This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.
{"title":"Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle","authors":"Rebekka Grossmann","doi":"10.1093/LEOBAECK/YBY022","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBY022","url":null,"abstract":"\u0000 This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115783238","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}
This article reconstructs and compares photographic perspectives on the historical phenomenon of preparing German-Jewish youth for emigration from Germany, and their subsequent training in Palestinian kibbutzim in the framework of the hachshara and the youth aliyah. It considers the photographers’ status, differentiating between professional photography and the work of amateurs, and investigates the use and addressees of these images. The image analysis that underlies this study examines facets of the photographic and pictorial conception of chalutzian youth, including motifs, style, and atmospheres. In the process, photography is classified as a unique historical image source, in which the conditions of the time inscribe themselves even beyond personal and political intentions, interests, and contexts of usage. The image analysis also aims to reconstruct the specific, visually represented individual and collective experiences of the producers and addressees of photographic images in Germany and Mandatory Palestine.
{"title":"Chalutzim—Zionist Photography in Germany and Palestine in the 1930s: A Comparative Analysis of Images","authors":"Ulrike Pilarczyk","doi":"10.1093/leobaeck/ybz009","DOIUrl":"https://doi.org/10.1093/leobaeck/ybz009","url":null,"abstract":"\u0000 This article reconstructs and compares photographic perspectives on the historical phenomenon of preparing German-Jewish youth for emigration from Germany, and their subsequent training in Palestinian kibbutzim in the framework of the hachshara and the youth aliyah. It considers the photographers’ status, differentiating between professional photography and the work of amateurs, and investigates the use and addressees of these images. The image analysis that underlies this study examines facets of the photographic and pictorial conception of chalutzian youth, including motifs, style, and atmospheres. In the process, photography is classified as a unique historical image source, in which the conditions of the time inscribe themselves even beyond personal and political intentions, interests, and contexts of usage. The image analysis also aims to reconstruct the specific, visually represented individual and collective experiences of the producers and addressees of photographic images in Germany and Mandatory Palestine.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121658280","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}
While there are hundreds of written accounts of the Holocaust, there are only a few photographs known to document the fate of the persecuted from their own point of view. This article presents the case study of a photographic series taken inside Germany by Jewish businessman Fritz Fürstenberg in order to provide evidence of National Socialist persecution beyond its borders. After a close reading that reveals where and under which circumstances Fürstenberg took his photographs, the article broadens its scope to discuss how the images were eventually used in the Netherlands as a means of documenting National Socialist persecution. In the process, the article’s authors add another layer to the ‘integrated history’ famously advocated by Saul Friedländer, and call attention to the astonishing fact that research into such private photographs is still a desideratum—and as such a promising field for future research.
{"title":"Crossing Borders in the Summer of 1935: Fritz Fürstenberg’s Photographs of Persecution in National Socialist Germany","authors":"Christoph Kreutzmüller, Theresia Ziehe","doi":"10.1093/LEOBAECK/YBZ002","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBZ002","url":null,"abstract":"\u0000 While there are hundreds of written accounts of the Holocaust, there are only a few photographs known to document the fate of the persecuted from their own point of view. This article presents the case study of a photographic series taken inside Germany by Jewish businessman Fritz Fürstenberg in order to provide evidence of National Socialist persecution beyond its borders. After a close reading that reveals where and under which circumstances Fürstenberg took his photographs, the article broadens its scope to discuss how the images were eventually used in the Netherlands as a means of documenting National Socialist persecution. In the process, the article’s authors add another layer to the ‘integrated history’ famously advocated by Saul Friedländer, and call attention to the astonishing fact that research into such private photographs is still a desideratum—and as such a promising field for future research.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128186903","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}
This essay explores the psychoanalytic sanitarium (Therapeutikum) directed by Frieda Fromm-Reichmann and Erich Fromm in Heidelberg from 1924 to 1928. The Therapeutikum aimed to combine adherence to Jewish ritual with psychoanalytic practice and radical politics for a group of German Jews who were rethinking their Orthodox backgrounds in light of new intellectual and political currents and modern sensibilities. Visitors to the sanitarium included many leading German-Jewish thinkers, and Heidelberg’s proximity to Frankfurt placed the Therapeutikum in the orbit of the Institute for Social Research and near a major hub in the renaissance of Jewish learning then occurring. At the centre of the article is a discussion of essays by Fromm-Reichmann and Fromm that subjected Jewish ritual (kashrut and shabbat) to psychoanalytic investigation. Appearing in Imago in 1927, the articles marked the two writers’ public break with Orthodox Judaism. This essay argues that the Imago articles marked a crucial moment in the political, intellectual, and religious history of German Jewry. Even if the Fromms’ synthesis of Freudianism, radical politics, and Judaism was conceptually shaky, their sanitarium illustrates the centrality of psychoanalysis—as a sensibility, a hermeneutic and above all a way of creating social and communal bonds—to a generation of German Jews navigating the challenges of German and Jewish modernity.
