also argues that the key for the reception of Sugihara in Israel was his recognition by Yad Vashem as a Righteous Among the Nations. Once this recognition was made, it allowed further tokens of recognition that affected his status overseas too.
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More than twenty letters of European Jews to the President of the Philippines Manuel Quezon, sent to apply for entry visas for over four dozen people, were recently found in the Rare Books and Manuscripts Department of the National Library of the Philippines in Manila. The letters written in English, German, and Spanish are dated Spring-Summer 1939, when escape from Europe was still possible. Though several hundreds of Jewish refugees came to Manila via various ways during 1937–1941, the letters in question remained unanswered. All of them provide the exact time of the short-lived Mindanao plan, which proposed to establish an agricultural colony of European Jews in the Philippines, but got stuck in the very beginning. The databases of the Yad Vashem World Holocaust Remembrance Center in Jerusalem and the United States Holocaust Memorial Museum in Washington reveal the tragedy, which many Jews anticipated: all of the Philippine visa-seekers, except for one person, found their death in various concentration camps, ghettos, and labour battalions. The article is dedicated to the memory of Jewish refugees, who were seeking in vain an asylum from the Nazis and their collaborators in the Philippines and other parts of the world.
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Report from the exhibition named "Since then I believe in fate ..."
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