3353 research outputs found
Sort by
My life
No full textMemoari „Moj život“ Mazalte-Tilde Puvačić, koji prate vremenski period od 1938. do 1973. godine, predstavljaju lično svedočanstvo o sudbini sefardske jevrejske porodice iz Sarajeva. Oni obuhvataju period od porodičnih korena do života posle Drugog svetskog rata. Autorka prati poreklo svoje porodice od progona Jevreja iz Španije 1492. godine, njihovog naseljavanja na Balkanu i života u Sarajevu, gde su generacije porodice očuvale jezik, tradiciju i snažan osećaj zajedništva. Posebno mesto u memoarima zauzimaju ratne godine, tokom kojih autorka kao dete gubi oca u logoru Jasenovac, dok sa majkom prolazi kroz progon, izbeglištvo, logor na Rabu i višegodišnje lutanje kroz ratom razorene krajeve. Ova iskustva svedoče o stalnoj borbi za opstanak, majčinskoj hrabrosti i dubokim ličnim i porodičnim gubicima koji su obeležili čitav njen život. Posle rata autorka se suočava sa siromaštvom, gubitkom majke i životom bez roditeljskog staranja. Uprkos teškim okolnostima, nastavlja školovanje u Sarajevu, a zatim odlazi u Beograd, gde dobija mesto u Jevrejskom studentskom domu. Tamo započinje studije, najpre stomatologije, a potom prelazi na studije jezika i započinje novi život, obeležen obrazovanjem, ličnim razvojem i stvaranjem sopstvene budućnosti. Njeni posleratni koraci svedoče o snazi, istrajnosti i sposobnosti da se, uprkos traumama i gubicima, izgradi dostojanstven i ispunjen život. Memoari predstavljaju dragoceno lično i istorijsko svedočanstvo o stradanju i opstanku sefardskih Jevreja na prostoru bivše Jugoslavije, ali i univerzalnu priču o gubitku, sećanju, identitetu i snazi pojedinca da prevaziđe najteže životne okolnosti.The memoir "My life" by Mazalta‑Tilda Puvačić presents a deeply personal testimony about the life of a Sephardic Jewish woman from Sarajevo in the period from 1938 until 1973, tracing her family’s roots to the expulsion of Jews from Spain in 1492 and their subsequent settlement in the Balkans. The author talks about growing up in a close-knit Sephardic community where language, customs, and family traditions were the most important parts of who she was and where she belonged. The central part of the memoir focuses on the traumatic wartime experience during the Holocaust. As a child, the author lost her father, who was deported to the Jasenovac concentration camp, while she and her mother endured persecution, displacement, and internment, including imprisonment in the Rab concentration camp. Through vivid and emotional recollections, the memoir conveys the constant uncertainty, fear, and struggle for survival, as well as the strength, resilience, and sacrifice that defined their endurance. The postwar period brought new challenges marked by loss, material hardship, and the difficult process of rebuilding life in socialist Yugoslavia. The author describes her efforts to pursue education, build a family, and establish a stable and meaningful life despite lasting emotional wounds. She reflects on the importance of preserving memory, honouring lost family members, and maintaining cultural identity in a changed social and historical environment. This memoir stands as an important personal and historical document, offering insight into the fate of Sephardic Jews in the Balkans, the long-term consequences of war and persecution, and the enduring strength of memory, identity, and survival across generations.Engleski prevod knjige dostupan je na sljedećem linku (the English translation of the book is available at the following link): [https://jevrejskadigitalnabiblioteka.rs/handle/123456789/3525
One life in terracotta: Avraham-Avi Albahari: through his artistic work and memoirs: ten lost years