{"title":"German Jews between Freud, Marx, and Halakha: Frieda Fromm-Reichmann, Erich Fromm, and the Psychoanalysis of Jewish Ritual in 1920s Heidelberg1","authors":"P. Lerner","doi":"10.1093/LEOBAECK/YBZ008","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBZ008","url":null,"abstract":"\u0000 This essay explores the psychoanalytic sanitarium (Therapeutikum) directed by Frieda Fromm-Reichmann and Erich Fromm in Heidelberg from 1924 to 1928. The Therapeutikum aimed to combine adherence to Jewish ritual with psychoanalytic practice and radical politics for a group of German Jews who were rethinking their Orthodox backgrounds in light of new intellectual and political currents and modern sensibilities. Visitors to the sanitarium included many leading German-Jewish thinkers, and Heidelberg’s proximity to Frankfurt placed the Therapeutikum in the orbit of the Institute for Social Research and near a major hub in the renaissance of Jewish learning then occurring. At the centre of the article is a discussion of essays by Fromm-Reichmann and Fromm that subjected Jewish ritual (kashrut and shabbat) to psychoanalytic investigation. Appearing in Imago in 1927, the articles marked the two writers’ public break with Orthodox Judaism. This essay argues that the Imago articles marked a crucial moment in the political, intellectual, and religious history of German Jewry. Even if the Fromms’ synthesis of Freudianism, radical politics, and Judaism was conceptually shaky, their sanitarium illustrates the centrality of psychoanalysis—as a sensibility, a hermeneutic and above all a way of creating social and communal bonds—to a generation of German Jews navigating the challenges of German and Jewish modernity.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124301675","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}
This article addresses the formative years of the liberal parliamentarian Heinrich Jaques (1831–1894). It traces his family life, social world, education, professional career, and public activities prior to his election to parliament in 1879. The focus is on Jaques's personal perspective as he negotiated various events and influences. The article argues that the combined effects of the 1848–49 revolutions and an intense engagement with German humanist classics forged a strong loyalty and commitment to liberal values. This was manifested both in politics (as a belief in liberal reforms to Austria) and in everyday life (as guiding principles in daily conduct). For Jaques’s generation in particular, the possibility of emancipation, integration, and acceptance was a goal to strive towards. Jaques pursued and articulated this vision in his writings and activities. His impressive achievements in the 1860s and 1870s are an example of the energy and hope of many Jews during the liberal era. For a number of reasons—economic downturn, widening democracy, a mobilized Catholic Church, resentment towards the liberal elites—antisemitism became an increasingly powerful factor in politics from the 1880s onwards. For Jaques and his fellow liberal Jews, the effect was profound. History and progress no longer seemed to be on the side of liberalism and Jewish integration. Nevertheless, for a certain milieu, the dreams of liberal humanism remained a strong and guiding presence in their lives.
