Pub Date : 2021-01-01DOI: 10.4467/24500100stj.21.009.14611
Krystian Propola
The Image of Jewish Women on the Eastern Front of World War II in Contemporary Russian-Language Jewish Media: The Example of the Online Edition of the American Newspaper Yevreiski Mir The main aim of this paper is to present the image of Jewish women participating in hostilities on the Eastern Front of World War II in the contemporary Russian-language Jewish media on the example of the online edition of the American newspaper Yevreiski Mir. An analysis of its articles proves that the fates of women of Jewish origin in the Red Army and the Soviet resistance movement are used by the authors to strengthen social ties among Russian-speaking Jews. Moreover, it is shown that the use of biographical threads of selected Jewish women helps journalists create a new narrative in which Jewish women are presented not only as victims but also as war heroines proud of their origin.
{"title":"Obraz Żydówek na froncie wschodnim II wojny światowej we współczesnych rosyjskojęzycznych mediach żydowskich. Na przykładzie wydania internetowego amerykańskiego czasopisma „Jewriejskij Mir”","authors":"Krystian Propola","doi":"10.4467/24500100stj.21.009.14611","DOIUrl":"https://doi.org/10.4467/24500100stj.21.009.14611","url":null,"abstract":"The Image of Jewish Women on the Eastern Front of World War II in Contemporary Russian-Language Jewish Media: The Example of the Online Edition of the American Newspaper Yevreiski Mir The main aim of this paper is to present the image of Jewish women participating in hostilities on the Eastern Front of World War II in the contemporary Russian-language Jewish media on the example of the online edition of the American newspaper Yevreiski Mir. An analysis of its articles proves that the fates of women of Jewish origin in the Red Army and the Soviet resistance movement are used by the authors to strengthen social ties among Russian-speaking Jews. Moreover, it is shown that the use of biographical threads of selected Jewish women helps journalists create a new narrative in which Jewish women are presented not only as victims but also as war heroines proud of their origin.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70994738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/24500100stj.21.018.15073
M. Tarnowska
The Holocaust and Rebirth in the Works of Sara Gliksman-Fajtlowicz, a Painter From Łódź, 1909–2005 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 Łódź and 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 Łódź ghetto 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 this 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.
画家Sara Gliksman-Fajtlowicz的作品中的大屠杀和重生来自Łódź， 1909-2005Sara Gliksman-Fajtlowicz，一个画家，来自一个富裕的majerowicz家庭，他们在Łódź开了一家眼镜店。她曾在Łódź和华沙的私立绘画学校学习。第二次世界大战爆发前，她活跃于波兰艺术界。1933年，她成为波兰艺术家工会(Związek Zawodowy Polskich Artystów Plastyków, ZZPAP)的成员，并参加了该工会在Łódź、华沙、Kraków和利沃夫的展览。她主要画风景画、静物画，很少画肖像画。她的作品发表在工会杂志Forma上。1940年，她被转移到Łódź隔都，在那里她在统计部门担任图形艺术家。因此，她可以获得艺术材料。她的秘密活动是用油画和素描记录犹太人区的生活。她在犹太人区清算中幸存下来，然后被迫从事清理这一地区的工作。1945年1月19日，她获得了自由，回到了她的家中，她的一些战前作品保存了下来。1945年后，她继续她的艺术生涯，并在ZZPAP以及犹太美术鼓励协会展出。1957年，她移民到以色列。Gliksman于2005年在特拉维夫去世。本文的目的是验证和描述Sara Gliksman的传记，展示她在战后波兰的波兰犹太艺术界的活动，以及将她的作品置于幸存者对大屠杀的记忆和艺术态度的问题背景下，以及艺术作为战后波兰犹太人生活和文化重生的希望的表现。
{"title":"Zagłada i odrodzenie w twórczości ocalonej – łódzkiej malarki Sary Gliksman-Fajtlowicz (1909–2005)","authors":"M. Tarnowska","doi":"10.4467/24500100stj.21.018.15073","DOIUrl":"https://doi.org/10.4467/24500100stj.21.018.15073","url":null,"abstract":"The Holocaust and Rebirth in the Works of Sara Gliksman-Fajtlowicz, a Painter From Łódź, 1909–2005 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 Łódź and 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 Łódź ghetto 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 this 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.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70995228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/24500100stj.20.022.13665
A. Lipszyc
Żydowski naturalista potrzebny od zaraz! Steven Nadler, Think Least of Death: Spinoza on How to Live and How to Die, Princeton University Press, Princeton–Oxford 2020, ss. 234.