No full textKnjiga, tačnije ilustrovana monografija, čini kolaž tekstova i slika Avija Albaharija. Donosi potresnu životnu priču Avrahama-Avija Albaharija, bosanskog Jevrejina koji kroz vrhunski umetnički izraz u terakoti i memoarske zapise oživljava svet nestao u Holokaustu. Ovo značajno delo priredila je i istorijskim podacima nadopunila Julija Koš, čime je lično svedočanstvo autora smešteno u širi kontekst sefardske baštine i viševekovnog suživota u Bosni. Albahari opisuje detinjstvo u Sarajevu prekinuto ratom, deportacije porodice u logore i sopstveno čudesno spasenje u splitskom samostanu pod zaštitom sestara franjevki, i okolnosti dolaska i započinjanja života u Izraelu. Memoari „Deset izgubljenih godina“ dokumentuju tragediju uništenja jedne zajednice, ali i hrabrost pojedinaca koji su rizikovali živote spasavajući jevrejsku decu. Kroz spoj Albaharijevih skulptura i stručnih dopuna Julije Koš, knjiga postaje trajni spomenik neuništivoj kreativnoj snazi i istorijskom pamćenju.The book "One Life in Terracotta" tells the moving life story of Avraham-Avi Albahari, a Bosnian Jew who uses his remarkable artistic talent in terracotta and personal memoirs to bring back to life a world that vanished during the Holocaust. This significant work has been edited and enriched with historical information by Julija Koš, placing Albahari's personal testimony within the broader context of Sephardic heritage and the long history of coexistence in Bosnia. Albahari recounts his childhood in Sarajevo, which was disrupted by war, the family's deportation to camps, and his miraculous survival in a Split monastery under the protection of Franciscan sisters. He also describes his journey to Israel and the beginning of his new life there. The memoir "Ten Lost Years" captures the tragedy of a community's destruction while also highlighting the bravery of individuals who risked their lives to save Jewish children. Through the combination of Albahari's sculptures and Julija Koš's expert insights, the book stands as a lasting monument to the enduring power of creativity and the importance of historical memory.Priredila i povijesnim podatcima nadopunila Julija Koš (prepared and enriched with historical data by Julija Koš)
The stories behind my Sculptural Works
No full textAvi Albahari, samouki stvaralac bogatih vajarskih dela, stvara „iz srca“... iz osećanja. Inspiraciju nalazi u svom ličnom životu i sudbini svoje porodice koja vodi poreklo iz Sarajeva prateći sve svoje lične, porodične i životne etape: Obitelj / Sećanje iz ranog detinjstva / Rastanak od majke / Ulaz u dečiji dom Svetog Jozefa u Splitu / Časne sestre / Povratak u Sarajevo / Baščaršija / Alija u oluji / Mosad Jakir - dečiji pobožni dom / Sećanje od kibuca / Dolaze dani / Obitelj Albahari. Potom ih, izuzetnom veštinom svojih ruku, oblikuje u bogato kolorisane figure i skulpture koje na zadivljujuće realističan način oživljavaju te likove i motive.Avi Albahari, a self-taught creator of rich sculptural works, creates "from the heart"... from emotion. He draws inspiration from his personal life and the destiny of his family, which originates from Sarajevo, following all the stages of his personal, family, and life journey: Family / Memories from early childhood / Separation from his mother / Entering the St. Joseph's children’s home in Split / The nuns / Return to Sarajevo / Baščaršija / Alija in the storm / Mosad Jakir - the pious children’s home / Memories of the kibbutz / The days ahead / The Albahari family. With exceptional skill, he transforms these into richly coloured figures and sculptures that bring these characters and motifs to life in a remarkably realistic and captivating way.Priča o ličnoj sudbini Avi Albaharija "Moja prošlost od 4 do 14 godina - mojih deset izgubljenih godina, i još po nešto…" dostupna je preko linka [https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/1735
Portraits and remembrances
