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Jewish thought and faith after the Holocaust
No full textHolokaust je, i nakon osamdeset godina, i dalje prepoznat kao mesto traume - kako u kontekstu ličnog i kolektivnog nasleđa, tako i u oblastima halahičkih, filozofskih i akademskih studija. Jedan od možda najizražajnijih tragova koje je Holokaust ostavio na jevrejske zajednice, pre svega na preživele i njihove potomke, je intenziviranje preispitivanja samog pojma vere posle Holokausta. Može li se nakon Holokausta i dalje verovati u Boga i na koji način? Kako ovo pitanje nije zaobišlo ni jevrejske rabine i filozofe, ova radioničarska i predavačka sesija istražuje promišljanja i rešenja koje su Martin Buber, Eliezer Berkovic, Emil Fakenhajm, Mordekaj Kaplan i drugi predlagali kada je u pitanju vera nakon Holokausta.Eighty years later, the Holocaust is still recognized as a place of trauma - both in the context of personal and collective heritage and in the fields of halachic, philosophical and academic studies. Perhaps one of the most expressive traces that the Holocaust left on the Jewish communities, above all on the survivors and their descendants, is the intensification of the questioning of the concept of religion after the Holocaust. After the Holocaust, is it possible to still believe in God and in what way? This question passed not around Jewish rabbis and philosophers, and this workshop and lecture session explores the reflections and solutions that Martin Buber, Eliezer Berkowitz, Emil Fackenheim, Mordecai Kaplan and others have proposed regarding faith after the Holocaust.Predavanje održano u okviru Komemorativno-edukativnog programa povodom Jom Hašoa i Dana sećanja na žrtve Holokausta u Beogradu (lecture held as part of the Commemorative-educational program on the occasion of Yom Hashoa and Holocaust Remembrance Day in Belgrade).Trajanje 1:23:31 minuta (duration 1:23:31 minutes).YouTube link: [https://www.youtube.com/watch?v=4Wb4vdo5AJs&list=PLhnejJShQmj4euBe6rPYN2d9SUF2SVbem&index=13&t=13s
Nathan from Gaza
Full text linkNathan iz Gaze (1643?-1680), punog imena Nathan Benjamin ben Elisha Hayyim haLevi Ashkenazi ili Ghazzati, bio je teolog, kabalista i pisac rođen u Jerusalemu. Nakon ženidbe 1663. godine preselio se u Gazu, gde je postao poznat kao promoter jevrejskog mesijskog pretendenta Šabetaja Cvija (Shabetaj Zvi / Sabbataij Zevij) opravdavajući njegove postupke, uključujući i njegovo konačno otpadništvo. Putovao je po južnoslovenskim zemljama i Italiji šireći mesijansko učenje Šabetaja Cvija koje se temeljilo na Lurijanskoj doktrini Kabale. Umro je u 37 godini, 11. januara 1680., u Skoplju u Makedoniji. Zbog osobitosti njegovog lika, rada i mesta boravljenja ovde predstavljamo tri izvora koji nam donose potpuniju sliku o njegovom delovanju: Nathan of Gaza - From Wikipedia, the free encyclopedia / Ghazzati, Nathan Benjamin ben Elisha ha-Levi - From Jewish Encyclopedia / Granice mesijanizma: refleksije povodom slučaja Natana iz Gaze - Krstić Predrag i Između mita i stvarnosti: (pre)oblikovanje legende o Natanu iz Gaze u srpskoj/jugoslovenskoj periodici - Albahari Biljana/.Nathan of Gaza (1644?-1680), also Nathan Benjamin ben Elisha Hayyim haLevi Ashkenazi or Ghazzati, was a theologian, a kabbalist and author born in Jerusalem. After his marriage in 1663, he moved to Gaza, where he became famous as a propagandist for the Jewish messiah pretender Shabetaj Zvi (Sabbatai Zevi). He justified his actions, including his final apostasy. He traveled throughout South Slavic countries and Italy spreading the messianic teaching of Shabetaj Zvi theories based on the Lurianic doctrine of Kabbalah. He died at the age of 37, on January 11, 1680, in Skopje, Macedonia. Due to the especially nature of his character, work and place of residence, we present here three sources that bring us a more complete picture of his work: Nathan of Gaza – From Wikipedia, the free encyclopedia / Ghazzati, Nathan Benjamin ben Elisha ha-Levi – From Jewish Encyclopedia / The limits of messianism: reflections on the case of Nathan from Gaza - Krstić Predrag and Between myth and reality: (re)shaping the legend of Nathan from Gaza in Serbian/Yugoslav periodicals - Albahari Biljana/.Nathan of Gaza - From Wikipedia, the free encyclopedia - link [https://en.wikipedia.org/wiki/Nathan_of_Gaza]Ghazzati, Nathan Benjamin ben Elisha ha-Levi - From Jewish Encyclopedia - link [https://www.jewishencyclopedia.com/articles/6651-ghazzati-nathan-benjamin-ben-elisha-ha-levi