{"title":"Politics, Liberal Idealism and Jewish Life in Nineteenth-Century Vienna: The Formative Years of Heinrich Jaques (1831–1894)1","authors":"Jonathan Kwan","doi":"10.1093/LEOBAECK/YBZ007","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBZ007","url":null,"abstract":"\u0000 This article addresses the formative years of the liberal parliamentarian Heinrich Jaques (1831–1894). It traces his family life, social world, education, professional career, and public activities prior to his election to parliament in 1879. The focus is on Jaques's personal perspective as he negotiated various events and influences. The article argues that the combined effects of the 1848–49 revolutions and an intense engagement with German humanist classics forged a strong loyalty and commitment to liberal values. This was manifested both in politics (as a belief in liberal reforms to Austria) and in everyday life (as guiding principles in daily conduct). For Jaques’s generation in particular, the possibility of emancipation, integration, and acceptance was a goal to strive towards. Jaques pursued and articulated this vision in his writings and activities. His impressive achievements in the 1860s and 1870s are an example of the energy and hope of many Jews during the liberal era. For a number of reasons—economic downturn, widening democracy, a mobilized Catholic Church, resentment towards the liberal elites—antisemitism became an increasingly powerful factor in politics from the 1880s onwards. For Jaques and his fellow liberal Jews, the effect was profound. History and progress no longer seemed to be on the side of liberalism and Jewish integration. Nevertheless, for a certain milieu, the dreams of liberal humanism remained a strong and guiding presence in their lives.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122049261","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}
This article examines five family photographs. The first of these family frames was taken in Czechoslovakia during the early 1930s and was found after the Holocaust, the one and only surviving photograph of my father’s exterminated family. The other four are family frames taken in Israel, the land of rebirth, where the survivors tried to start over from scratch, forget the past, and create a new family. All five frames are discussed as ‘exile photographs’—images of absence, alienation, and nostalgia; images of emotions like anxiety, sadness, and loneliness, all of which are inherent to the condition of exile. The article argues that the new family frames, which are supposed to represent new (personal and national) beginnings, continue to authenticate the traumatic past. Their testimony bears witness not to revival and reconstruction, but to forced exile from one’s birthplace, a devastated home and family, a condition of terminal loss.
{"title":"Family Frames as Exile Photography","authors":"Talila Kosh-Zohar","doi":"10.1093/LEOBAECK/YBZ003","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBZ003","url":null,"abstract":"\u0000 This article examines five family photographs. The first of these family frames was taken in Czechoslovakia during the early 1930s and was found after the Holocaust, the one and only surviving photograph of my father’s exterminated family. The other four are family frames taken in Israel, the land of rebirth, where the survivors tried to start over from scratch, forget the past, and create a new family. All five frames are discussed as ‘exile photographs’—images of absence, alienation, and nostalgia; images of emotions like anxiety, sadness, and loneliness, all of which are inherent to the condition of exile. The article argues that the new family frames, which are supposed to represent new (personal and national) beginnings, continue to authenticate the traumatic past. Their testimony bears witness not to revival and reconstruction, but to forced exile from one’s birthplace, a devastated home and family, a condition of terminal loss.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132371286","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}
Jüdische Kinder in Erez Israel was the last overtly Jewish-themed photobook published in Germany before the Holocaust. Although it consists only of a six-page introduction by the scholar-activist Bertha Badt-Strauß, one page of captions, and twenty-one photographs by photographer Nachum ‘Tim’ Gidal of adorable young children in Mandatory Palestine, its propaganda mission transcends its diminutive size and surface superficiality. This article interprets this photobook as an example of the photo essay, a modernist form that emerged from Weimar Germany’s unique media environment, in which photographs assumed rhetorical and argumentative functions generally associated with written language. To encourage German Jews and particularly German-Jewish women to emigrate, Jüdische Kinder in Erez Israel creates an allegory of the children’s vulnerability by eliciting responses associated with the minor aesthetic category of ‘cuteness’. To this end, it draws on two important photo essay genres of interwar Germany: photobooks and illustrated magazine photostories about cute children and about Palestine. By synthesizing these discourses, Gidal and Badt-Strauß create a cultural artifact that aims to establish positive, affective relationships between German-Jewish readers and Mandatory Palestine, and to convince the former to visualize and embrace the latter as they might imagine their own children. In this way, Jüdische Kinder in Erez Israel broadens our understandings of both the media constellation from which photo essays emerged, and how this form helped broaden the visual lexicon and aesthetic strategies central to the project of Jewish cultural and political regeneration.
