Îïèñàíèå: Traces the conflicting ways Jews and Germans defined their own victimization and survival, comprehended the trauma of war and genocide, and struggled to rebuild their lives. This book describes Berlin in the days following Germany`s surrender. It examines how Germans and Jews interacted and competed for Allied favor, benefits, and victim status.
Îïèñàíèå: The rich history of the German rabbinate came to an abrupt halt with the November Pogrom of 1938. The need to leave Germany became clear and many rabbis made use of the visas they had been offered. Their resettlement in Britain was hampered by additional obstacles such as internment, deportation, enlistment in the Pioneer Corps. But rabbis still attempted to support their fellow refugees with spiritual and pastoral care. The refugee rabbis replanted the seed of the once proud German Judaism into British soil. New synagogues were founded and institutions of Jewish learning sprung up, like rabbinic training and the continuation of “Wissenschaft des Judentums.” The arrival of Leo Baeck professionalized these efforts and resulted in the foundation of the Leo Baeck College in London. Refugee rabbis now settled and obtained pulpits in the many newly founded synagogues. Their arrival in Britain was the catalyst for much change in British Judaism, an influence that can still be felt today.
Àâòîð: Ethan J. Hollander Íàçâàíèå: Hegemony and the Holocaust ISBN: 3319398016 ISBN-13(EAN): 9783319398013 Èçäàòåëüñòâî: Springer Ðåéòèíã: Öåíà: 16769.00 ð. Íàëè÷èå íà ñêëàäå: Åñòü ó ïîñòàâùèêà Ïîñòàâêà ïîä çàêàç.
Îïèñàíèå: This book explains why more Jewish people survived in some German-occupied countries compared to others during World War II. Hollander demonstrates that collaborators sometimes played a surprising role in ensuring Jewish survival. Where high-ranking governing officials stayed in their countries and helped Nazi Germany, they could often “trade” their loyal cooperation in military and economic affairs for inefficient or incomplete implementation of the Final Solution. And while they sometimes did this because they had sincere moral objections to Nazi policy, they also did so because deporting local Jews was politically unpopular, because they regarded it as less important than winning the war, or because deporting Jews meant that the collaborators gave up potentially profitable opportunities to exploit them. This unique book has important implications for our understanding of state-sponsored violence, international hierarchy, and genocide, and it raises harrowing moral questions about the Holocaust and the nature of political evil.
Îïèñàíèå: Annette Libeskind Berkovits thought her attempt to have her father record his life's story failed. But in 2004, three years after her father's death, she was going through his things and found a box of tapes - several years' worth - with his spectacular life, triumphs, and tragedies told one last time in his baritone voice.Nachman Libeskind's remarkable story is an odyssey through crucial events of the twentieth century. With an unshakable will and a few drops of luck, he survives a pre-war Polish prison; witnesses the 1939 Nazi invasion of Lodz and narrowly escapes; is imprisoned in a brutal Soviet gulag where he helps his fellow inmates survive, and upon regaining his freedom treks to the foothills of the Himalayas, where he finds and nearly loses the love of his life. Later, the crushing communist regime and a lingering postwar anti-Semitism in Poland drive Nachman and his young family to Israel, where he faces a new form of discrimination. Then, defiantly, Nachman turns a pocketful of change into a new life in New York City, where a heartbreaking promise leads to his unlikely success as a modernist painter that inspires others to pursue their dreams.With just a box of tapes, Annette Libeskind Berkovits tells more than her father's story: she builds an uncommon family saga and reimagines a turbulent past. In the process she uncovers a stubborn optimism that flourished in the unlikeliest of places.
Îïèñàíèå: The era of the German Occupation of France constituted, surprisingly, a golden age for the arts: literature, theater, popular music and cinema. These works of art seem to be devoid of political impact. The widespread trend of unrealistic and fantastic art during this period is explained by some scholars as the artists escape from the omnipotent eye of German censorship. The purpose of the book is to show that, contrary to the accepted view, some of these films were intimately linked to the political situation. They convey the demonization of characters that, while not specifically presented as Jews nevertheless manifested anti-Semitic stereotypes of the Jew as ugly, rootless, low, hypocritical, immoral, cruel and power hungry. All five movies analysed (Les Inconnus dans la maison, dir. Henri Decoin, 1942; Les Visiteurs du Soir, dir. Marcel Carne, 1942; LEternel retour, dir. Jean Delannoy, 1943; Les Enfants du Paradis, dir. Marcel Carne, 1943) present characters not identified as Jews but who exhibit negative Jewish traits, in contrast to the aristocratic characters whom they aspire to emulate. They demonstrate, implicitly, central themes of explicit anti-Semitic propaganda. Yehuda Moraly addresses two current major misconceptions regarding the Cinema of Occupied France: (1) that the accepted view that there were almost no explicitly Jewish characters in the cinema of that time and place is patently incorrect; and (2) that the feature films of Occupied France were not as it is commonly thought free of the propaganda messages that permeated the press, the radio and documentary films. Analysis of these films brings out the contradictory nature of European anti-Semitism. On one hand, the Jew is the anti-Christ, throttling the world with disgusting materialism while on the other hand, he is representative of an ancestral stifling morality, which it is time to abolish.