Jewish settlement on Tenjska road
Full text linkRad se bavi proučavanjem provedbe Holokausta u Osijeku s posebnim naglaskom na planiranje izgradnje židovske četvrti na tenjskoj cesti u kojoj su od lipnja do kolovoza 1942. bili smješteni Židovi s područja Velike župe Baranje. Radilo se o logoru koji se rasprostirao na nekoliko oraničnih parcela gradskog zemljišta blizu osječkog prigradskog naselja Tenja. Kontekst nastanka židovskog naselja ustaški dužnosnici objašnjavaju potrebom izolacije velikog broja osječke populacije Židova od arijskog građanstva koje nije toleriralo postojanje nepoželjnih u njihovom susjedstvu. Izgradnjom zasebne četvrti Židovi bi, prema obećanjima nadležnih, dobili mira od neprestanih šikaniranja fašista. Naredba o iseljenju uslijedit će početkom 1942. i osujetit će plan bijega dijela židovske omladine prema talijanskoj okupacijskoj zoni i Mađarskoj.The paper deals with the study of the implementation of the Holocaust in Osijek, with a special emphasis on the planning of the construction of the Jewish quarter on the Tenja road, where Jews from the Greater Baranja parish were housed from June to August 1942. It was about a camp spread over several arable fields of city land near the Osijek suburb of Tenja. Ustasha officials explain the context of the creation of the Jewish settlement as the need to isolate a large number of the Osijek Jewish population from the Aryan citizenry, which did not tolerate the existence of undesirables in their neighbourhood. By building a separate quarter, the Jews would, according to the promises of the authorities, get peace from the constant harassment of the fascists. The order to evacuate will follow at the beginning of 1942 and will thwart the escape plan of part of the Jewish youth towards the Italian occupation zone and Hungary
Unwanted Yugoslav artistic heritage: Holocaust facing policies of oblivion
No full textRad se bavi proučavanjem razloga zašto jugoslovensko akademsko i umetničko nasleđe o Holokaustu, pozitivno ocenjeno u trenutku svoga nastanka, već od sredine sedamdesetih godina 20. veka odlazi u zaborav. Istraživanje je provedeno metodom analize sadržaja izabranih reprezentativnih umetničkih dela (iz domena filma, vizuelnih umetnosti i spomeničko memorijalne arhitekture), te njihove recepcije u vremenu njihovog nastanka i u savremenom kontekstu. Interpretacije njihovih poruka, kao i politike sećanja koje su ih omogućile, te politike zaborava koje su prekinule njihovo integrisanje u korpus srpske kulture i njihovu recepciju, zasnovane su na teorijama Jana i Alaide Asman i Pola Konertona. Analiza u radu pokazuje da je trebalo više od petnaest godina posle Drugog svetsko rata da se temi Holokausta pokloni pažnja, ali da su politike sećanja nastojale da „uklope” ovu temu u sklopu opšte politike slavlјenja herojstva antifašističke borbe. Tako su politike zaborava brisale individualne i grupne karakteristike žrtava, izbegavajući temu traume i postizanja društvene pravde za žrtve. Devedesetih godina i umetnost posvećena Holokaustu, nastala u socijalističkoj Jugoslaviji, postaje deo jugoslovenskog neželјenog nasleđa i nestaje sa javne scene. U 21. veku tema genocida u Drugom svetskom ratu dobija značaj u okviru politika vezanih za izgradnju i rekonstrukciju srpskog kulturnog identiteta koje podstiču i stvaranje novih umetničkih dela vezanih za Holokaust, kao i obnovu interesovanja za prethodno stvorena. To je podržano i politikama evropskih integracija koje su doprinele da se u svim novim demokratijama otvore po prvi put muzeji Holokausta i podignu specifični spomenici čime je ostvaren uticaj na javno pamćenje.The research aims to study the reasons why the Yugoslav academic and artistic heritage about the Holocaust, positively evaluated at the time of its creation, has been sent to oblivion since the mid-seventies of the 20th century. The main research question is: What kind of policies of remembrance, narratives, and „monument buildings” can restore trust, confidence, and community life? The research will rely on the method of content analysis of selected representative works of art (from the domains of film, visual arts, and monumental memorial architecture) and their reception at the time of their creation and nowadays. Their messages, as well as
