Search results

1

Pamięć i trauma dziedziczona w Krajobrazie z dzieckiem Romana Grena, Oskarżam Auschwitz Mikołaja Grynb erga oraz Pensjonacie Piotra Pazińskiego

100%

Majdosz S.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2017

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issue 47

49-62

EN

On the basis of three literary texts quoted in the title of the article, the author analyses and interprets the categories of postmemory and inherited trauma. Roman Gren and Piotr Paziński create fictious nostalgic prose, whereas Mikołaj Grynberg uses a feature genre, i.e. recorded conversations with the Auschwitz survivors’ children. The focal idea and a starting point of the discourse is Marianne Hirsch’s concept of postmemory. The authors of the selected texts attempt to face those experiences. Though differently emotionally and artistically loaded, the texts focus on searching for the traces of ancestors and reconstructing family stories, frequently shrouded in a veil of mystery. Recalling childhood memories, the characters reveal family secrets (Jewish ancestry, the Holocaust experience and repercussions) and gradually begin to understand vague and problematic family relations. All three texts aim at reconstructing the identity of the descendants of the salvaged from Extermination, which allows them to recognize themselves in social, psychological and historical dimensions.

2

Archiv vizuální historie USC Shoah Foundation v CVH Malach a československé židovské identity

100%

Mlynář J.

Historie – Otázky – Problémy (History, Issues, Problems)

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2013

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vol. 5

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issue 1

173-183

EN

Identities and their representation and expression in different social contexts became one of the key problems of social sciences and humanities in the late 20th century. Sociology – which is the approach taken in this paper – doesn’t understand identity as something given or fixed, but rather as a social construction created in the processes of interaction and negotiation. Emphasis is on the temporal mutability and fluidity of the identities, their social origin (membership in different social groups and identification with them), and the premise that an individual in contemporary society uses a variety of different identities in social interactions. First part of the paper presents the archive, which is the source of the data; the second part is a short overview of key theoretical aspects of sociological research on identities; and the final part is dealing with different ways of expressing a collective (Jewish) identity in biographical interviews from the USC Shoah Foundation’s Visual History Archive, interpreting it in the broad context of sociological reflections on personal and collective identity

3

„Zdecydowanie żydowskie, wyraźnie polskie”… Strategie narracyjne twórców Muzeum Historii Żydów Polskich Polin

100%

Cukras-Stelągowska J.

Kultura-Społeczeństwo-Edukacja

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2017

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vol. 12

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issue 2

379-400

PL

This paper aims to establish a framework of discursive narratives about the idea of the Polin Museum of the History of Polish Jews. Most of these narrative strategies concern the implementation of this huge project, arrangement of exhibitions, topics presented and the importance of the museum for the community of Polish Jews and Poles. The qualitative analysis of the narratives is conducted based on the content of periodicals published by the Jewish community in Poland: „Midrasz. Pismo Żydowskie” and „Chidusz. Magazyn Żydowski”. The analysis involves 11 speeches given immediately after the ceremonial opening of the Museum in 2013 and later, primarily at anniversary celebrations.

4

(Un)Familiar Jewishness in the Work of Jiří Weil

100%

Brunová M.

Slovo a smysl - Word & Sense

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2022

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vol. 19

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issue 39

198-209

EN

Jiří Weil (1900–1959), the Czech writer of Jewish origin, is known primarily for his works of fiction dealing with the experience of the Shoah, both in the form of short stories and his celebrated novels Život s hvězdou (Life with a Star, 1949) and Na střeše je Mendelssohn (Mendelssohn is on the Roof, 1960), as well as the text collage Žalozpěv za 77 297 obětí (Lamentation for 77 297 Victims, 1958). However, the fact that Weil presented the theme of Jewishness also from a different perspective is often overlooked — for example in the novel Harfeník (The Harpist, 1958) and in the unpublished texts ‘Perrotina, mašina chlebozlodějská’ (Perrotine, the Bread-Stealing Machine) and ‘Tiskařská romance’ (A Printer’s Romance), in which he linked the theme of Jewishness to that of the beginnings of the labour movement in the Czech lands in the 19th century. Although Weil’s post-war literary output is characterised by his focus on themes of Jewishness and the Shoah, we also find Jewish figures represented in his pre-war novel writing. Last but not least, it is necessary also to recall his texts of a non-fiction character, in which he dealt with Jewish themes in the course of his employment at the State Jewish Museum. The focal point of this contribution therefore resides in the presentation of Weil’s lesser-known texts, dealing with the theme of Jewishness other than through the prism of the Shoah, and in his uncovering of a complex of Jewish identities in his pre-war novel Moskvahranice (Moscow-Border, 1937).