{"title":"Cute Jews: Modernist Photographic Forms and Minor Aesthetic Categories in ‘Jüdische Kinder in Erez Israel. Ein Fotobuch’","authors":"Daniel H. Magilow","doi":"10.1093/LEOBAECK/YBZ005","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBZ005","url":null,"abstract":"\u0000 Jüdische Kinder in Erez Israel was the last overtly Jewish-themed photobook published in Germany before the Holocaust. Although it consists only of a six-page introduction by the scholar-activist Bertha Badt-Strauß, one page of captions, and twenty-one photographs by photographer Nachum ‘Tim’ Gidal of adorable young children in Mandatory Palestine, its propaganda mission transcends its diminutive size and surface superficiality. This article interprets this photobook as an example of the photo essay, a modernist form that emerged from Weimar Germany’s unique media environment, in which photographs assumed rhetorical and argumentative functions generally associated with written language. To encourage German Jews and particularly German-Jewish women to emigrate, Jüdische Kinder in Erez Israel creates an allegory of the children’s vulnerability by eliciting responses associated with the minor aesthetic category of ‘cuteness’. To this end, it draws on two important photo essay genres of interwar Germany: photobooks and illustrated magazine photostories about cute children and about Palestine. By synthesizing these discourses, Gidal and Badt-Strauß create a cultural artifact that aims to establish positive, affective relationships between German-Jewish readers and Mandatory Palestine, and to convince the former to visualize and embrace the latter as they might imagine their own children. In this way, Jüdische Kinder in Erez Israel broadens our understandings of both the media constellation from which photo essays emerged, and how this form helped broaden the visual lexicon and aesthetic strategies central to the project of Jewish cultural and political regeneration.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130043703","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}
In 1945, the return of Jewish life to Germany was by no means a foregone conclusion. Aiming to understand the developments that laid the groundwork for a long-term continuation of Jewish life in post-Holocaust Germany, this paper discusses the difficult process of rebuilding Jewish institutions in ‘the land of the perpetrators’ during the first two decades after the Second World War. Particularly significant are the essential contributions of two high-profile representatives of this minority to the process of renewing Jewish life in Germany following the Holocaust. By creating a sense of unity among the different Jewish groups and securing financial and practical support essential to the revival of Jewish life in the Federal Republic, the first General Secretary of the Zentralrat der Juden in Deutschland (Central Council of Jews in Germany), Dr Hendrik G. van Dam, and the journalist and chief editor of the German-Jewish newspaper known today as Jüdische Allgemeine, Karl Marx, played a key role in establishing Jewish institutions. These helped to convey a sense of permanency—a central factor for ensuring a continuation of Jewish life in the years and decades to come.
1945年，犹太人回到德国的生活绝不是定局。旨在了解犹太人在大屠杀后的德国长期延续生活的发展，本文讨论了在第二次世界大战后的头二十年里，在“肇事者的土地”重建犹太机构的艰难过程。尤其重要的是，在大屠杀之后，这一少数民族的两位知名代表为德国犹太人生活的复兴进程做出了重要贡献。通过在不同的犹太团体之间建立一种团结的感觉，并确保对联邦共和国犹太人生活复兴至关重要的财政和实际支持，德国犹太人中央委员会(Zentralrat der Juden in Deutschland)的第一任秘书长亨德里克·g·范·达姆(Hendrik G. van Dam)博士和德国犹太人报纸《j汇报》(jdische Allgemeine)的记者兼主编卡尔·马克思(Karl Marx)在建立犹太机构方面发挥了关键作用。这些有助于传达一种永恒的感觉，这是确保犹太人在未来几年甚至几十年继续生活的核心因素。
{"title":"Despite the Holocaust: Rebuilding Jewish Life in Germany after 1945*","authors":"Andrea A. Sinn","doi":"10.1093/LEOBAECK/YBZ001","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBZ001","url":null,"abstract":"\u0000 In 1945, the return of Jewish life to Germany was by no means a foregone conclusion. Aiming to understand the developments that laid the groundwork for a long-term continuation of Jewish life in post-Holocaust Germany, this paper discusses the difficult process of rebuilding Jewish institutions in ‘the land of the perpetrators’ during the first two decades after the Second World War. Particularly significant are the essential contributions of two high-profile representatives of this minority to the process of renewing Jewish life in Germany following the Holocaust. By creating a sense of unity among the different Jewish groups and securing financial and practical support essential to the revival of Jewish life in the Federal Republic, the first General Secretary of the Zentralrat der Juden in Deutschland (Central Council of Jews in Germany), Dr Hendrik G. van Dam, and the journalist and chief editor of the German-Jewish newspaper known today as Jüdische Allgemeine, Karl Marx, played a key role in establishing Jewish institutions. These helped to convey a sense of permanency—a central factor for ensuring a continuation of Jewish life in the years and decades to come.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127910700","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}
This text was composed as a eulogy for Helene Weyl (née Josef) by her husband, the prominent mathematician Hermann Weyl. It is, in his words, a ‘sketch, not so much of Hella as of our life together, written at the end of June 1948’, and covers her early life and their years together as young academics in Göttingen and Zürich, as well as their experiences under the National Socialist dictatorship, leading to their emigration in 1933. It concludes with an account of their last years together in Princeton, where Hermann was a member of the Institute of Advanced Study.