{"title":"Żydowski naturalista potrzebny od zaraz! Steven Nadler, Think Least of Death: Spinoza on How to Live and How to Die, Princeton University Press, Princeton–Oxford 2020, ss. 234.","authors":"A. Lipszyc","doi":"10.4467/24500100stj.20.022.13665","DOIUrl":"https://doi.org/10.4467/24500100stj.20.022.13665","url":null,"abstract":"Żydowski naturalista potrzebny od zaraz! Steven Nadler, Think Least of Death: Spinoza on How to Live and How to Die, Princeton University Press, Princeton–Oxford 2020, ss. 234.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70993611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/24500100stj.21.007.14609
Renata Piątkowska
Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.
艺术家和艺术爱好者:两次世界大战期间华沙犹太艺术生活中的女性。在犹太美术鼓励协会的圈子里对二战期间华沙犹太人艺术生活的研究，特别是在犹太美术鼓励协会活动的背景下(Żydowskie Towarzystwo Krzewienia Sztuk Pięknych)，揭示了艺术家和艺术爱好者(总的来说是一群专业人士，资产阶级，政治和社会活动家，犹太艺术收藏家)的积极和众多女性的参与。这篇文章特别关注了Tea Arciszewska和Diana Eigerowa，后者是一位收藏家和慈善家，也是华沙美术学院Samuel Hirszenberg奖学金的创始人。作者，使用选定的例子，讨论艺术家在艺术界的作用，他们在犹太艺术鼓励协会(Stanisława Centnerszwerowa, Regina Mundlak)的个人展览，一群生活在巴黎的年轻艺术家(Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp)，以及一群艺术爱好者和赞助人，其中一些人-如Tea Arciszewska和Paulina apenszlaka -也处理艺术批评。
{"title":"Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych","authors":"Renata Piątkowska","doi":"10.4467/24500100stj.21.007.14609","DOIUrl":"https://doi.org/10.4467/24500100stj.21.007.14609","url":null,"abstract":"Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70994637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/24500100stj.21.020.15075
Magdalena Ruta
Double Portraits, 1939–1956: Memoirs of Polish Jewish Women From Soviet Russia During the first months following Germany’s attack on Poland, some members of the Jewish community managed to sneak away to the eastern frontiers of the country which had been invaded and annexed by the Red Army in the second half of September 1939. The tragic experiences of these refugees, heretofore somehow neglected by Holocaust scholars, have recently become the subject of profound academic reflection. One of the sources of knowledge about the fate of Jewish refugees from Poland are their memoirs. In this article the author reflects on three autobiographical texts written by Polish Jewish women, female refugees who survived the Holocaust thanks to their stay in Soviet Russia, namely Ola Watowa, Ruth Turkow Kaminska, and Sheyne-Miriam Broderzon. Each of them experienced not only the atrocities of war, but also, most of all, the cruelty of the Communist regime. All three of them suffered persecution by the oppressive Soviet authorities in different ways and at different times. While Ola Watowa experienced (in person, as well as through the fate of her family and friends) the bitter taste of persecution and deportation during WWII, Sheyne-Miriam Broderzon lived a relatively peaceful life in that period (1939–1945), and Ruth Turkow Kaminska even enjoyed the luxurious lifestyle reserved for the privileged members of the establishment, and it was not until the years immediately after the war that the latter two women would face the true image of Communism as its victims. The Wats managed to leave the USSR shortly after the war, whereas for the Broderzons and the Turkows the war would not end until the death of Stalin and their subsequent return to Poland in 1956. According to Mary G. Mason, the immanent feature of women’s autobiographical writings is the self-discovery of one’s own identity through the simultaneous identification of some ‘other.’ It is thanks to the rootedness of one’s own identity through the connection with a certain chosen ‘other’ that women authors can openly write about themselves. The aim of the article is to attempt to determine to what extent this statement remains true for the memoirs of the three Polish Jewish women who, besides sharing the aforementioned historical circumstances, are also linked by the fact that all of them lived in romantic relationships with outstanding artistic individuals (i.e. writers Aleksander Wat and Moyshe Broderzon, and jazzman Adi Rosner), which had an enormous impact not only on their lives in general, but also specifically on the creation and style of their autobiographical narrative, giving it the character of a sui generis double portrait.