the policies of remembrance that made them possible and the politics of forgetting that interrupted their integration into the corpus of Serbian culture and their reception will be based on the theories of Jan Assmann, Alaida Assmann, and Paul Connerton. The results of the research show that it took more than fifteen years after the Second World War to pay attention to the topic of the Holocaust and that the politics of remembrance of that time strived to „fit” this topic into the overall politics of celebrating the heroism of the anti-fascist struggle. Therefore, the policies of forgetting were erasing individual and group characteristics of the victims, avoiding the topics of trauma and social justice for the victims. In the 1990s, even the artworks dedicated to the Holocaust suffered the fate of socialist Yugoslavia’s unwanted legacy and started disappearing from the public scene. In the 21st century, the topic of genocide in the Second World War started to gain importance within the policies of construction and reconstruction of Serbian cultural identity, those which encourage the creation of new artworks related to the Holocaust and the renewal of interest in previously created ones. This process is also supported by European integration
policies which, in all new democracies, contributed to the opening of the first Holocaust museums and the construction of specific monuments (affecting the public memory).Tema broja: "Holokaust: nove perspektive, nova saznanja, novi izazovi" (topic of the issue: "Holocaust: new perspectives, new knowledge, new challenges")
„Minsk, moj Minsk, stari boljševik“ – poezija Sore Kahana kao ogledalo transformacije sekularne jevrejske kulture u beloruskoj Sovjetskoj socijalističkoj republici
No full textThis article delves into the poetry of Sore Kahan (1885-1941), a Jewish writer from Belarus who wrote in Yiddish. Her poems reflect a pivotal period in the development of Soviet Yiddish culture, and this article presents the way in which Kahan’s writing intersects with the social changes brought by the consolidation of Bolshevik power in 1917. It investigates the role of women writers in secular Jewish culture in the Byelorussian Soviet Socialist Republic, spotlighting their contributions. It explores how
Yiddish served as a tool for expressing the Soviet state’s objectives while also delving into the historical context portrayed in Kahan’s poetry. Through literary analysis, it uncovers the meanings and values within these poems, analysing their alignment with and deviation from the state’s demands.Ovaj članak se bavi poezijom Sore Kahan (1885-1941), jevrejske književnice iz Belorusije koja je pisala na jidišu. Njene pesme odražavaju ključni period u razvoju sovjetske jidiš kulture, i ovaj članak predstavlja način na koji se Kahanino pisanje ukršta sa društvenim promenama koje je donela konsolidacija boljševičke vlasti 1917. godine. Istražuje ulogu žena književnica u sekularnoj jevrejskoj kulturi u beloruskoj Sovjetskoj Socijalističkoj Republici, ističući njihov doprinos. Istražuje kako je jidiš služio kao sredstvo za izražavanje ciljeva sovjetske države, a istovremeno se bavi istorijskim kontekstom prikazanim u Kahaninoj poeziji. Kroz književnu analizu, otkriva značenja i vrednosti u ovim pesmama, analizirajući njihovu usklađenost sa i odstupanja od zahteva države
Perspectives of Holocaust and genocide studies
No full textZbornik radova "Perspektive izučavanja Holokausta i genocida" okuplja radove savremenih istraživača koji se bave teorijskim, metodološkim i praktičnim aspektima proučavanja najtežih oblika masovnog nasilja u savremenoj istoriji. Kroz multidisciplinarni pristup, autori razmatraju raznolita pitanja vezana za uzroke, tok i posledice Holokausta i drugih genocida, kao i za načine njihovog pamćenja, obrazovanja i komemoracije. Zastupljeni radovi osvetljavaju i izazove sa kojima se suočavaju savremene društvene nauke u pokušaju razumevanja i tumačenja tih trauma, uz poseban akcenat na lokalne kontekste, regionalne specifičnosti i univerzalne obrasce nasilja. Knjiga predstavlja značajan doprinos razvijanju kritičkog mišljenja o prošlosti, ali i podsticaj za promišljanje odgovornosti u savremenom društvu.The collection of papers "Perspectives on the Study of the Holocaust and Genocide" brings together contributions from contemporary researchers engaged