Search results - CEJSH

1

Pozbawiony tytułu esej z sześcioma przypisami o trzech innych esejach o milczeniu. Metodologicznie słaby

100%

Pitrus A.

Kwartalnik Filmowy

|

2018

|

issue 104 Esej, found footage, film montażowy

35-44

PL

Autor pisze o trzech eseistycznych filmach poświęconych obozom koncentracyjnym. Powstały one w różnym czasie, a także w różnych krajach. Ich twórcy – choć charakteryzują się odmienną wrażliwością, a ich dzieła dowodzą pojemności formuły eseju – przemawiają poniekąd wspólnym głosem. Chcą mówić o tym, co w istocie nienazwane, co wykracza poza możliwość wyobrażenia sobie ogromu zła Zagłady. Żaden z nich nie jest dokumentalistą. Zamiast głośno oskarżać, eksplorują sferę milczenia. Autor artykułu próbuje dotrzeć do tego, jak można zmierzyć się z trudnym tematem – kiedyś, niemal na gorąco, i dzisiaj, kiedy przez Europę i świat przetacza się fala ruchów neonacjonalistycznych.

EN

The author writes about three essayistic films concerning to concentration camps. They were created at different times, as well as in different countries. Their creators – although they are characterized by a different sensitivity, and their works prove the breadth of the formula of an essay – speak in a way with a common voice. They want to talk about what is in fact unnamed, which goes beyond the possibility of imagining the magnitude of the evil of the Holocaust. None of them is a documentalist. Instead of loud accusations, they explore the realm of silence. The author of the article tries to find out how to face a difficult topic – in the past, almost at the time of perpetration, and today, when a wave of neo-nationalist movements is sweeping through Europe and the world.

2

"War beading up into a red dot". Autobiographical discourse in Andrzej Żuławski’s "The Third Part of the Night"

89%

Maszewska-Łupiniak M.

Kwartalnik Filmowy

|

2013

|

issue Special Issue - Polish Film Scholars on Polish Cinema

95-108

EN

The author is mainly interested in the chosen aspect of autobiographic dispute, namely a film autobiographism understood as a defined communication attitude of the film author and the audience reaction generated by it. In this paper Maszewska-Łupiniak discusses autobiographism included in the fictional film narration of "The Third Part" of the Night by Andrzej Żuławski. His film, presenting a part of a family history, matches the autobiographic dispute. As a text about Holocaust it creates a universal message – the duality in the film structure makes us think about the relations between a creator and his work, between the ethical conditions of that relation. All that is reflected in the style and poetics of the film, which, in turn, makes the receiver of the story adopt a distant attitude.

3

Koniec Holokaustu. Z prof. Alonem Confino rozmawiają Chrissy Monaghan i Jakub Muchowski

89%

Muchowski J., Confino A., Monaghan C.

Rocznik Antropologii Historii

|

2013

|

issue 1(4)

343-354

XX

Interview with prof. Alone Confino

4

Banalność zła na jerozolimskiej scenie. Proces Adolfa Eichmanna jako spektakl

77%

Budzik J.

Studia Azjatystyczne

|

2016

|

issue 2

20-35

EN

The article is a reflection on the topic of connection between a legal procedure and a performance and its role during the trial of Adolf Eichmann. After almost two decades of intentional silence surrounding the subject of the Holocaust survivors in the official Israeli discourse, during the trial of Adolf Eichmann, which took place in Jerusalem in 1961, for the first time the victims where given an opportunity to speak about their experiences to the public, wheras the Israeli society of early sixties, for the first time faced these stories. In the paper the author argues that the trial of Adolf Eichmann was not only a legal procedure, but also – in the light of strategies determining its final shape – a performance that was supposed to construct a new perspecitve of Holocaust narratives in Israel of early sixties.