{"title":"Portrety podwójne, 1939–1956. Wspomnienia polskich Żydówek z sowieckiej Rosji","authors":"Magdalena Ruta","doi":"10.4467/24500100stj.21.020.15075","DOIUrl":"https://doi.org/10.4467/24500100stj.21.020.15075","url":null,"abstract":"Double Portraits, 1939–1956: Memoirs of Polish Jewish Women From Soviet Russia During the first months following Germany’s attack on Poland, some members of the Jewish community managed to sneak away to the eastern frontiers of the country which had been invaded and annexed by the Red Army in the second half of September 1939. The tragic experiences of these refugees, heretofore somehow neglected by Holocaust scholars, have recently become the subject of profound academic reflection. One of the sources of knowledge about the fate of Jewish refugees from Poland are their memoirs. In this article the author reflects on three autobiographical texts written by Polish Jewish women, female refugees who survived the Holocaust thanks to their stay in Soviet Russia, namely Ola Watowa, Ruth Turkow Kaminska, and Sheyne-Miriam Broderzon. Each of them experienced not only the atrocities of war, but also, most of all, the cruelty of the Communist regime. All three of them suffered persecution by the oppressive Soviet authorities in different ways and at different times. While Ola Watowa experienced (in person, as well as through the fate of her family and friends) the bitter taste of persecution and deportation during WWII, Sheyne-Miriam Broderzon lived a relatively peaceful life in that period (1939–1945), and Ruth Turkow Kaminska even enjoyed the luxurious lifestyle reserved for the privileged members of the establishment, and it was not until the years immediately after the war that the latter two women would face the true image of Communism as its victims. The Wats managed to leave the USSR shortly after the war, whereas for the Broderzons and the Turkows the war would not end until the death of Stalin and their subsequent return to Poland in 1956. According to Mary G. Mason, the immanent feature of women’s autobiographical writings is the self-discovery of one’s own identity through the simultaneous identification of some ‘other.’ It is thanks to the rootedness of one’s own identity through the connection with a certain chosen ‘other’ that women authors can openly write about themselves. The aim of the article is to attempt to determine to what extent this statement remains true for the memoirs of the three Polish Jewish women who, besides sharing the aforementioned historical circumstances, are also linked by the fact that all of them lived in romantic relationships with outstanding artistic individuals (i.e. writers Aleksander Wat and Moyshe Broderzon, and jazzman Adi Rosner), which had an enormous impact not only on their lives in general, but also specifically on the creation and style of their autobiographical narrative, giving it the character of a sui generis double portrait.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70995338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/10.4467/24500100stj.20.018.13661
Joanna Nalewajko-Kulikov
The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].
{"title":"Rachela Fajgenberg","authors":"Joanna Nalewajko-Kulikov","doi":"10.4467/10.4467/24500100stj.20.018.13661","DOIUrl":"https://doi.org/10.4467/10.4467/24500100stj.20.018.13661","url":null,"abstract":"The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70971125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/24500100stj.20.014.13657
Marek Tuszewicki
Residents of Jewish Homes for the Aged in the Polish Lands (until 1939) Jewish homes for the aged (moshav zkenim) began to be established in Eastern Europe in the 1840s. In the interwar period, probably over sixty Jewish institutions of this kind operated in Poland, providing care for several thousand people. We know relatively much about the figures of their founders, benefactors, social activists, and senior employees. However, gaining information about residents themselves requires much more intensive queries. The article is based primarily on articles, reports, and announcements appearing in Jewish press, supplemented by accounts published in memorial books and other sources, to recreate a general portrait of people who lived under the care of such institutions in Warsaw, Lemberg (Lviv), Vilnius, and other places.
