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Suffering of Jews in the "Crveni krst" concentration camp in Niš (1941-1944)
Get PDFDrugi svetski rat jedan je od najkrvavijih svetskih sukoba u istoriji čovečanstva. Oštrice ratnih dejstava i teških vremena nacističke okupacije u periodu od aprila 1941. do jeseni 1944. godine nisu zaobišle ni jug Srbije. Po uspostavlјanju kontrole nad ovom oblašću okupatorske vlasti su u Nišu formirale nacistički koncentracioni logor u kojem je stradao veliki broj Srba, Jevreja i Roma. Predmet našeg istraživanja jeste stradanje niških Jevreja u koncentracionom logoru na Crvenom krstu. Imajući u vidu postotak žrtava lagera Niš prema nacionalnosti, može se reći da članovi jevrejske zajednice nisu zaostajali za Srbima. Kako su Jevreji između dva rata na prostoru Srbije imali visok procenat zastuplјenosti u građanskoj eliti, to je njihov gubitak i najvidlјiviji. U radu će biti reči o jevrejskoj zajednici u Nišu, koncentracionom logoru Crveni krst, masovnim zločinima nacista u sektoru Felkomandanture 809, kao i o strelјanima, među kojima je bilo nekoliko jevrejskih lekara (dr Velizar Pijade i tadašnji predsednik jevrejske opštine Niš dr Borivoje Beraha), dva advokata, tri industrijalca (Moric i Čibi Nisim), rabin Avram Daniti i nekoliko glumaca iz familija Danon i Daniti.The Second World War is one of the most violent world conflicts in the history of mankind. The impact of war and the difficulties that the Nazi occupation imposed between April 1941 and the autumn of 1944 did not exclude the southern parts of Serbia. After establishing control over this area, the occupation administration formed a Nazi concentration camp in Niš, where a large number of Serbs, Jews, and Romanies were executed. The topic of our research is the suffering of the Jews from Niš in the “Crveni krst” concentration camp. Having in mind the percentage of the victims in the concentration camp in Niš according to their nationality, it could be said that the members of the Jewish community were not far behind the Serbs in terms of losses. Seeing as how Jews between the two world wars made up a high percentage of the social elite, their losses were by far the most evident. This paper, based on relevant literature, archival materials, and the statements of the camp survivors, covers the topics of the Jewish community in Niš, the “Crveni krst” concentration camp, mass Nazi crimes in the Field Headquarters Sector 809, as well as the people executed at Bubanj, among whom were a few Jewish doctors (including Velizar Pijade and the president of the Jewish municipality at the time, Borivoje Beraha), two lawyers, three industrialists (including Moric and Čibi Ni- sim), rabbi Avram Daniti, and a few actors from the Danon and Daniti families.Ovo istraživanje podržalo je Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije (Ugovor br. 451-03-9/2021-14/200165)
Joke about the Jews on the Internet (humor and war)
Get PDFCilј rada bio je utvrđivanje tematsko-motivskih jezgara viceva o Jevrejima u izvorima na Internetu, te njihovo poređenje sa odabranom, dosad publikovanom građom. Korpus sačinjava 160 viceva, pronađenih tokom 2020. godine na 18 sajtova/stranica. Utvrdili smo da od ukupnog broja 88% viceva tematizuje Holokaust, tako da, poredeći građu koju čine viceve iz prve i druge polovine XX veka sa našom, koja se odnosi na kraj XX i prve decenije XXI, možemo reći da su raniji stereotipi o Jevrejima gotovo u potpunosti zamenjeni stereotipnom slikom - Jevreji i Holokaust.The aim of the paper has been to determine the thematic-motive cores of jokes about the Jews on the Internet and to compare them with selected, so far collected, and published material. The corpus consists of 160 jokes, found during 2020 on 18 Internet sites/pages. It has been determined that out of the total number, only 22 jokes