5

Katastrofa wsteczna

77%

Czapliński P.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2015

|

issue 25

37-66

EN

The principal notion of the article–a “backward catastrophe”– stands for a catastrophe which occurs unseen until it becomes recognized and which broadens its destructive activity until it has been recognized. This concept in the article has been referred to the Shoah. The main thesis is that the recognition of the actual influence of the Holocaust began in Polish culture in the mid-1980s (largely it started with the film by Claude Lanzmann Shoah and the essay by Jan Błoński Biedni Polacy patrzą na getto [“The Poor Poles Look at the Ghetto”]), that is when the question: “What happened to the Jews”, assumes the form: “Did the things that happened to the Jews, also happened to the Poles?”. Cognitive and ethical reorientation leads to the revealing of the hidden consequences of the Holocaust reaching as far as the present day and undermining the foundations of collective identity. In order to understand this situation (and adopt potentially preventive actions) Polish society should be recognized as a postcatastrophic one.

6

Autobiographisches Schreiben: Identität und Gedächtnis bei Grete Weil

75%

Hartmann R., Madajski M.

Colloquia Germanica Stetinensia

|

2009

|

issue 16

23-38

PL

W artykule zajęto się tekstami autobiograficznymi w kontekście rozrachunku z Holocaustem. W centrum uwagi znajdują się powieści Meine Schwester Antigone i Der Brautpreis Grete Weil, autorki żydowskiego pochodzenia. Interpretacja podkreśla problematykę tożsamości pisarki jako Żydówki i Niemki oraz daremne usiłowanie opowiedzenia tego, czego powiedzieć się nie da – literackiego ujęcia grozy Auschwitz/ Oświęcimia.

7

Mroczne narracje zwierząt z Holokaustem w tle

75%

Trześniewska A.

Świat Tekstów. Rocznik Słupski

|

2015

|

issue 13

83-92

EN

Summary In this article the author is trying to find the similarities between Holocaust and animals’ situation in a cruel world. The author analyses and interpretates novel Beatrycze i Wergili written by Martel. In this story, the protagonists of narrator’s play are animals (donkey and monkey), who like Jewish society during Second World War, live in cages (similar to ghetto). They are treated as objects. Moreover, they are victims of violence. They have to deal with fear, insecurity (features typical for trauma). After they escaped, they tried to understand what had happened to them.

8

Jak ludobójstwo zostało uznane za zbrodnię − dziedzictwo Rafała Lemkina

71%

MCFARLAND S., HAMER K.

Civitas et Lex

|

2016

|

issue 2(10)

69-85

XX

Raphael Lemkin is hardly known to a Polish audiences. One of the most honored Poles of the XX century, forever revered in the history of human rights, nominated six times for the Nobel Peace Prize, Lemkin sacrificed his entire life to make a real change in the world: the creation of the term “genocide” and making it a crime under international law. How long was his struggle to establish what we now take as obvious, what we now take for granted? This paper offers his short biography, showing his long road from realizing that the killing one person was considered a murder but that under international law in 1930s the killing a million was not. Through coining the term “genocide” in 1944, he helped make genocide a criminal charge at the Nuremburg war crimes trials of Nazi leaders in late 1945, although there the crime of genocide did not cover killing whole tribes when committed on inhabitants of the same country nor when not during war. He next lobbied the new United Nations to adopt a resolution that genocide is a crime under international law, which it adopted on 11 December, 1946. Although not a U.N. delegate – he was “Totally Unofficial,” the title of his autobiography – Lemkin then led the U.N. in creating the Convention for the Prevention and Punishment of the Crime of Genocide, adopted 9 December, 1948. Until his death in 1958, Lemkin lobbied tirelessly to get other U.N. states to ratify the Convention. His legacy is that, as of 2015, 147 U.N. states have done so, 46 still on hold. His tomb inscription reads simply, “Dr. Raphael Lemkin (1900–1959), Father of the Genocide Convention”. Without him the world as we know it, would not be possible.

9

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

71%

Mlynář J.