5

Expressionismus und jüdische Identität. Jakob Steinhardt zwischen Kunst und Religion

100%

Pekárková E.

Moderní dějiny: sborník k dějinám 19. a 20. století (Modern History: Studies into 19th and 20th century history)

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2023

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vol. 31

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issue 1

119-142

EN

In the last twenty years, the method of the so-called cultural transfers in the context of Jewish studies shows itself as very helpful, especially in the research of Jewish identity and cultural processes in general. The following article uses this method and the example of the well-known German- -Jewish painter and graphic artist Jakob Steinhardt, and the artists from his environment to examine the relationship between Expressionism and Jewish identity and their origins. The individual connections between the artists are analysed as well as their works and the reflection in the Zionist press.

6

Syjoniści kontra „Żydzi polscy”. Palestyńskie echa memoriału Tuwima

100%

Sobelman M., Ambasada Izraela u. K., Michał Sobelman – (ur. 1953 w Sosnowcu) od 1993 roku rzecznik prasowy ambasady Izraela w Polsce h., sobmichael@hotmail.com

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2014

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vol. 26

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issue 4

EN

The article discusses the reception of Tuwim’s manifesto in Israel, focusing in particular on the 1940s. The author analyses various critical reponses to the poem expressed by Jewish critics in Palestine. Tuwim’s reception in Israel is presented from a new perspective which has not been explore so far.

7

Zionists and ‘Polish Jews’. Palestinian Reception of ‘We, Polish Jews’

100%

Sobelman M.

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2016

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vol. 36

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issue 6

99-109

EN

The article discusses the reception of Tuwim’s manifesto in Israel, focusing in particular on the 1940s. The author analyses various critical reponses to the poem expressed by Jewish critics in Palestine. Tuwim’s reception in Israel is presented from a new perspective which has not been explore so far.

8

Zionists and ‘Polish Jews’. Palestinian Reception of ‘We, Polish Jews’

100%

Sobelman M., Israeli Embassy in Poland’s Spokesperson, sobmichael@hotmail.com

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

|

vol. 36

|

issue 6

EN

The article discusses the reception of Tuwim’s manifesto in Israel, focusing in particular on the 1940s. The author analyses various critical reponses to the poem expressed by Jewish critics in Palestine. Tuwim’s reception in Israel is presented from a new perspective which has not been explore so far.

9

Childhood memories in three novels by Philip Roth: Portnoy’s Complaint, The Plot Against America, and American Pastoral as pivotal components of the protagonists’ identities

88%

Kubiak S.

Crossroads. A Journal of English Studies

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2016

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vol. 14

EN

The objective of the paper is to discuss Philip Roth’s approach to the Jewish community in Newark, where he spent his childhood and where he chose to set several of his novels. Roth’s narrations referring to his hometown are written in the first person singular and often take the form of childhood memories. The persistent return to the settings of the Jewish quarter of Newark in the past seems an attempt at understanding the reality of a relatively closed community, yet far from isolation, which provided him with all the elements determining his complex sense of identity. Despite the various grades of fictitiousness of the characters and settings, the narrating protagonist of a number of Roth’s novels is usually a Jewish schoolboy born and brought up in Newark. The paper includes short analyses of “Jewish memories” in three novels by Philip Roth: The Plot Against America, where the narrator is called Philip Roth but the circumstances are elements of pure political/historical fiction, American Pastoral, where the speaker is Nathan Zuckerman, Roth’s frequent alter ego, and Portnoy’s Complaint, narrated by the fictitious Alexander Portnoy. Being both American and Jewish has considerable implications, which include, for example, the characters’ sexuality. The image of the childhood and adolescence of Roth’s protagonists seems not only an obsessive theme to be found in so many of his texts, but also the core of the intellectual construct which may be recognized as his sense of identity.

10

In the Interstices of Languages and Cultures. Julian Stryjkowski – a Polish Writer of Jewish Origin

88%

Piekarski I.