with the theoretical, methodological, and practical aspects of examining the most extreme forms of mass violence in modern history. Through a multidisciplinary approach, the authors explore a wide range of issues related to the causes, course, and consequences of the Holocaust and other genocides, as well as the ways they are remembered, taught, and commemorated. The included studies also highlight the challenges faced by contemporary social sciences in seeking to understand and interpret such traumas, with particular emphasis on local contexts, regional specificities, and universal patterns of violence. The book makes a significant contribution to fostering critical reflection on the past and serves as an incentive to rethink responsibility in today’s society.Biblioteka Posebna izdanja
Simultaneous worlds in the movie "The zone of interest"
No full textKada se dogodi potres celokupnog čovečanstva, svedočiti o njegovim razmerama postaje pitanje statusa metafizike nakon Drugog svetskog rata. Džonatan Glejzer u filmu "Zona interesa" na delikatan način ukazuje na survavanje humaniteta u tamu prouzrokovanu skretanjem pogleda od nesamerlјivog zla. Cilј ovog rada odnosi se na prikazivanje funkcionisanja dva sveta, odvojena jednim zidom i idejama dominante ideologije. Prikazaćemo na koji način se genocid skriva posredovanjem rajskih slika života porodice Hes, do koje mere je raj dostupan pobornicima politike nacionalsocijalizma i da li je uopšte moguće govoriti o vremenu procvata iz ugla glavnog junaka, komandanta Hesa, konstruktora koncentracionog logora Aušvic. U radu ćemo, takođe, prikazati mesta na kojima, posredstvom simboličkih okvira, ono od čega se okreće pogled kroz čitavu radnju filma unosi primarne kadrove idealnog porodičnog života.When the earthquake of all mankind occurs, to testify to its scale becomes a question of the status of metaphysics after the Second World War. Jonathan Glazer in "The Zone of Interest" delicately points to the plunge of humanity into darkness caused by the diversion of the eyes from incomparable evil. The aim of this paper refers to the presentation of the functioning of two worlds, separated by one wall and the ideas of dominant ideology. We will show how genocide is hidden through the mediation of paradise images of the Hess family life, to what extent is paradise accessible to the supporters of the politics of National Socialism and whether it is even possible to talk about the time of flowering from the point of view of the main character, commander Hess, the designer of the Auschwitz concentration camp. In the paper, we will also show the places where, through symbolic frameworks, what turns one's gaze on throughout the entire plot of the film, brings primary shots of ideal family life.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)
The narrativization of the Holocaust in Aleksandar Petrov’s novel "Like gold in fire"
No full textNarativizacija Holokausta u romanu "Kao zlato u vatri" odvija se kroz dve pripovesti, primarne, koja teče iz perspektive pripovedača prvog poglavlјa "Gradovi, godine (1941-1994)", i druge, umetnute, uokvirene priče naratorke, ujedno i junakinje, Laure Opriško Vujanov, koja posredstvom sećanja (sopstvenog ali i kolektivnog), pretočenog u svojevrstan roman u romanu pod naslovom "Rat i nemir", mapira stradanja Jevreja u Drugom svetskom ratu na prostoru Balkana i nekadašnje Jugoslavije, vodeći se istorijom svoje porodice. Fokus u radu biće usmeren na analizu mnemotopa i traumatskih mesta, od Jasenovca do Sajmišta, u okviru kojih pripovedači nastoje da rekonstruišu porodičnu, ali i kolektivnu prošlost. Tumačenje ćemo izvoditi interdisciplinarnim pristupom, konsultujući poznate, ali i novije istorijske izvore uz oslanjanje na kulturološke studije, te studije sećanja.The narrativization of the Holocaust in the novel "Like Gold in Fire" takes place through
two narratives, the first one goes from the perspective of the narrator of the first chapter "Cities, years (1941-1994)" and the second inserted, framed story of the narrator, who is also the heroine, Laura Opriško Vujanov, that through the memory (individual and collective), transformed into a kind of novel within a novel (under the title "War and Unrest"), maps the suffering of Jews in the Second World War in the area of the Balkans and the former Yugoslavia, guided by the history of her family. The paper will focus on the analysis of the mnemotops, as well as on the places of trauma, from Jasenovac to Sajmište, where narrators try to reconstruct the family and collective history. We performed the interpretation with an interdisciplinary approach, consulting known but also recent historical sources, relying on cultural and memory studies.Tema broja: "Holokaust: nove perspektive, nova saznanja, novi izazovi" (topic of the issue: "Holocaust: new perspectives, new knowledge, new challenges")