{"title":"Pensjonariusze żydowskich domów dla osób starszych na ziemiach polskich (do 1939 r.)","authors":"Marek Tuszewicki","doi":"10.4467/24500100stj.20.014.13657","DOIUrl":"https://doi.org/10.4467/24500100stj.20.014.13657","url":null,"abstract":"Residents of Jewish Homes for the Aged in the Polish Lands (until 1939) Jewish homes for the aged (moshav zkenim) began to be established in Eastern Europe in the 1840s. In the interwar period, probably over sixty Jewish institutions of this kind operated in Poland, providing care for several thousand people. We know relatively much about the figures of their founders, benefactors, social activists, and senior employees. However, gaining information about residents themselves requires much more intensive queries. The article is based primarily on articles, reports, and announcements appearing in Jewish press, supplemented by accounts published in memorial books and other sources, to recreate a general portrait of people who lived under the care of such institutions in Warsaw, Lemberg (Lviv), Vilnius, and other places.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70993886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/24500100stj.21.005.14607
A. Stepnowski
The Gender Dimension of Yiddish Popular Literature in Shomer’s Writings The article explores a model of construing gender in Yiddish shund (trash) literature. The author focuses on three aspects—womanhood, manhood, and relationships—comparing both cultural ideals and historical reality of Ashkenazic Jewry at the end of the nineteenth century with the gender roles constructed in the novels. The focus is placed on the stories of Nokhem Meir Shaykevitch (Shomer), the most popular shund writer of that time. The author of the article emphasizes the gender ideals in Shomer’s novels and investigates possible ideological inspirations that led the writer to bring the ideals to a textual level.
舒默作品中意第绪语通俗文学的性别维度本文探讨了意第绪语垃圾文学中的性别建构模式。作者从女性、男性和人际关系三个方面对十九世纪末德系犹太人的文化理想和历史现实与小说中建构的性别角色进行了比较。重点放在Nokhem Meir Shaykevitch (Shomer)的故事上，他是当时最受欢迎的猎犬作家。本文作者强调了肖默小说中的性别理想，并探讨了促使作家将这些理想带入文本层面的可能的意识形态启示。
{"title":"Genderowy wymiar jidyszowej literatury masowej w twórczości Szomera","authors":"A. Stepnowski","doi":"10.4467/24500100stj.21.005.14607","DOIUrl":"https://doi.org/10.4467/24500100stj.21.005.14607","url":null,"abstract":"The Gender Dimension of Yiddish Popular Literature in Shomer’s Writings The article explores a model of construing gender in Yiddish shund (trash) literature. The author focuses on three aspects—womanhood, manhood, and relationships—comparing both cultural ideals and historical reality of Ashkenazic Jewry at the end of the nineteenth century with the gender roles constructed in the novels. The focus is placed on the stories of Nokhem Meir Shaykevitch (Shomer), the most popular shund writer of that time. The author of the article emphasizes the gender ideals in Shomer’s novels and investigates possible ideological inspirations that led the writer to bring the ideals to a textual level.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70994325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/24500100stj.21.016.15071
Angelique Leszczawski-Schwerk
Between the Pillars of Welfare, Cultural Work, Politicization, and Feminism: The Zionist “Circle of Jewish Women” in Lviv, 1908–1939 The Circle of Jewish Women (“Koło Kobiet Żydowskich”), founded in Lemberg/Lviv in 1908 and active until 1939, played a vital role in the organization of Zionist women in the city and other places in Eastern Galicia. It was founded, among others, by Róża Pomeranc Melcer, one of the pioneers of Zionist women’s associations in Galicia and the first and only Jewish woman parliamentarian in the Second Polish Republic. Nevertheless, the history of the Circle, as well as the work of its many active members—many of whom perished in the Holocaust—has been almost forgotten and is rarely explored. The author of the article argues that this organization not only represents social welfare, but it also embodies elements of social support, cultural work, politicization, and feminism. Therefore, the author emphasizes the role the Circle played in the process of organizing Zionist women in Lviv and Galicia before World War I and especially during the interwar period in the Second Polish Republic, and how it contributed to women’s emancipation. Thus, the history of one of the most important Zionist women’s organizations is reconstructed and its versatile work facets explored in more detail.