Colloquia Humanistica

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2014

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issue 3

EN

In the Interstices of Languages and Cultures. Julian Stryjkowski – a Polish Writer of Jewish OriginThe following sketch is a depiction of a prewar stage of life as well as work of Julian Stryjkowski who was a Polish writer of Jewish origin. Identity quandary of the author of Voices in the Dark was presented against the background of changes taking place in the Jewish world at the turn of the twentieth century juxtaposed with the parallel choices of Shmuel Josef Agnon and Isaac Bashevis Singer. The aim of the essay is to present the role of the language of writing in the process of shaping authors' personal identity.W szczelinach języków i kultur. Julian Stryjkowski - polski pisarz żydowskiego pochodzeniaJest to szkic o przedwojennym etapie życia i twórczości Juliana Stryjkowskiego - polskiego pisarza żydowskiego pochodzenia. Tożsamościowe rozterki twórcy Głosów w ciemności ukazane zostały na tle przemian modernizacyjnych postoświeceniowego żydostwa i zestawione z paralelnymi wyborami Szmuela Josefa Agnona i Izaaka Baszewisa Singera. Głównym celem artykułu jest ukazanie roli języka twórczości w kształtowaniu osobowej tożsamości pisarzy.

11

“Die hart ’n droë blaar”: Verlies, rou en melancholie in Olga Kirsch se Afrikaanse poësie / “The heart a dry leaf”: Loss, Mourning and Melancholia in Olga Kirsch’s Afrikaans Poetry

75%

Viljoen L.

Werkwinkel

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2014

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vol. 9

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issue 2

31-58

EN

Reading Olga Kirsch’s Afrikaans poetry, one is struck by the important role that the experience of loss occupies in her oeuvre. It is evident in the first two volumes of poetry she published while still living in South Africa, as well as in the five volumes she published after emigrating to Israel in 1948. Because her poetry, especially the volumes written in Israel, exudes an air of melancholy, this article uses Freud’s writings on loss, mourning and melancholia, as well as the historical tradition preceding his work, as a guideline in exploring the way in which the experience of loss, mourning and melancholy is portrayed in Kirsch’s oeuvre. The article focusses on the way in which loss is portrayed in her poetry: her sense that the Jewish experience of loss over the centuries forms part of her history and identity, the way in which she experiences the loss of South Africa and the language Afrikaans in which she is best able to express herself poetically when she emigrates to Israel, the way in which the loss of her father and mother at different times in her life affected her, her feeling that her experience of loss and the ensuing melancholy are carried over to her children.

12

The Holocaust/Shoah as a Tabooed Component in Czech Society´s Memory after World War II?

75%

Soukupová B.

Národopisná revue (Journal of Ethnology)

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2022

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vol. 32

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issue 1

13 - 21

EN

The text analyses the thematization of a key phenomenon of 20th century history and the axis of post-war Jewish identity − the Holocaust/Shoah in the Czech lands with overlaps to Central Europe. In contrast to propositions of the well-known political scientist Pavel Barša (the Holocaust became the cornerstone of Jewish identity only at the turn of the 1960s and 1970s, when the State of Israel argued for it within its policy in regards to the occupied Arab territories and the moral category of innocent victim became crucial for Western mind-set), it tries to prove that the Holocaust, for which the Hebrew term Shoah is used in this case, became the pillar of Jewish identity already after the end of World War II. It was also at that time that the growing communist propaganda, which completely dominated the public space after the February coup (1948), began to use it for its own interests. In parallel, the treatise denies that the thematization of the Shoah/Holocaust was dominated by Jews as victims; in the post-war decades both minority Jewish and majority Czech representations worked with two categories: victims of racism and fighters against fascism, even though the communist representation (including the Jewish communists) from the beginning marginalized the Jewish resistance on the Western fronts and also the theme of the uniqueness of the Holocaust phenomenon.

13

Образотворення єврейського погрому в оповіданнях Марії Конопніцької „Mendel Gdański” (1890) і Леоніда Пахаревського „Батько” (1906): порівняльний аспект

75%

Semeryn K.