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

|

2013

|

vol. 5

|

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

10

Michał Głowiński: literaturoznawca i pisarz Zagłady

71%

Krawiel M.

Białostockie Studia Literaturoznawcze

|

2017

|

vol. 10

EN

Michał Głowiński, who has been so far perceived primarily as a distinguished literary critic, well known for his analysis of the communist newspeak, is also the author of autobiographical narratives. The article analyzes certain aspects of Głowiński’s writing, such as the characters, time, space, fragmentariness, contexts and language. After almost sixty years of silence, in his texts Głowiński uncovers the layers of memory which come from “the epoch of gas chambers”. He does it in order to face the trauma of the Holocaust.

11

Procesualność postpamięci i jej reprezentacje w literaturze oraz sztuce współczesnej

71%

Chruściel M.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

|

2017

|

issue 47

73-84

EN

The text is an attempt to analyze literary postmemory representation in three scenes confronted with the language of art. The subject matter are novels: Zagłada (Extinction) by Piotr Szewc, Tworki by Marek Bieńczyk and Pensjonat (Pension) by Piotr Paziński and an exhibition: Poland – Israel – Germany. Auschwitz Experience at the Museum of Contemporary Art MOCAK in Krakow. These books had their premieres at intervals of at least ten years, becoming marks of consecutive decades of duration of the concept of postmemory. Zagłada (1987), Tworki (1999) and Pensjonat (2009) could be read as another mainstream views of the postmemory and building a horizon of contemporary Polish literature. In dialogue with these novels an exhibition open on the 15th of May, 2015 in MOCAK has been submitted to analysis. The intention of the text is to point transformations in postmemory in different fields of artistic activity.

12

WYSCHNIĘTE ŁZY Pamięć Zagłady w sztuce współczesnej

71%

Nieczyporowski R.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

|

2017

|

vol. 24

64-84

EN

The smoke stacks of Auschwitz have changed our perception of the world for ever, and even though so many years have passed since the end of the 2nd world war, the memory of the Holocaust is still alive. A great merit can be attributed to the artists, who constantly remind us of the time of Shoah with their works. The most visible here are the „monument” realizations in Treblinka (by Franciszek Duszeńko and Adam Haupt), Belżec (by Zdzisław Pidek with the team: Marcin Roszczyk and Andrzej Sołtyga), Buchenwald (by Horst Hoheisel and Andreas Knitz), as well as Berlin (Peter Eisenman’s project), in which the main emphasis was put not only on the sculptural form, but rather on the commemorative aspect of each concept. The memory of Shoah and the motif of death have become one of the main factors changing the aesthetics of the second part of the 20th century. Wywód otwiera analiza najważniejszych założeń pomnikowych, następnie autor omawia wybrane realizacje artystyczne, zarówno malarskie jak i instalacyjne, całość kończy zaś przykładami podejmowania tego tematu w książkach obrazkowych dla dzieci. The disquisition is started with the analysis of the most important monument concepts, then the author discusses selected artistic realisations, both from the field of painting and installation art, while the whole is concluded with examples of treating this subject in picture books for kids.

13

Roll a Hard Six: Losing Your Noodle in Raymond Federman’s Double or Nothing

71%

Guenther S., Dalhousie University in Halifax N. S., Shawna Guenther f. S. P. E. I.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

|

2015

|

vol. 3

|

issue 2

EN

Raymond Federman’s Double or Nothing is a convoluted representation of the mentallyunstable mind existing as a series of six characters that are at once separate and conjoined: the horrors and traumatic events of the narrative past dismantle the unified subject into a series of schizophrenic sub-personalities, parts of the destabilized Author’s psyche, existing as separate fragments that eventually collide. Further, the imaginary room emerges as the Fifth Person, promising, but failing, to be a central stabilizer of the other fractured selves. Finally, the design of the text echoes the patterns of the traumatized mind, illustrating the inability of a narrative to construct a stable, unified subject and demonstrating the inadequacy of traditional narrative forms. The text, with its obliterations, cropped phrases, and pictorial manifestations, becomes the Sixth Person. However, in the end, the text shows that the past cannot be erased, explained, or reversed; neither can the experimental nature of the novel reach beyond the traumatized, schizoid subject to represent the horrors of the past that caused the Author’s psychotic breach. Federman has rolled a hard six that will repeatedly fragment and unite, just as the traumatic past continues to repeat itself as one that defies representation.