在福利、文化工作、政治化和女权主义的支柱之间:利沃夫犹太复国主义“犹太妇女圈”，1908 - 1939年犹太妇女圈(“Koło Kobiet Żydowskich”)于1908年在伦贝格/利沃夫成立，一直活跃到1939年，在该市和东加利西亚其他地方组织犹太复国主义妇女方面发挥了至关重要的作用。除其他外，它是由Róża Pomeranc Melcer创立的，她是加利西亚犹太复国主义妇女协会的先驱之一，也是波兰第二共和国第一位也是唯一一位犹太女议员。然而，这个圈子的历史，以及它的许多活跃成员的工作——其中许多人在大屠杀中丧生——几乎被遗忘了，很少被探索。文章的作者认为，这个组织不仅代表着社会福利，它还体现了社会支持、文化工作、政治化和女权主义的元素。因此，作者强调了在第一次世界大战之前，特别是在波兰第二共和国的两次世界大战之间的时期，该组织在利沃夫和加利西亚组织犹太复国主义妇女的过程中所发挥的作用，以及它对妇女解放的贡献。因此，最重要的犹太复国主义妇女组织之一的历史被重建，其多方面的工作方面更详细地探索。
{"title":"Między filarami opieki społecznej, pracy na polu kultury, upolitycznienia i feminizmu. Syjonistyczne „Koło Kobiet Żydowskich” we Lwowie (1908–1939)","authors":"Angelique Leszczawski-Schwerk","doi":"10.4467/24500100stj.21.016.15071","DOIUrl":"https://doi.org/10.4467/24500100stj.21.016.15071","url":null,"abstract":"Between the Pillars of Welfare, Cultural Work, Politicization, and Feminism: The Zionist “Circle of Jewish Women” in Lviv, 1908–1939 The Circle of Jewish Women (“Koło Kobiet Żydowskich”), founded in Lemberg/Lviv in 1908 and active until 1939, played a vital role in the organization of Zionist women in the city and other places in Eastern Galicia. It was founded, among others, by Róża Pomeranc Melcer, one of the pioneers of Zionist women’s associations in Galicia and the first and only Jewish woman parliamentarian in the Second Polish Republic. Nevertheless, the history of the Circle, as well as the work of its many active members—many of whom perished in the Holocaust—has been almost forgotten and is rarely explored. The author of the article argues that this organization not only represents social welfare, but it also embodies elements of social support, cultural work, politicization, and feminism. Therefore, the author emphasizes the role the Circle played in the process of organizing Zionist women in Lviv and Galicia before World War I and especially during the interwar period in the Second Polish Republic, and how it contributed to women’s emancipation. Thus, the history of one of the most important Zionist women’s organizations is reconstructed and its versatile work facets explored in more detail.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70994991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.4467/10.4467/24500100stj.20.020.13663
Monika Borzęcka
A Few Words on the Margin of the Diary Written in the Djurin Ghetto by Miriam Korber-Bercovici The purpose of the article is to present fragments of the diary of Miriam Korber-Bercovici, a young Jewish woman deported with her whole family from Southern Bukovina to the Transnistria Governorate under the Antonescu regime. The excerpts translated from the original Romanian into Polish mainly concern the author’s experiences of deportation and everyday life in the Djurin ghetto. They were selected in order to acquaint Polish readers with the situation of the Jews of Bukovina and Bessarabia displaced to the Transnistria Governorate during World War II. The diary was first published in Romania in 1995 as Jurnal de ghetou. The presented translation is based on the second edition of the diary published in 2017 by Curtea Veche Publishing House and Elie Wiesel National Institute for Studying the Holocaust in Romania.
{"title":"Kilka słów na marginesie Dziennika z getta Miriam Korber-Bercovici","authors":"Monika Borzęcka","doi":"10.4467/10.4467/24500100stj.20.020.13663","DOIUrl":"https://doi.org/10.4467/10.4467/24500100stj.20.020.13663","url":null,"abstract":"A Few Words on the Margin of the Diary Written in the Djurin Ghetto by Miriam Korber-Bercovici The purpose of the article is to present fragments of the diary of Miriam Korber-Bercovici, a young Jewish woman deported with her whole family from Southern Bukovina to the Transnistria Governorate under the Antonescu regime. The excerpts translated from the original Romanian into Polish mainly concern the author’s experiences of deportation and everyday life in the Djurin ghetto. They were selected in order to acquaint Polish readers with the situation of the Jews of Bukovina and Bessarabia displaced to the Transnistria Governorate during World War II. The diary was first published in Romania in 1995 as Jurnal de ghetou. The presented translation is based on the second edition of the diary published in 2017 by Curtea Veche Publishing House and Elie Wiesel National Institute for Studying the Holocaust in Romania.","PeriodicalId":37335,"journal":{"name":"Studia Judaica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70971902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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