Studia Polsko-Ukraińskie

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2022

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vol. 9

162-175

EN

The paper analyzes the images of the Jewish pohrom in the short stories written by a Polish writer Maria Konopnicka “Mendel Gdański” (1890) and by the Ukrainian writer Leonid Pakharevsky “The Father” (1906). The research is made within a framework of comparative analysis. Both authors depict pohroms with an image of an old Jewish man caring for his children or grandchildren. In the wake of anti-Jewish riots the protagonists are undergoing deep personal changes. Mendel loses his love for his city, while Leisor loses his passionary illusions and became involved in an armed struggle for freedom. Konopnicka focuses on the natural belonging of the Jewish population to Polish society and more broadly to the Eastern European multicultural space. Pakharevsky outlines the generation gap. While the older Jews accepts death without resistance, guided by faith in the promised biblical land, the younger Jews denies these illusions and defends their life resolutely. In addition, Konopnicka and Pakharevsky are looking for preconditions for the pohrom. According to them, the only reasons are social prejudices, stereotypes, as well as a criminal factor, to wit the role of criminals and lumpen in anti-Semitic actions. Both short stories use the technique of instilling a sense of danger, although Pakharevsky’s story begins with a scene of fire and a direct attack. Eventually, the pohroms indeed lead to a real escalation of hostility and a painful rift between the Jewish and non-Jewish worlds. In closing, these stories are not only about the genesis and the course of anti-Semitic pohroms, but also universal categories. Importantly, the process of self-determination of the Jewish people nowadays and the renewal of Jewish identity are intelligently represented here.

14

Wizerunek wschodnioeuropejskiego Żyda w literaturze i kulturze. Paradoksy i sprzeczności

75%

Zając M.

Przegląd Wschodnioeuropejski

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2020

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vol. 2

239-249

EN

In my paper I tackle the issue of the cultural self-image of the East European Jew. I provide a critical analysis of a number of texts, of different kinds and bents – confessional, literary, historical, political – to demonstrate the paradoxes and contradictions of Jewish identity. Noticing the bi-polar paths of Jewish self-interpretation (as exemplified, for instance, by Heschel and Szahak), neither free from the subjective and emotional trends, I argue for the truth closer to those views which acknowledge the religious specificity of the Jewish nation as the chosen people. Regardless of multiple contexts worth considering and at work, the essence of Jewishness dwells in the religious feeling.

15

Warsaw as a Formative Space of a Jewish-Polish Identity. A Case Study Based on Zygmunt Turkow’s Memoirs Fragmentn fun mayn lebn

75%

Nienartowicz A.

Academic Journal of Modern Philology

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2021

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issue 11

135-141

EN

This article aims to sketch out the Jewish-Polish identity of a prominent Jewish actor and director, Zygmunt Turkow (1896–1970). A summary of the nature of Jewish identity is followed by a study of his memoirs Fragmentn fun mayn lebn [Fragments of My Life] (1951) from the period of 1896–1916. Drawing on Cultural Literacy (Segal 2014), the study focuses on the methods and thoughts of Roland Barthes ([1967] 1985) on urban space. The main section of this paper includes an overview of the places and institutions in Warsaw that Turkow mentioned in his memoirs. All the addresses are ascribed to four social categories (home and friends, religion, education, and freetime) and then discussed. The final section contains research conclusions on Turkow’s selfhood, his sense of Jewish and Polish identity, and his attachment to Jewish or Polish culture, as well as the defining characteristics of his Polish-Jewish/ Jewish-Polish self-identity. This article aims to explain the peculiar circumstances that contribute to the complexity of determining and investigating what can be considered as Jewish identity.

16

„Klin” Tuwima: strategie przeżycia polsko-żydowskiego poety

75%

Tomassucci G., Wydział Filologii L. i. L., Giovanna Tomassucci – profesor polonistyki na Uniwersytecie w Pizie (Dipartimento di Letteratura F. e. L., g.tomassucci@teletu.it

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2014

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vol. 26

|

issue 4

EN

Tuwim’s approach to the “Jewish question” has already been analyzed by Polish and foreign scholars. The article is intended to consider some “survival strategies” of the Polish poet from a slightly different angle. In Poland, in the period between the wars Jewish writers were persuaded to accept total polonization and a rejection of their ethnic identity; yet, at the same time they often suffered a rejection from the circles of Polish artists. Any attempt of highlighting their Jewish identity or even a slight interest in Jewish culture incited brutal Jew-bashings. Tuwim considered his being a Polish Jew not only as a fact to be proud of, but also as an opportunity for engaging with self-criticism. He painfully felt the Jewish question as “a powerful wedge cleaving [his own] worldview”. However, like many other Polish- Jewish writers he masked its enduring presence in his own psyche, constructing his public persona through a process of self-fashioning. This paper tries to follow the traces of this “wedge” in Tuwim’s works: from poems supposedly having nothing to do with the “Jewish question”, to encrypted allusions to the great Yiddish writers, from his relentless questioning of all forms of intolerance and nationalist rhetoric, to his conviction that a new poetic language could “reform the world” and become a homeland for all readers regardless of their nationality.