No full textLjudska potreba za osvajanjem i netrpeljivost prema drugačijim kulturama i narodima se do danas nije iskorenila. Za vreme Drugog svetskog rata stradalo je oko 6 miliona Jevreja. To je bila posledica antisemitizma. Teško je shvatiti zbog čega se nedužnim ljudima oduzima sloboda ili uskraćuju prava. Ratovi sa sobom nose traume i ružna sećanja. Međutim, oni su uticali na književni stil mnogih pisaca koji su u svojim delima iznosili stavove, svoj bes i nezadovoljstvo koje su izrazili kroz ovu umetnost. Čitajući o ratu ne samo da kreiramo svoje mišljenje, već i osećamo empatiju i zahvalnost zbog svega što posedujemo i mirnih okolnosti u kojima živimo. Tako učimo da poštujemo, da ne osuđujemo različitosti i prevazilazimo mržnju.The human need to conquer and the intolerance towards different cultures and nations has not been
eradicated so far. Around six million Jews lost their lives during World War II. This was the consequence
of antisemitism. It is difficult to comprehend why innocent people are deprived of their freedom or denied
their rights. Wars bring trauma and ugly memories. However, they have influenced the literary style of many authors, who have expressed their attitude, anger and dissatisfaction through their work and this form of art. Reading about war not only creates our own opinion but also makes us feel empathy and gratitude for everything that we possess and for the peaceful circumstances in which we live. This is how we learn to respect and not to judge differences and how we overcome hatred
Spuren von antisemitismus und deren einfluss auf das leben von Paul Bereyter im werk “Die ausgewanderten” von Winfried G. Sebald
No full textAntisemitizam, kao duboko ukorenjen istorijski i kulturni fenomen, prošao je složen razvojni put pod uticajem različitih religijskih i društvenih okolnosti. Rad se bavi proučavanjem uticaja nacističke ideologije na lični identitet Paula Berajtera iz dela “Iseljenici” Vinfrida G. Zebalda, kao i na ljude u njegovom neposrednom okruženju i njegov profesionalni razvoj. Uprkos povratku u Nemačku i borbi u ratu na strani Trećeg rajha, Berajter je osećao sve veću otuđenost i isključenost što je kasnije rezul-tiralo njegovim samoubistvom. Cilj rada jeste da pokaže kako su sistemska diskrimina¬cija, društveni pritisci i suptilni oblici isključivanja oblikovali život učitelja iz malog bavarskog grada S.Als tief verankertes historisches und kulturelles Phänomen hat der Antisemitismus einen komplexen
Entwicklungsprozess durchlaufen, der von verschiedenen religiösen und gesellschaftlichen Umständen beeinflusst wurde. Die vorliegende Arbeit untersucht die Auswirkungen der nationalsozialistischen Ideologie
auf die persönliche Identität von Paul Bereyter aus dem Werk „Die Ausgewanderten“ von Winfried G. Sebald
auf die Menschen in seinem unmittelbaren Umfeld sowie auf seine berufliche Entwicklung. Trotz seiner
Rückkehr nach Deutschland und seines Kampfes im Krieg auf der Seite des Dritten Reichs empfand Bereyter
zunehmende Entfremdung und Ausgeschlossenheit, was schließlich zu seinem Suizid führte. Ziel der Arbeit
ist es aufzuzeigen, wie systematische Diskriminierung, gesellschaftlicher Druck und subtile Formen des Ausschlusses das Leben des Lehrers aus der kleinen bayerischen Stadt S. geprägt haben
Takmičenje sećanja? Sećanje na geto u Lođu/Licmanštatu u savremenim muzejima u Lođu
No full textThere is no individual museum dedicated to the Łódź Ghetto, in which 200,000 Jews were confined. However, there are institutions actively working to preserve the memory of the Jewish community in Łódź. This article focuses on two recently established museums in the city: the Radegast Station, founded in 2009, and the Museum of Polish Children, established in 2021. The aim is to analyse the mechanisms that led to the creation of these historical museums and explore their specific functions. I am interested not only in how these institutions shape and present the Jewish heritage but also in the conceptualisation of the social role of these institutions and the analysis of their presence in the public space. To achieve this, I examine