{"title":"In memoriam Helene Weyl: A sketch, not so much of Hella as of our life together, written at the end of June 1948","authors":"H. Weyl","doi":"10.1093/LEOBAECK/YBY023","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBY023","url":null,"abstract":"\u0000 This text was composed as a eulogy for Helene Weyl (née Josef) by her husband, the prominent mathematician Hermann Weyl. It is, in his words, a ‘sketch, not so much of Hella as of our life together, written at the end of June 1948’, and covers her early life and their years together as young academics in Göttingen and Zürich, as well as their experiences under the National Socialist dictatorship, leading to their emigration in 1933. It concludes with an account of their last years together in Princeton, where Hermann was a member of the Institute of Advanced Study.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126975526","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}
Between 1933 and 1939, Ludwig Simon and his family avidly photographed their daily life. At first glance, their photo albums contain undistinguishable documentation of conventional family routines, including leisure activities at home, encounters with relatives, and vacations away from the city. Yet a closer look shows that many of the photographs in this collection can be read as contemplative responses to the intensifying exclusion of Jews in the Third Reich. The article focuses on photographs that were (repeatedly) taken in two major locations: on the Alps, during vacations, and by the family home in Bingen am Rhein, which Ludwig left when he moved to Berlin in the 1920s. I argue that these photographs manifest an enduring endeavour to reflect critically on the tensions between Jewish belonging and estrangement in the new Germany. Constantly engaged in a dialogue with the (private and public) visual memory of the time—from restaging photographs of previous years to appropriating the visual iconography of German nationalism—the Simon family photographers recurrently negotiated the perspective of the outcasts at home. In analysing these strategies of photography, and of the arrangement of individual photographs within the collection, this article reads them within the paradigm of exile photography. As the Simon family collection demonstrates, the extension of this paradigm to cases of ‘exile-at-home’ enriches our understanding of the German-Jewish experience under National Socialist rule.
{"title":"Exile at Home: Jewish Amateur Photography under National Socialism, 1933–1939","authors":"Ofer Ashkenazi","doi":"10.1093/LEOBAECK/YBZ006","DOIUrl":"https://doi.org/10.1093/LEOBAECK/YBZ006","url":null,"abstract":"\u0000 Between 1933 and 1939, Ludwig Simon and his family avidly photographed their daily life. At first glance, their photo albums contain undistinguishable documentation of conventional family routines, including leisure activities at home, encounters with relatives, and vacations away from the city. Yet a closer look shows that many of the photographs in this collection can be read as contemplative responses to the intensifying exclusion of Jews in the Third Reich. The article focuses on photographs that were (repeatedly) taken in two major locations: on the Alps, during vacations, and by the family home in Bingen am Rhein, which Ludwig left when he moved to Berlin in the 1920s. I argue that these photographs manifest an enduring endeavour to reflect critically on the tensions between Jewish belonging and estrangement in the new Germany. Constantly engaged in a dialogue with the (private and public) visual memory of the time—from restaging photographs of previous years to appropriating the visual iconography of German nationalism—the Simon family photographers recurrently negotiated the perspective of the outcasts at home. In analysing these strategies of photography, and of the arrangement of individual photographs within the collection, this article reads them within the paradigm of exile photography. As the Simon family collection demonstrates, the extension of this paradigm to cases of ‘exile-at-home’ enriches our understanding of the German-Jewish experience under National Socialist rule.","PeriodicalId":391272,"journal":{"name":"The Leo Baeck Institute Year Book","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123080975","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：