17

Tuwim’s Wedge: 'Survival Strategies' of a Polish-Jewish Poet

75%

Tomassucci G.

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2016

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vol. 36

|

issue 6

49-67

EN

Tuwim’s approach to the “Jewish question” has already been analyzed by Polish and foreign scholars. The article is intended to consider some “survival strategies” of the Polish poet from a slightly different angle. In Poland, in the period between the wars Jewish writers were persuaded to accept total polonization and a rejection of their ethnic identity; yet, at the same time they often suffered a rejection from the circles of Polish artists. Any attempt of highlighting their Jewish identity or even a slight interest in Jewish culture incited brutal Jew-bashings. Tuwim considered his being a Polish Jew not only as a fact to be proud of, but also as an opportunity for engaging with self-criticism. He painfully felt the Jewish question as “a powerful wedge cleaving [his own] worldview”. However, like many other Polish-Jewish writers he masked its enduring presence in his own psyche, constructing his public persona through a process of self-fashioning. This paper tries to follow the traces of this “wedge” in Tuwim’s works: from poems supposedly having nothing to do with the “Jewish question”, to encrypted allusions to the great Yiddish writers, from his relentless questioning of all forms of intolerance and nationalist rhetoric, to his conviction that a new poetic language could “reform the world” and become a homeland for all readers regardless of their nationality.

18

Tuwim’s Wedge: 'Survival Strategies' of a Polish-Jewish Poet

75%

Tomassucci G., University of Pisa D. o. P., g.tomassucci@teletu.it

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

|

vol. 36

|

issue 6

EN

Tuwim’s approach to the “Jewish question” has already been analyzed by Polish and foreign scholars. The article is intended to consider some “survival strategies” of the Polish poet from a slightly different angle. In Poland, in the period between the wars Jewish writers were persuaded to accept total polonization and a rejection of their ethnic identity; yet, at the same time they often suffered a rejection from the circles of Polish artists. Any attempt of highlighting their Jewish identity or even a slight interest in Jewish culture incited brutal Jew-bashings. Tuwim considered his being a Polish Jew not only as a fact to be proud of, but also as an opportunity for engaging with self-criticism. He painfully felt the Jewish question as “a powerful wedge cleaving [his own] worldview”. However, like many other Polish-Jewish writers he masked its enduring presence in his own psyche, constructing his public persona through a process of self-fashioning. This paper tries to follow the traces of this “wedge” in Tuwim’s works: from poems supposedly having nothing to do with the “Jewish question”, to encrypted allusions to the great Yiddish writers, from his relentless questioning of all forms of intolerance and nationalist rhetoric, to his conviction that a new poetic language could “reform the world” and become a homeland for all readers regardless of their nationality.

19

Pamięć w tradycji żydowskiej i chrześcijańskiej

63%

Grosfeld J.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2015

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issue 3(34/1)

41-52

EN

The memory has a special meaning both in the Jewish as well as the Christian tradition. It differs from other religious and cultural traditions. Its heart comes from the commandments Zakhor, Remember which means the permanent actualisation of the events which founded and essentially shaped the identity of Jews and Christians. The notion of zikkaron (memorial) reveals the duty to be in relation with the past in function of the present and the future in order not to be separated from God. Thus these two traditions allow to their believers to discover and not to lose the very sense of the human life with its most challenging aspects as suffering, weakness and death. Probably the most influential event in the history within this path of reflection was the Shoah, erroneously named Holocaust, the catastrophe which happened to the Jewish people in result of the Nazi ideology. If we don’t include this horrifying genocide into the Jewish, Christian and human history as a subject of a deep biblical and profound thinking, we cannot avoid two traps: to be fixed and lost in the past or to lose our memory and identity.

20

NOSTALGICZNY POWRÓT HENRYKA GRYNBERGA DO UTRACONEGO DZIECIŃSTWA

63%

Balcerzak A.

