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1
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Izrael Sztern – poeta osobny i jego dzieło

100%
Trzemkowski P.
Zeszyty Naukowe Ostrołęckiego Towarzystwa Naukowego
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2013
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vol. Zeszyt
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issue XXVII
518-529
EN
Izrael Sztern was one of the most distinguished Jewish poets of the twentieth century. Born in Ostrołeka, he spent his childhood and youth there. Nowadays he is almost unknown not only in his region of origin but also in nationwide circles. The main purpose of this article is to provide a description of that specific poet and to restore his work to contemporary readers.
PL
Izrael Sztern był jednym z najwybitniejszych poetów żydowskich XX w. Urodził się w Ostrołęce i spędził w niej dzieciństwo i wczesną młodość. Jest poetą niemal nieznanym w regionie, a pamięć o nim zaciera się także w kręgach ogólnopolskich. Celem niniejszego artykułu jest przybliżenie sylwetki tego specyficznego poety i przywrócenie jego dzieła współczesnym czytelnikom.
2
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Buovo d’Antona fra originale veneziano e suo adattamento yiddish: la narrazione cavalleresca veicolo delle ideologie

89%
Artico D.
Romanica Silesiana
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2020
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vol. 17
43-54
EN
The paper contains some partial findings of a comparative research on the chivalry romance Buovo d’Antona as printed in Bologna and in Venice in the 1480s in a number of different, yet quite similar one to another, incunables; and its ottava rima adaptation in yiddish-taytsh, made by Elye Bokher (Elia Levita) in Padua around 1507, and then published as Bovo-Buch in Isny, Württemberg, as late as 1541. Respectively, the narratives implicitly deliver two different ideologies, meant as consequent sets of socially shared convictions about the good living. In particular, the place of women in society and the family, or better said, the male representation thereof, substantially differs in the Yiddish adaptation compared to the Venetian original.
3
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Kino jidysz na ziemiach polskich do wybuchu drugiej wojny światowej - konteksty społeczno-polityczne i kulturowe

88%
Mazur D.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 17
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issue 26
129-138
EN
Yiddish Cinema in the Prewar Polish Lands: The Socio-political and Cultural Contexts The article is an attempt to consider the impact of social-political contexts on Yiddish cinema in Poland before the outbreak of the Second World War. It also analyses the influence of cultural and ideological tendencies represented by the diaspora in Poland: traditional – related to Judaism and Yiddish language; Zionist – trying to resurrect Israel and appealing to Hebrew as the language of the Jews; Bund – a left wing party that supported a secular Yiddish culture and opposed Zionism, as well as the assimilation of Polish culture and language.
4
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Jidysz – angielski – polski. Problemy przekładu i pamięci

75%
Adamczyk-Garbowska M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2014
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issue 23
277-292
EN
The article presents selected translations of Yiddish literature into English, focusing on the influence of translator’s choices on forming the topography and realities of life in Poland before the Second World War. Elements related to material culture and multilingual quality of represented world are often eliminated or simplified. One of the main problems for translators, who usually do not know Polish, are Polish words and expressions, which are frequent in Yiddish literature written by authors of Polish extraction. Additional problems occur when Polish is used as intermediary between Yiddish and Polish. A reader who knows Eastern European realities receives an image of reality, which has been purposefully modified to facilitate reception in America, so that represented reality turns out to be more alien and exotic than in direct translation from Yiddish into Polish. This phenomenon occurs not only in fiction, but also in documentary texts, e.g. in the memorial books, which have been popular in Poland recently, and which are often translated from English intermediary texts. All this leads to important discrepancies and tensions between reality as it is imagined, remembered, and documented. Examples presented in the article come from texts by Isaac Bashevis Singer, Shalom Asch, and the Zgierz memorial book.
5
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Several Narrative Strategies in Yiddish and Czech Stories

75%
Holý J.
Poznańskie Studia Slawistyczne
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2023
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issue 24
295-315
EN
This article deals with six short stories written in Yiddish and Czech analyzing their narrative strategies. In The German by Sholem Aleichem the limited first-person perspective of the story makes it impossible to look into the inner world of the German. Similar characters are presented in Aleichem’s Hard Luck and Elijah the Prophet. At the end of Hard Luck a dialogue breaks the limited perspective. The main character of Isaac Leybush Peretz’s The Shtrayml seems to be a type of naive narrator; in fact, in the last part of the story, he expresses the author’s irony and social criticism. The German by Aleichem probably inspired The Miracle with Julčaby Czech author Ivan Olbracht. Here, however, the protagonist’s perspective is sometimes extended by the author’s perspective. In Ladislav Grosman’s The Bride the contrast between the characters’ and the readers’ expectations is presented by the significant change of the narrator’s point of view. The peripheral narrator concentrated on private life becomes the author’s narrator who knows the future.
6
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Zur Rezeption jiddischer Literatur nach dem 2. Weltkrieg am Beispiel von "Dos lid fun oysgehargetn yidishn folk" von Yitskhok Katsenelson