do not thematize the Holocaust, although Hitler is mentioned in 5 jokes in this group. Thus, in 88% of jokes, the Jews are placed in the same context. Comparing the material consisting of jokes from the first and second half of the 20th century, with ours, which refers to the end of the 20th and the first decade of the 21st, it can be concluded that earlier stereotypes about the Jews have been almost completely replaced with the stereotypical image - the Jews and the Holocaust. The interest of one smaller segment of the paper is in reference to the reception of these jokes based on comments and brief discussions of users. Very few visitors are annoyed by such content. Instead of a conclusion, in the end, a series of questions open to the discussion has been left, to which, perhaps, answers could be obtained with the help of more extensive interdisciplinary research. Has the audience become indifferent to the Holocaust? Is a joke entitled to everything? Has the size of the Jewish community in this area influenced the fact that only the Holocaust is what we associate with it? Does current history activate a certain culture of memory?Izdavanje ovog zbornika podržalo je Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije
Laila tov (Good night) - Ashkenazi klezmer music night
No full textOvim koncertom Srpsko-jevrejskog pevačkog društva, koji je održan u ponedeljak, 4. oktobra 2021., u 20 časova u Pozorištu na Terazijama, pod naslovom "Laila Tov-Laku noć", obeležen je Dan evropske kulturne baštine, a istovremeno i proslavljeno 145. godina postojanja ovog hora. Muzički program bio je posvećen aškenaskoj (klezmer) muzici. Pored članova hora SJPD i muzičke pratnje mladih beogradskih muzičara Đorđe Perović (klavir), Duško Stamenković (klarinet), Mladen Pecović (gitara), Miloš Puniša (harmonika), Aleksandar Andrejević (perkusije), kao solista nastupao je i kantor bečke sinagoge, poznati tenor Šmuel Barzilai. Horom je dirigovala Bojana Radivojević. Ovim koncertom SJPD je ponudilo originalni koncept, interesantnog i jedinstvenog pristupa i programa koji šalje poruku tolerancije i interkulturnog dijaloga, čuva od zaborava i promoviše jevrejsku muziku, posebno aškenasku. Ovakav muzički koncept predstavlja most koji spaja kulture, oživljava prošlost i upliće je u sadašnjost. Odabrani program skreće pažnju na zaboravljeni jidiš i prikazuje široku lepezu jevrejske muzike koja je obojena emocijama, slikama života, radosti i bola, takođe ukazuje na kulturološke razlike jevrejskog naroda (sefardi, aškenazi). Istovremeno šalje poruku razumevanja, bliskosti, viziju sveta gde nas različitosti ne razdvajaju već zbližavaju. Klezmer upečatljivo oslikava tradicije Istočne Evrope, Balkana, Slovačke, romskog folklora, a sve je "začinjeno" elementima klasične i moderne muzike. To je muzika koja moli, tuguje, igra, smeje se. Zato često sadrži elemente satire i humora kao u kompoziciji "Der Rebe" gde pastva imitira rabina u svemu osim u molitvi - kad on peva i oni pevaju, kad on moli oni spavaju! Program je kolažnog karakter, duhovno i tradicionalno: Dudele... Jidiše mama... Mamele, Abi Gezint, Rožinkes mit mandlen Šolem, Tumbalaike... Ikh Zing, Beaj mir bistu šejn, kao i numere iz mjuzikla "Violinista na krovu". Koncert su podržali: Ministarstvo kulture, Austrijski kulturni Forum, Gete institut, Ambasada Izraela, Informatika, Ball packaging, Mama Shelter, JKP Zelenilo, Calculus, Moore i drugi.This concert of the Serbian-Jewish Singing Society, which was held on Monday, October 4, 2021, at 8 pm in the Terazije Theater, entitled "Laila Tov-Laku noć", marked the European Cultural Heritage Day, and at the same time celebrated 145. year of existence of this choir. The music program was dedicated to Ashkenazi (klezmer) music. In addition to members of the SJPD choir and musical accompaniment of young Belgrade musicians