Shadows of the Holocaust in the works of Romain Gary
No full textRomen Gari (pravo ime Roman Kacev, 1914-1980), poreklom aškenaski Jevrejin, jedan je od najplodnijih francuskih pisaca u periodu posle Drugog svetskog rata. Rad je posvećen analizi načina na koji Gari prikazuje stradanja Jevreja i tragične posledice Holokausta za preživele, opsesivne teme i slike (geta, logori, gasne komore, „jevrejske rupe” i dr.). Ove opsesivne slike i teme prisutne su i u Garijevim najranijim delima i u onim napisanim u poznim godinama. Ipak, pored kratke analize diskretne sveprisutnosti Holokausta u Garijevim delima, centralno mesto u našoj analizi zauzima roman "Igra Džingis Kona" ("La Danse de Gengis Cohn", 1967). U ovom možda najmračnijem od svojih dela Gari kroz metaforu prisustva mrtvog Jevrejina u podsvesti nacističkog oficira prikazuje borbu protiv potiskivanja i zaborava. Jedno od glavnih oružja u toj borbi jeste humor kao način odupiranja užasu, satira surovosti i nakaznosti nacističke ideologije kao i nacističke relativizacije sopstvenih zločina. Ovaj humor očajnika, kao i rasplet romana, izražavaju Garijevu duboku melanholiju pred nesavršenostima čovečanstva i piščevu sumnju u mogućnost njegovog iskuplјenja.Romain Gary (real name Roman Kacew, 1914-1980), Аshkenazi Jew born in Vilnius, is
one of the most prolific French writers after World War II. The paper analyses Gary’s ways of representing the Jewish suffering in the Holocaust and the tragic consequences of the Holocaust for the survivors. To do so, he uses some obsessive images and themes (ghettos, camps, gas chambers, „Jewish holes“ etc.), present in Gary’s earliest works, and those written in his later years. Besides this brief survey of the omnipresence of the Holocaust in Gary’s works, the central place in our analysis is occupied by the novel The Dance of Genghis Cohn (La Danse de Gengis Cohn, 1967). In this work, maybe the darkest of all, through the metaphor of the presence of the deceased Jew with an oxymoronic name, Genghis Cohn, in the unconsciousness of the nazi officer, the author expresses the battle against repressed memories and oblivion. Our analysis shows that one of the main weapons is the humour, as a way of opposing horror, then the satire of the cruelty and the atrocity of the nazi ideology. The ending of the novel, however, is filled with Gary’s deep melancholy in the face of the imperfections of the humankind and with his doubt of its redemptionTema broja: "Holokaust: nove perspektive, nova saznanja, novi izazovi" (topic of the issue: "Holocaust: new perspectives, new knowledge, new challenges")
Dinamika sećanja na Holokaust: motivi, vrednosti, stavovi u kontekstu bugarskog slučaja
No full textThe article examines the issues of preserving the memory of the Holocaust as a prerequisite for the moral profile and sustainable value environment of modern society. The dynamics of Holocaust memory are introduced through a factual picture of the Bulgarian case. The stages of research and institutional interest in Holocaust memory are highlighted, as well as the reasons for this interest. The Holocaust memory is examined in the categories of the shared society as well as the impact of these issues on the value system of a given society.U članku se razmatraju pitanja očuvanja sećanja na Holokaust kao preduslova moralnog profila i održivog vrednosnog okruženja savremenog društva. Dinamika sećanja na Holokaust je predstavlјena kroz činjeničnu sliku bugarskog slučaja. Istaknute su faze istraživanja i institucionalnog interesovanja za sećanje na Holokaust, kao i razlozi za ovo interesovanje. Sećanje na Holokaust se ispituje u kategorijama zajedničkog društva, kao i uticaj ovih pitanja na sistem vrednosti datog društva.Tema broja: "Holokaust: nove perspektive, nova saznanja, novi izazovi" (topic of the issue: "Holocaust: new perspectives, new knowledge, new challenges")