63%
Sitarz M., Pawelec A.
Colloquia Germanica Stetinensia
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2019
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issue 28
33-51
EN
Yitskhok Katsenelson was a Jewish writer, teacher and translator; he was murdered on May 1st, 1944 in Auschwitz. His work Dos lid fun oysgehargetn yidishn folk [The Song of the Murdered Jewish People] which is one of the most important literary testimonies of the Shoah, was created in the period from October 3rd, 1943 to January 17th, 1944 in the internment camp Vittel in France. Katsenelson had hoped that his Yiddish-language lament would resonate after the war, especially in Israel but also around the world. In our contribution we would like to discuss whether these hopes have been realized.
DE
Yitskhok Katsenelson war jüdischer Schriftsteller sowie Lehrer und Übersetzer, er wurde am 1. Mai 1944 in Auschwitz ermordet. Sein Werk Dos lid fun oysgehargetn yidishn folk [Das Lied vom ermordeten jüdischen Volk], das zu den bedeutendsten literarischen Zeugnissen der Schoah gehört, entstand in der Zeit vom 3. Oktober 1943 bis zum 17. Januar 1944 im Internierungslager Vittel in Frankreich. Katsenelson hat gehofft, dass sein in jiddischer Sprache verfasstes Klagelied nach dem Krieg vor allem in Israel, aber auch in der Welt breiten Widerhall findet. In dem Beitrag wird besprochen, was davon verwirklicht wurde.
PL
Yitskhok Katsenelson był żydowskim pisarzem, nauczycielem i tłumaczem, został zamordowany 1 maja 1944 w Auschwitz. Jego dzieło Dos lid fun oysgehargetn yidishn folk [Pieśń o zamordowanym żydowskim narodzie], które jest jednym z najważniejszych świadectw literackich Zagłady, powstało w okresie od 3 października 1943 do 17 stycznia 1944 w obozie internowania Vittel we Francji. Katsenelson miał nadzieję, że jego lamentacja w języku jidysz odbije się po wojnie szerokim echem, szczególnie w Izraelu, ale także na całym świecie. Artykuł rozważa, w jakim stopniu te nadzieje zostały zrealizowane.
7

Portrety pisarzy jidysz w polsko-żydowskiej prasie w latach 1918-1939

63%
Szabłowska-Zaremba M.
Roczniki Humanistyczne
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2016
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vol. 64
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issue 1: Literatura polska
75-89
PL
Celem artykułu jest pokazanie sposobów prezentacji w międzywojennej prasie żydowskiej pisanej w języku polskim zagadnień dotyczących pisarzy jidysz. Periodyki te kierowane były do czytelników polskojęzycznych, a zatem tych, którzy nie mogli bezpośrednio poznać literatury jidysz. Twórców podzielono na cztery grupy: klasycy (Mendele Mojcher Sforim, Icchok Lejbusz Perec, Szolem-Alejchem), średnie pokolenie (Szalom Asz, Józef Opatoszu, Zusman Segałowicz i Jehoszua Perle) oraz najmłodsze (Abraham Zak, Efroim Kaganowski, Rachel Korn, Icyk Manger oraz Kalman Lis). Ostatnią specyficzną grupę tworzą ci autorzy, których utwory nie są drukowanie, niemniej na łamach gazet publikuje się opisy ich tomików, np. Chaim Siemiatycki. Do najczęstszych form wypowiedzi prezentujących sylwetkę pisarza należą: szkice biograficzne, wywiady z nim przeprowadzone, tłumaczenia jego wypowiedzi lub artykułów ukazujących się na łamach prasy jidyszowej, relacje ze spotkań, wyjazdów, ważnych wydarzeń dotyczących jego osoby lub twórczości, szkice dotyczące całej jego twórczości lub jej wybranego aspektu, recenzje jego utworów oraz tłumaczenia jego dzieł. Wnioski oparte zostały na takich periodykach, jak: „Nasz Przegląd”, „Nowy Dziennik”, „Chwila”, „Opinia”, „Nasza Opinia”, „Nasz Głos”, „Dziennik Nowy”, „Kurier Nowy”.
EN
The aim of the article is to show the ways issues concerned with Yiddish writers are presented in the interwar Jewish press published in Polish. The periodical were targeted to Polish language readers, i.e. ones who were not able to read Yiddish literature. The writers were divided into four groups: classics (Mendele Mocher Sforim, Isaac Leib Peretz, Sholem-Aleichem), the middle generation (Sholem Asch, Joseph Opatoshu, Zusman Segałowicz and Jehoszua Perle) and the youngest one (Abraham Zak, Efroim Kaganowski, Rachel Korn, Itzik Manger and Kalman Lis). The last specific group is made up by the authors whose works and not printed, but nevertheless newspapers publish reviews of their volumes, e.g. Chaim Siemiatycki. The most frequent forms of statements presenting the figure of an author include: biographical sketches, interviews, translations of his statements or of articles published in Yiddish press, accounts of his meetings, journeys, important events concerning his person or his work, sketches concerning his whole work or its chosen aspects, reviews and translations of his works. Conclusions are based on such periodicals as: “Nasz Przegląd”, “Nowy Dziennik”, “Chwila”, “Opinia”, “Nasza Opinia”, “Nasz Głos”, “Dziennik Nowy”, “Kurier Nowy”.
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