Djordje Perović (piano), Duško Stamenković (clarinet), Mladen Pecović (guitar), Miloš Puniša (accordion), Aleksandar Andrejević (percussion), the cantor of the Vienna Synagogue, famous tenor Shmuel Barzilai. The choir was conducted by Bojana Radivojević. With this concert, SJPD offered an original concept, an interesting and unique approach and a program that sends a message of tolerance and intercultural dialogue, keeps from oblivion and promotes Jewish music, especially Ashkenazi. This musical concept is a bridge that connects cultures, revives the past and integrates it into the present. The selected program draws attention to the forgotten Yiddish and shows a wide range of Jewish music that is coloured by emotions, images of life, joy and pain, and also points to the cultural differences of the Jewish people (Sephardim, Ashkenazi). At the same time, it sends a message of understanding, closeness, a vision of a world where differences do not separate us but bring us closer. Klezmer impressively depicts the traditions of Eastern Europe, the Balkans, Slovakia, Roma folklore, and everything that is "spiced" with elements of classical and modern music. It is music that prays, mourns, plays, laughs. That is why it often contains elements of satire and humour as in the composition "Der Rebe" where the flock imitates the rabbi in everything except prayer - when he sings and they sing when he prays they sleep! The program has a collage character, spiritual and traditional: Dudele ... Yiddish mother ... Mamele, Abi Gezint, Rožinkes mit mandlen Šolem, Tumbalaike ... Ikh Zing, Beaj mir bistu šajne, as well as songs from the musical "Violinist on the Roof". The concert was supported by: the Ministry of Culture, the Austrian Cultural Forum, the Goethe Institute, the Embassy of Israel, Informatics, Ball packaging, Mama Shelter, JKP Zelenilo, Calculus, Moore and others.Trajanje 1:22:09 minuta (duration 1:22:09 minutes).Koncert održan 4. oktobra 2021. godine u Pozorištu na Terazijama (Concert held on October 4, 2021 at the Terazije Theater)YouTube link: [https://www.youtube.com/watch?v=_Z8aWMmFU3U&t=693s
Andy Warhol's Jewish Minyan - 10 Jewish portraits
No full textOvaj video zapis je deo audio-vizuelne prezentacije sa susreta Zoom Šabat, održanog u petak 12. novembra 2021. sa početkom u 19:30 časova. Endi Vorhol je bio poznati umetnik popularan između 1960-ih do 1980-ih. Karijeru je započeo kao ilustrator oglasa ali je ubrzo postao prepoznatljiv i vrednovan i kao umetnik. Vorhol je dobio brojne pohvale za svoj rad i smatran je ključnom figurom u pop artu, slikarstvu, sitotisku, fotografiji, filmu i skulpturi. 1980. godine likovno je priredio, neki kažu i kontroverzni, ali svakako i danas izuzetno poznati i popularni rad “Deset portreta Jevreja”. Ideja za ovu kolekciju potiče od Vorholovog saradnika i trgovca umetninama, Ronalda Feldmana. Susan Morgenštajn, direktorica umetničke galerije Centra Jevrejske zajednice u Vašingtonu, odabrala je likove muškaraca i žena koje će Vorhol umetnički i predstaviti. “Deset portreta Jevreja” izlagano je u SAD-u i Europi posljednjih 40 godina. Predstavljaju umetnički vid odavanje počasti postignućima deset slavnih i značajnih pojedinaca Jevreja (iako ih je realno na crtežima prikazano 12).This video is part of the audio-visual presentation from the Zoom Shabbat meeting, held on Friday, November 12, 2021, starting at 7:30 p.m. Andy Warhol was a famous artist popular between the 1960s and 1980s. He started his career as an illustrator of advertisements but soon became recognizable and valued as an artist. Warhol received numerous praises for his work and was considered a key figure in pop art, painting, screen printing, photography, film and sculpture. In 1980, he artistically prepared, some say controversial, but certainly still extremely well-known and popular work "Ten