local micro-interactions within the current framework of Poland’s politics of history. Given that nationalism is the predominant ideology of modernity, my text demonstrates how nationalist discourses impact the commemoration of the Łódź/Litzmannstadt Ghetto and influence the remembrance of the Second World War.Ne postoji pojedinačni muzej posvećen Lođskom getu u kojem je bilo zatvoreno 200.000 Jevreja. Međutim, postoje institucije koje aktivno rade na očuvanju sećanja na jevrejsku zajednicu u Lođu. Ovaj članak se fokusira na dva nedavno osnovana muzeja u gradu: Stanicu Radegast, osnovanu 2009. godine, i Muzej poljske dece, osnovan 2021. godine. Cilj je analizirati mehanizme koji su doveli do stvaranja ovih istorijskih muzeja i istražiti njihove specifične funkcije. Zanima me ne samo kako ove institucije oblikuju i prezentuju jevrejsko nasleđe, već i konceptualizacija društvene uloge ovih institucija i analiza njihovog prisustva u javnom prostoru. Da bih to postigla, ispitujem lokalne mikro-interakcije u okviru aktuelnog okvira poljske politike istorije. S obzirom na to da je nacionalizam dominantna ideologija modernosti, moj tekst pokazuje kako nacionalistički diskursi utiču na obeležavanje Lođskog/Licmanštatskog geta i sećanje na Drugi svetski rat
What do (not) we see?
No full textOvo predavanje bavi se temom Holokausta iz jedne drugačije perspektive. Tokom predavanja prikazana je skica jednog školskog časa, tj. prikaz edukativne radionice o Holokaustu i spomeničkoj kulturi uz upotrebu vizuelnih stimulusa.This lecture deals with the topic of the Holocaust from a different perspective. During the lecture, a sketch of a school lesson was shown, i.e., a presentation of an educational workshop on the Holocaust and memorial culture using visual stimulus.Predavanje održano u okviru komemorativno edukativnog programa (the lecture was held as part of the commemorative educational program).Trajanje 1:40:03 minuta (duration 1:40:03 minutes).YouTube link: [https://www.youtube.com/watch?v=2sdXXmo14UM&list=PLhnejJShQmj4euBe6rPYN2d9SUF2SVbem&index=12&t=208s
One melody and three lyrics. (Analysis of the sevdalinka "Kad ja pođoh na Bentbašu")
Full text linkBosanskohercegovačka kulturna baština, uz sva druga narodna blaga, prepoznatljiva je i specifična i po sevdalinkama. U najširem smislu, to su pjesme u kojima se kombiniraju različiti ljubavni motivi, a kao vrijeme nastanka ove ljubavne lirike pretpostavlja se 16. stoljeće, tj. doba kada je Bosna bila pod upravom Osmanskog Carstva. U to doba na prostorima današnje Španije i Portugala počinje inkvizicija pa su mnogi Jevreji i muslimani bili prinuđeni napustiti Pirinejski poluotok. Putujući preko Carigrada, Sefardi su za svoj stalni dom odabrali Bosnu, ali su sačuvali dio svog kulturnog identiteta pišući i pjevajući na ladino jeziku. Međutim, postavlja se pitanje kakva je veza između jedne sevdalinke i Jevreja. Iako do današnjeg dana nije utvrđeno ko je prvi zapisao čuvenu sevdalinku "Kad ja pođo’ na Bentbašu", postoji dosta razloga da joj se posveti više pažnje. Prvo, često možemo čuti kako je to nezvanična himna Sarajeva, drugo, postoje mišljenja koja je smještaju na prostor Livna i treće, vjeruje se da je to, ustvari, tipična pjesma nastala zahvaljujući sarajevskim Sefardima. Baveći se ovom tematikom, nismo uočili nijedno istraživanje koje bi sadržavalo različite analize okupljene na jednom mjestu kao što su npr. jezičke, religijske ili tradicijske. Uglavnom je riječ o etnomuzikološkim ispitivanjima koja su utvrdila melodijska podudaranja današnje verzije sevdalinke sa judeošpanskim oblicima "El Djo alto kon su grasjo" i "Mi kerido mi amado".The cultural heritage of Bosnia and Herzegovina, along with all other national treasures, is also recognizable and specific due to sevdalinka songs. In the broadest sense, these are songs that combine various romantic motifs, and it is believed that this love lyric tradition