14

„To było miasteczko żydowskie”. Pamięć o Żydach w świetle wywiadów z mieszkańcami gminy Zakrzówek

71%

Małczyński J.

Przegląd Kulturoznawczy

|

2012

|

issue 1(11)

71-93

EN

The article deals with the Jewish Memory in Zakrzówek in the Lublin Voivodeship. Just prior to the Second World War, over 800 Jews lived there. The article is based on interviews with present inhabitants of the village and consists of five parts. The author makes an attempt to reconstruct the memories of interviewees about: landscape of the village before the war, Jews, Polish–Jewish relations, the Holocaust, hiding Jews and Jewish pits. This is a pretext for discussing distinctions between individual, cultural and collective memory, the notion used by Maurice Halbwachs.

15

Situating the Herero Genocide and the Holocaust among European Colonial Genocides

71%

Dyck K.

Przegląd Zachodni

|

2014

|

issue 1(350)

153-172

EN

This article situates the German colonial genocides of the 20th century - the Herero genocide and the Holocaust - in a longer history of European colonial genocides, arguing the importance of this wider historical context in genocide scholarship. It explores how the 1948 United Nations genocide convention and the definition of the term “genocide” can affect how one studies various kinds of mass killing, drawing on Christopher Powell’s “relational” concept of genocide to argue that genocide scholars should study both physical and cultural methods of genocide as they work to understand colonial violence. After a brief overview of the Herero genocide, this article then demonstrates several important philosophical and practical links not only between the Herero genocide and the Holocaust, but also between these and earlier colonial genocides by other European nations. The concluding section explores why a historically-situated understanding of the interrelationships among European colonial genocides is crucial to a nuanced understanding of genocide overall.

16

Polityczny wymiar przestrzeni prywatnej i publicznej w filmach Pétera Forgácsa

71%

Sitek G.

Kwartalnik Filmowy

|

2013

|

issue 82

125-137

PL

Tekst jest próbą uchwycenia mechanizmów organizujących eksperymentalną metodę pracy węgierskiego reżysera Pétera Forgács’a wykorzystującego archiwalne domowe kroniki filmowe. Autorka uwidacznia przedstawienie przez reżysera w dokumentalnych pracach found footage prywatnego wymiaru materiału filmowego w jego społecznym, politycznym wymiarze. Odwołuje się do koncepcji filmu kompilacyjnego Jaya Leydy, kategorii ready-made Marcela Duchampa i grupy Fluxus, koncepcji stylu performatywnego dokumentu przypisanego twórczości Pétera Forgács’a w klasyfikacji zaproponowanej przez Billa Nicholsa w Introduction to Documentary. Na przykładzie filmu Pétera Forgács’a "Zamęt – kronika rodzinna" ("The Mealstrom – Family chronicle", 1997) zostają przedstawione uruchamiane przez reżysera mechanizmy pamięci prowadzące do zrozumienia przez widza tragicznego wymiaru historii Europy XX w., Holokaustu w prywatnym, indywidualnym doświadczeniu.