Portraits of Jews". The idea for this collection comes from Warhol's collaborator and art dealer, Ronald Feldman. Susan Morgenstein, director of the art gallery of the Jewish Community Center in Washington, has chosen the characters of men and women that Warhol will artistically present. "Ten Portraits of Jews" has been exhibited in the United States and Europe for the past 40 years. They represent an artistic form of paying homage to the achievements of ten famous and significant Jewish individuals (although 12 are realistically shown in the drawings).Deo iz predavanja održanog 12. novembra 2021. godine preko Zoom platforme (Zoom Šabat) sa početkom u 19.30 časova.Part of the lecture was held on November 12, 2021, via the Zoom platform (Zoom Shabbat) starting at 7:30 p.m
Jevreji. Knj. II/1
Get PDFTema ovog književno-kulturološkog dela naučnog skupa bila je: Jevreji. U okviru zbornika u dve sveske publikovano je 65 naučnih radova, koji kulturološki i književnoistorijski ispituju identitet, kulturu i istoriju Jevreja, njihovo mesto u filozofiji, nauci, humanistici, njihovu religiju i društveno-istorijsku poziciju.The topic of this literary and cultural work of the scientific gathering was Jews. Within the collection, 65 scientific papers were published in two volumes, which culturally and literary-historically examine the identity, culture and history of Jews, their place in philosophy, science, humanities, their religion and socio-historical position.Radovi na srpskom, engleskom i francuskom jeziku (articles in Serbian, English and French)
Problem of the demarcation of worlds - Đorđe Lebović's "Semper idem"
Get PDFU radu ćemo ukazati na nekoliko ključnih tačaka u vezi sa narativnim strategijama koje Đorđe Lebović primenjuje u delu "Semper idem". Postupci tekstualizacije jevrejskih tema u književnosti pisanoj na srpskom jeziku poetički su raznovrsni, ali im je zajedničko što inkorporiraju autorski odnos prema tradiciji/tradicijama koje baštini. Prevashodno su to jevrejske tradicije, oblikovane najčešće u skladu sa književnoistorijskim trenutkom nastanka dela, svakako i sa senzibilitetom autora. Drugim rečima, specifični ukrštaji nekoliko diskurzivnih ravni proizvode značenje do kojeg se, bez svojevrsnog arheološkog postupka, teško dolazi. Lebovićevo delo, koje je predmet našeg rada, pripada tematskom korpusu književnosti koja se bavi Holokaustom, ali je u piščevom opusu ono specifično, jer pristup ovoj, za njega inače frekventnoj temi, ukazuje na promene nekolikih paradigmi, važnih za razumevanje Lebovićevog književnog rada.The paper deals with Đorđe Lebović's narrative strategies, in his literary work "Semper Idem". Our consideration relies on several key points: the correlations between documentary and fictional material in the work and the meaning that this, essentially intertextual, phenomenon produces; the process of interpolating the topics of anti-Semitism and the Holocaust into the tissue of his work; constituting a religious discourse in the text. Historically, the procedures of the textualization of Jewish themes in literature written in the Serbian language are poetically diverse, but they have a common authorial intention to determine themselves according to the tradition they inherit. This tradition can be religious (Orthodox Judaism or Reform Judaism), cultural (Ashkenazi, Sephardim, etc.), or a tradition of the cultural context they encounter while living in the diaspora. Đorđe Lebovic's literary opus is entirely marked by the personal experience of the death camp. In his first literary works, the dramatic works, he described in an almost documentary fashion, what he saw during the Holocaust. However, in his last unfinished work "Semper Idem", Lebović shifted his focus to an introspective plane. The reconstruction of childhood on the eve of the Holocaust, which is hinted at, nevertheless primarily focalizes the re-examination of the metaphysical plan. This is important because it indicates a moment of crisis when it seemed that the Jewish world of Europe had largely abandoned what essentially determines it, and that is the Torah. Also, by specifically crossing metafiction with fiction, Lebović creates a poetic space for re-examining the problems of good and evil in the world, following the example of other God-seekers.Izdavanje ovog zbornika podržalo je Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije
The story of Železnička 13. About two twin sisters (video presentation)
No full textPriča prati živote troje pojedinaca rođenih u raznim delovima Balkana, od Slovenije 1907. godine, učiteljske familije u kojoj je rođen izvesni Roman Erih Petše, preko godine 1880. i mađarskog gradića Kapošvara, gde je rođena Berta Rozenšpic. I na kraju do Novog Sada i porodice Tibor - Đerđa i Vere (rođenna Pesing). Njima su se 1939. godine rodile bliznakinje Eva i Mira. Drugi je svetski rat. Priča nas dalje uvodi u nepredvidive životne okolnosti koje su isprepletale životne sudbine ovih ljudi.The story follows the lives of three persons born in various parts of the Balkans, from Slovenia in 1907, to a teacher's family in which a certain Roman Erich Petše was born, around 1880, and the Hungarian town of Kaposvár, where Berta Rosenšpitz was born. And finally to Novi Sad and the Tibor family - Đerđ and Vera (née Pesing) who gave birth to twins Eva and Mira in 1939. Everything happens during World War II. The story further introduces us to the unpredictable life circumstances that intertwined the life destinies of these people.Predavanje održano 5. novembra 2021. godine preko Zoom platforme (Zoom Šabat) sa početkom u 19.30 časova.The lecture was held on November 5, 2021, via the Zoom platform (Zoom Shabbat) starting at 7:30 p.m.Trajanje 37:46 minuta (duration 37:46 minutes).Kao dodatak predavanju u JDB je deponovan i tekst ove priče. Link [https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2155]In addition to the lecture, the text of this story has been deposited in JDL. Link: [https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2155]
Holocaust - culture of remembrance
No full textKratki film u kome se pojavljuje Žuža Marinković koja je preživela Holokaust, pripremile su učenice IV razreda Železničke tehničke škole u Beogradu Nataša Bogdanović i Jovana Đurović u saradnji sa profesorkom sociologije Nadom Banjanin Đuričić. Film je kreiran u okviru programa "Holokaust - Kultura sećanja".A short film featuring Žuža Marinković, who survived the Holocaust, was prepared by Nataša Bogdanović and Jovana Đurović, students of the 4th grade of the Railway Technical School in Belgrade, in cooperation with sociology professor Nada Banjanin Đuričić. The film was created as part of the "Holocaust - Culture of Remembrance" program.Trajanje 02:17 minuta (duration 02:17 minutes).YouTube link [https://www.youtube.com/watch?v=wm2GmrFXBjs
Какие мысли посещают меня, когда я вступаю во тьму Ясеноваца
No full textPovodom obilјežavanja osamdeset godina od početka Holokausta, Veleposlanik Države Izrael u Hrvatskoj obrazlaže neke od univerzalnih pouka koje se mogu i moraju izvući iz prirode židovskog stradanja tijekom Šoe. Prva pouka jeste sjećanje ne samo na ono što se dogodilo u povijesti već i na ono što je prethodilo genocidu. Druga se pouka odnosi upravo na izvor Holokausta, antisemitizam - najstariji i najdugotrajniji oblik iracionalne mržnje prema Židovima. Sledeća pouka ukazuje na opasnosti ravnodušnosti i nedjelovanja promatrača židovskog stradanja - mora se odati počast onima koji su spašavali Židove - jer je, ipak, više sredstava i napora uloženo u njihovo sustavno ubijanje. Poslednja pouka i poruka odnosi se na demokraciju tj. činjenicu da je ne smijemo doživlјavati kao nešto što se