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TheTaste Remembered. On the Extraordinary Testimony of the Women from Terezín

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Krupa-Ławrynowicz A.

Łódzkie Studia Etnograficzne

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2015

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vol. 54

PL

The article presents an attempt to combine food studies (also termed the anthropology of food) with scholarly reflection regarding memory. The analysis focuses on the book entitled In Memory’s Kitchen. A Legacy from the Women of Terezin [ed. Cara de Silva 2006], containing recipes for Jewish dishes written down by women from the Teresienstadt ghetto. But some dozen recipes that have survived do not make it a cookbook, which is essentially meant to be functional. It is more of a remembrance, a testament, and also a source of knowledge of culture at a given point in time. It is also a testimonial document. Recipes collected by de Silva tell much about their authors. They define their roles as wives and mothers. In addition, the Terezin notes point to a culinary heritage, the religious principles of food preparation and the social and economical conditions that shaped the culinary preferences and the diets of women locked in the ghetto. The article demonstrates that the actions of preparing and consuming food are a constantly repeated practice, which is connected in a network of relationships with other practices. This practice it is anchored in the everyday life, embedded in the family’s biography and fused with childhood memories. Food is presented as a sign of identity, the social bond and the community of family and friends, and also as a gift that serves to uphold these ties.

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Anna Hájková, The Last Ghetto. An Everyday History of Theresienstadt, Oxford: Oxford University Press 2020, pp. 376

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Grądzka-Rejak M.

Studia Żydowskie. Almanach

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2021

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vol. 11

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issue 11

167-171

PL

Recenzja publikacji: Anna Hájková, The Last Ghetto. An Everyday History of Theresienstadt, Oxford: Oxford University Press 2020, pp. 376

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Śmierć porwana. O terezińskiej sztuce Hledáme strašidlo Hanuša Hachenburga z 1943 roku

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Firlej A.

Slavica Wratislaviensia

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2019

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vol. 168

327-335

EN

The stolen death: About the play Hledáme strašidlo by Hanuš Hachenburg from 1943 The puppet theatre play Hledame strašidlo by Hanuš Hachenburg was written in the Terezín/Theresienstadt ghetto in 1943 and over 50 years was hidden in the archive until it was presented to readers and viewers in the 1990s — but it turned out to be still surprisingly valid and cogent. The author, a 14-year-old prisoner of the ghetto, used the conventions of the puppet theatre, the carnival and the fairy tales. The mythical or fairytale like “timelessness” allowed him to show the absurdity of Nazism and — yet unnamed — the Holocaust. The main character of the play, the King, captures Death itself, which soon becomes so ordinary and kitschy that no one is afraid of her. The confinement of Death — a motif known, among others, from the myth of Sisyphus — is an important theme of the theatre in Terezín; it appears also in the German-speaking opera by Peter Kien and Viktor Ullmann, Der Keiser von Atlantis (Emperor of Atlantis). In this article, I show how the old themes of enslaved Death and the dance macabre between extasy and destruction become the symbols of the war, and indeed of the 20th century, which culminates in the devastating forces of the great ideologies and in which there can be found the origins of retrotopia, which is now, according to Zygmunt Bauman, the dominating point of view in East- and West-European and in American discourse.

CS

Únos smrti. O terezίnske divadelnί hře Hledáme strašidlo Hanuše Hachenburga z roku 1943 Divadelní hra Hledáme strašidlo od Hanuše Hachenburga byla napsána v ghettu Terezín / Theresienstadt v roce 1943 a více než padesát let byla ukryta v archivu, aby v 90. letech si našla cestu pro své čtenáře a diváky — a ukázalo se, že je překvapivě platná a přitažlivá. Autor, čtrnáctiletý vězeň ghetta, využil konvencí loutkového divadla, karnevalu a pohádek. Mýtická nebo pohádková „nadčasovost“ mu umožnila ukázat absurditu nacismu a — tehdy ještĕ nemenovaného — holocaustu. Hlavní postava hry, Král, zachytí samotnou Smrt, která se brzy stane tak obyčejnou a kyčovitou, že se ji nikdo nebude bát. Únos smrti — motiv známý mimo jiné i z mýtu Sisyfa — je důležitým tématem divadla v Terezíně; objevuje se také v německojazyčné operě Petera Kiena a Viktora Ullmanna Der Keizer von Atlantis (Císař Atlantidy). V tomto textu ukazuji, jak se staré motivy zotročené Smrti a danse macabre mezi extázi a zničení stávají symbolem války a celého dvacátého století, v který vyvrcholily ničivými sily velké ideologie a kde lze nalézt počátky retrotopie, která je podle Zygmunta Baumana dominantním hlediskem ve východním, západoevropským a americkým diskurzu.

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1 Slavica Wratislaviensia

1 Studia Żydowskie. Almanach

1 Łódzkie Studia Etnograficzne

1 Firlej A.

1 Grądzka-Rejak M.

1 Krupa-Ławrynowicz A.

1 2021

1 2019

1 2015

TheTaste Remembered. On the Extraordinary Testimony of the Women from Terezín

Anna Hájková, The Last Ghetto. An Everyday History of Theresienstadt, Oxford: Oxford University Press 2020, pp. 376

Śmierć porwana. O terezińskiej sztuce Hledáme strašidlo Hanuša Hachenburga z 1943 roku