Świat Tekstów. Rocznik Słupski

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2018

|

vol. 16

109-118

EN

The work of Henryk Grynberg is an example of the nostalgia of individual experi-ence, which was determined by traumatic war experiences. The author, as an adult man, returns the same way back to his childhood. The past is what Grynberg is constantly struggling with. The writer recreates the past by restoring the image irretrievably lost. In Sielanka Siaj’s story, Grynberg recalls the world of childhood before the war, this is the only text of this author presenting a picture of joyful childhood. In this piece important fragments of stories about the announcement of the catastrophe, which was the holo-caust, are highlighted. The Holocaust, which is the background of the story, is expressed in subtext, and remains almost invisible. The fate of the main character will continue in the novel entitled The Jewish War, but still, in there, a small boy will experience dilemmas of identity. The whole novel deals with the fate of the Jewish family during the German occupation of Poland. The book was divided into two parts, which follow in chronological order according to the events. Why was the story of the fate of one Jewish family divided in such a way? It is because there were two different ways to save yourself from oppression at the time described. The differences in opinions were visible among people close to the narrator: husband and wife, father and mother. The Jewish War is a tragic story, because it shows the difficulty of the choices, the moral dilemmas that take place in the minds of the characters in the novel. The whole life of the characters portrayed was a lie, a mystification. Not only were their words untrue, the greatest fraud was their very existence at that time. The autobiographical text is portraying the paralyzing fear of the past. We have the right to interpret the texts of Grynberg at three possible levels: personal experiences, generalized form of the fate of the Jewish people and existential reflection, which seeks terms for man in general. Both novels belong to the second wave of postwar literature. In this context, the authors attempted to capture the realities of the war in the perspective of the passage of time. Those authors wrote the main topic as a record of the artistic process, not to describe their own experiences, but to formulate deep judgments based on polemic despair caused by the holocaust.

Refine search results

Pamięć i trauma dziedziczona w Krajobrazie z dzieckiem Romana Grena, Oskarżam Auschwitz Mikołaja Grynb erga oraz Pensjonacie Piotra Pazińskiego

Archiv vizuální historie USC Shoah Foundation v CVH Malach a československé židovské identity

„Zdecydowanie żydowskie, wyraźnie polskie”… Strategie narracyjne twórców Muzeum Historii Żydów Polskich Polin

(Un)Familiar Jewishness in the Work of Jiří Weil

Expressionismus und jüdische Identität. Jakob Steinhardt zwischen Kunst und Religion

Syjoniści kontra „Żydzi polscy”. Palestyńskie echa memoriału Tuwima

Zionists and ‘Polish Jews’. Palestinian Reception of ‘We, Polish Jews’

Zionists and ‘Polish Jews’. Palestinian Reception of ‘We, Polish Jews’

Childhood memories in three novels by Philip Roth: Portnoy’s Complaint, The Plot Against America, and American Pastoral as pivotal components of the protagonists’ identities

In the Interstices of Languages and Cultures. Julian Stryjkowski – a Polish Writer of Jewish Origin

“Die hart ’n droë blaar”: Verlies, rou en melancholie in Olga Kirsch se Afrikaanse poësie / “The heart a dry leaf”: Loss, Mourning and Melancholia in Olga Kirsch’s Afrikaans Poetry

The Holocaust/Shoah as a Tabooed Component in Czech Society´s Memory after World War II?

Образотворення єврейського погрому в оповіданнях Марії Конопніцької „Mendel Gdański” (1890) і Леоніда Пахаревського „Батько” (1906): порівняльний аспект

Wizerunek wschodnioeuropejskiego Żyda w literaturze i kulturze. Paradoksy i sprzeczności

Warsaw as a Formative Space of a Jewish-Polish Identity. A Case Study Based on Zygmunt Turkow’s Memoirs Fragmentn fun mayn lebn

„Klin” Tuwima: strategie przeżycia polsko-żydowskiego poety

Tuwim’s Wedge: 'Survival Strategies' of a Polish-Jewish Poet

Tuwim’s Wedge: 'Survival Strategies' of a Polish-Jewish Poet

Pamięć w tradycji żydowskiej i chrześcijańskiej

NOSTALGICZNY POWRÓT HENRYKA GRYNBERGA DO UTRACONEGO DZIECIŃSTWA