EN

The article is an attempt to grasp the mechanisms that organise the experimental method of work of the Hungarian director Péter Forgács that relies on the use of archival home film footage. The author reveals the way the director uses private film material in the found footage work in its social and political dimensions. She refers to Jay Leyda’s concept of compilation film, Marcel Duchamp’s and the Fluxus group’s ready-made category, as well as the concept of performative documentary style attributed to Péter Forgács’s work in the classification proposed by Bill Nichols in the Introduction to Documentary. Using the example of Péter Forgács’s film "The Maelstrom: A Family Chronicle" (1997), the author presents the mechanisms of memory the director employs that lead the audience to understand the tragic dimension of European history of the twentieth century, and in particular the Holocaust as a private and personal experience.

17

HISTORICAL POLITICS, MELTED CITIZENSHIP AND EDUCATION ABOUT THE HOLOCAUST: INTERVIEW WITH JOLANTA AMBROSEWICZ-JACOBS

71%

AMBROSEWICZ-JACOBS J., ODROWĄŻ-COATES A.

Society Register

|

2019

|

vol. 3

|

issue 1

163-168

EN

Dear Professor Ambrosewicz-Jacobs, you are an icon for education about the Holocaust in Poland, you are very well regarded abroad and well known for that reason. I will start with some simple questions to get our conversation going. First question: Would you say that there are challenges in the preservation of memory about the Holocaust and challenges for the preservation of historic objectivity?

18

Concerts of the Jewish Orchestra in the Łódź Ghetto during the Second World War

71%

Wiatr A.

Kwartalnik Młodych Muzykologów UJ

|

2020

|

issue 4(47) ENG

197-213

EN

The article discusses concerts organised by the inhabitants of the Łódź Ghetto and their cultural context. My research focuses on concerts conducted by Teodor Ryder, with preserved posters and programmes used as my sources. The surviving concert reviews written in the ghetto contribute to a better understanding of these events. Analysis of source materials provides me with an opportunity to describe the musical life in the ghetto and discuss the role of music in the lives of its inhabitants.

19

Śmierć Schulza

71%

Romanowski M.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

|

2016

|

vol. 4

82-101

EN

The article discusses forms of representation and contextualization of Bruno Schulz’s death in biographical narratives by Jerzy Ficowski, Artur Sandauer, Janusz Rudnicki and Wiesław Budzyński. The author of the article examines relations between Ficowski’s approach and the latter, analyzes narrators positions in context of Raul Hilberg’s triangle: perpetrator–victim–bystander, considers strategies of interpretation of biographical subject’s death in light of subject’s whole life.

20

“Being Human”: Edward Bond’s Theories of Drama

71%

Allen D., Handley A.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

issue 7

307-329

EN

The playwright Edward Bond has recalled the impact of seeing photographs of Nazi atrocities at the end of World War Two: “It was the ground zero of the human soul.” He argues we need a different kind of drama, based in “a new interpretation of what it means to be human.” He has developed an extensive body of theoretical writings to set alongside his plays. Arguably, his own reflections on “what it means to be human” are based in his reaction to the Holocaust, and his attempt to confront “the totality of evil.”Bond argues we are born “radically innocent.” There is a “pre-psychological” state of being. The neonate does not “read” ideology; it has to use its own imagination to make sense of the world. To enter society, however, the child must be corrupted; its imagination is “ideologized.” Bond claims that “radical innocence” can never wholly be lost. Through drama, we can escape “ideology” and recover our “autonomy.” It leads us to confront extreme situations, and to define for ourselves “what it means to be human.” The terms of Bond’s theory are Manichean (innocent-corrupt, autonomous-ideologized etc.). His arguments are based in the assumption that there is a fundamental “humanity” that exists prior to socialization. In fact, the process of socialization begins at birth. As an account of child development, “radical innocence” does not stand up to close scrutiny. Arguably, however, Bond’s work escapes the confines of his own theory. It can be read, not in terms of the “ideologized” vs. the “autonomous” mind, but rather, in terms of “conscious” and “unconscious.” In Coffee (2000), Bond takes character of Nold on a journey into the Dantean hell of his own unconscious. He does not recover his “innocence,” but, rather, he has to face the darkness of both history and the psyche.

Refine search results