originated in the 16th century, when Bosnia was under the rule of the Ottoman Empire. During this period, the Inquisition began in the territories of present-day Spain and Portugal, forcing many Jews and Muslims to leave the Iberian Peninsula. Travelling through Constantinople, the Sephardim chose Bosnia as their permanent home but preserved part of their cultural identity by writing and singing in the Ladino language. However, the question arises about the connection between a Sevdalinka and the Jews. Although it has not been determined who first recorded the famous sevdalinka "Kad ja pođoh na Bentbašu", there are many reasons to pay more attention to it. First, it is often referred to as the unofficial anthem of Sarajevo; second, some opinions place its origin in the Livno area; and third, it is believed to be a typical song created thanks to the Sarajevo Sephardim. In dealing with this topic, we have not noticed any research that contains various analyses gathered in one place, such as linguistic, religious, or traditional. Mostly, it is ethnomusicological research that has identified melodic similarities between the modern version of the sevdalinka and the Judeo-Spanish forms "El Djo alto kon su grasjo" and "Mi kerido mi amado."Rad je štampan kao poseban prilog "Jevrejskog glasa" u junu 2024. godine (the paper was printed as a special supplement to "Jevrejski glas" in June 2024)
Holocaust, memory, culture. (3)
No full textPod pokrovitelјstvom Claims Conference (Conference on Jewish Material Claims Against Germany), Centar za studije sećanja Univerziteta u Kragujevcu akademske 2021/2022. godine pokrenuo je Studije Holokausta - prve studije usmerene ka izučavanje Holokausta u našoj zemlјi. U trećoj godini studija (2023/2024), realizovano je deset kurseva u dva semestra, a polaznici su prvi put u ovoj akademskoj godini imali priliku da pohađaju kurs Holokaust u Srbiji - Istorijska perspektiva. Interesovanje za studije i motivisanost studenata (sa osnovnih, master i doktorskih studija) da učestvuju u istraživanju bili su i dalјe izuzetno veliki o čemu svedoči preko 45 položenih ispita. Kao jedan od naučnih rezultata koji proizilazi iz Studija Holokausta jeste i ovaj, treći zbornik, naslovlјen: Holokaust, sećanje, kultura (III), koji je okupio dvanaest studentskih radova. Publikovani radovi nastali su u okviru različitih kurseva, po izboru studenata i pod mentorstvom predmetnih profesora. Kao i prethodnih, tako i ove godine, ovim trećim zbornikom nastavlјamo praksu afirimisanja i publikovanja radova studenata Studija Holokausta na Univerzitetu u Kragujevcu. I tako iskazujemo zahvalnost polaznicima kurseva koji su prepoznali značaj izučavanja Holokausta kako u evropskom, tako i u našem prostoru, i pohvalјujemo njihov trud i zalaganje da ove studije budu što produktivnije i aktuelnije.Under support of the Claims Conference (Conference on Jewish Material Claims Against Germany), the Center for Memory Studies of the University of Kragujevac academic year 2021/2022 in 2010, launched Holocaust Studies - the first studies aimed at studying the Holocaust in our country. In the third year of studies (2023/2024), ten courses were held in two semesters, and for the first time in this academic year, participants had the opportunity to attend the course Holocaust in Serbia - Historical Perspective. The interest in studies and the motivation of students (from undergraduate, master's and doctoral studies) to participate in research were still extremely high, as evidenced by over 45 passed exams. One of the scientific results arising from Holocaust Studies is the third collection, entitled: Holocaust, memory, culture (3), which gathered twelve student works. The published works were created within the framework of various courses, chosen by the students and under the mentorship of subject professors. As in previous years, this year, with this third collection, we continue the practice of affirming and publishing the works of Holocaust Studies students at the University of Kragujevac. And so we express our gratitude to the participants of the courses who recognized the importance of studying the Holocaust both in Europe and in our area, and we praise their efforts to make these studies productive and current as much as possible.Zbornik je rezultat istraživanja u okviru Studija Holokausta koje se pod pokrovitelјstvom Claims Conference (Conference on Jewish Material Claims Against Germany) izvode na Univerzitetu u Kragujevcu (the collection of papers is the result of research within Holocaust Studies, which are conducted at the University of Kragujevac under the support of the Claims Conference (Conference on Jewish Material Claims Against Germany).Prema Predgovoru publikacija sadrži studentske radove nastale u okviru različitih kurseva Centra za studije sećanja Univerziteta u Kragujevcu akademske 2023/2024. godine (according to the Preface, the publication contains student works created within the framework of various courses of the Center for Memory Studies of the University of Kragujevac in the academic year 2023/2024)
The Great Sephardic synagogue in Sarajevo - history, significance and the future. On the ethics of reconstruction cultural-historical heritage
No full text2022. godine nemoguće je na uličnoj fasadi Bosanskog kulturnog centra u Sarajevu prepoznati da je to nekad bila Velika sefardska sinagoga, najveća na Balkanu. Objekat je otvoren na jevrejsku Novu godinu ili Roš Hašana 14.09.1930. godine. Nakon drugog svjetskog rata u kome je sinagoga opljačkana i devastirana, a skoro 90% sarajevske jevrejske populacije ubijeno, Jevrejska opština u Sarajevu odlučila je pokloniti ovaj kompleks gradu na ime priznanja troškova rekonstrukcije. Početkom šezdesetih godina 20. vijeka objekat sinagoge i Jevrejske opštine sefardskog obreda je prenamijenjen i rekonstruiran do neprepoznatljivosti. Od posljednjeg rata do danas objekat se nije mijenjao u odnosu na rekonstrukciju u vrijeme socijalizma, osim natkrivanja atrija. Tokom posjete izraelskih studenata Bosni i Hercegovini u sklopu projekta „Putovanje u jevrejsku baštinu“ 2010. godine, u kojem je autorica ovog teksta sudjelovala, otkriveno je da je interijer kupole ostao netaknut, te se u sarajevskoj javnosti počelo nametati pitanje opravdanosti nove rekonstrukcije i njenog opsega. Ovaj članak preispituje historijsku, funkcionalnu, estetsku, pa i etičku slojevitost eventualnih budućih zahvata na ovom specifičnom objektu kulturno - historijskog naslijeđa.On the street facade of the Bosnian Cultural Center in Sarajevo in 2022, it was impossible to recognize that it was once the Great Sephardic Synagogue, the largest in the Balkans. The facility was opened on the Jewish New Year or Rosh Hashanah on September 14, 1930. After the Second World War, in which the synagogue was looted and devastated, and almost 90% of Sarajevo's Jewish population was killed, the Jewish community in Sarajevo decided to donate this complex to the city in recognition of the reconstruction costs. At the beginning of the sixties of the 20th century, the building of the synagogue and the Jewish community of the Sephardic rite was repurposed and reconstructed beyond recognition. From the last war until today, the building has not changed compared to the reconstruction during socialism, except for the covering of the atrium. During the visit of Israeli students to Bosnia and Herzegovina as part of the "Journey to Jewish Heritage" project in 2010, in which the author of this text participated, it was discovered that the dome's interior remained intact. The Sarajevo public began to question the justification of the new reconstruction and its range. This article examines the historical, functional, aesthetic, and even ethical layering of possible future operations on this specific object of cultural and historical heritage