podrazumijeva. Naprotiv, demokracija je u jedinstveno opasnom položaju danas od strane radikalnih sila sa desnog i lijevog političkog spektra koje šire netrpelјivost, rasizam i antisemitizam. Ukratko, antisemitizam je duboko ukorijenjena prijetnja samim demokratskim društvima također.On the occasion of commemorating the eightieth anniversary of the start of the Holocaust, the Ambassador of the State of Israel to Croatia explains some of the universal lessons that can and must be taken from the nature of Jewish suffering during the Shoah. The first lesson is to remember not only what happened in history but also what preceded the genocide. The second lesson refers to the very source of the Holocaust, anti-Semitism - the oldest and longest-lasting form of irrational hatred of Jews. The next lesson warns of the dangers of indifference and inaction of those who observed Jewish suffering - those who saved Jews must be honoured - because, indeed, more resources and efforts were invested in systematically killing them. The
last lesson and message refers to democracy, that is, the fact that we must not perceive it as something taken for granted. On the contrary, democracy is in a uniquely dangerous position today being threatened by the radical forces from the right and left political spectrum that spread intolerance, racism and anti-Semitism. In short, anti-Semitism is also a deep-rooted threat to democratic societies as such.Integralni tekst članka prvobitno je objavlјen 5. svibnja 2021. godine, preko medijskog portala Express.hr, a na osnovu govora kojim je Veleposlanik Ilan Mor otvorio Naučni simposion „Novomučenici: Poliperspektiva V”, održan 6. rujna 2019. godine u Srpskoj pravoslavnoj opštoj gimnaziji „Kantakuzina Katarina Branković”, u Zagrebu. Integralni tekst dostupan preko: [https://express.24sata.hr/top-news/sto-mi-prolazi-kroz-glavu-kad-zakoracim-u-mrak-jasenovca-24869] (Pristuplјeno 24. svibnja 2021)
Тrain trope as trauma symbol in Holocaust literаture
No full textHolokaust je jedinstven događaj u istoriji čovečanstva jer predstavlja umiranje miliona ljudi i umiranje humanizma koje je sprovedeno kroz novu granu industrije – industriju smrti. On predstavlja prekretnicu u istoriji čovečanstva na svim nivoima: ontološkom, političkom, sociološkom, psihološkom, ekonomskom, tehnološkom. Oni koji su preživeli ovo nezamislivo, negovorljivo iskustvo koje se nalazi „s one strane imaginacije“ i za koje
ne postoji odgovarajući jezik kojim bi se iskazale nezamislive brutalnosti i eskalacija zla, ostaju žrtve do kraja života. Njihova trauma ostaje kao podsetnik posrnuća čoveka koji je postao čoveku vuk označavajući XX vek dobom traume. Velika mašinerija smrti ne bi bila tako efikasna da nije bilo transporta vozovima smrti čija je zadnja stanica bila središte pakla u kome „putnici“ nestaju u plamenu. Zato voz postaje jedan od neizbežnih tropova u književnosti Holokausta i kod pisaca jevrejskog porekla i kod onih koji to nisu, ali imaju potrebu da pišu o tome kao delu epohe kojoj pripadaju. Cilj ovog rada je da pokaže kako različiti pisci, strani i domaći, koriste trop voza i koja sve značenja on može da dobije u romanima o Holokaustu. Zaključujemo da se trop voza pojavljuje i kod pisaca koji su preživeli i kod onih koji pripadaju 1,5 generaciji, kao i kod onih koji nisu iskusili logore ili događaje Holokausta. Uočavamo žanrovske različitosti; oni koji su bili u vozovima smrti teže realizmu dok oni koji ih nisu iskusili tragaju za najprikladnijom formom i žanrom eksperimentišući sa alegorijom i magijskim realizmom.Traumatic experiences such as the Holocaust require traumatic ways of representation. Those who dare to write about it encounter various dilemmas and difficulties in finding the right ways to write about something that cannot be written about. The train trope is a usual symbol of the biggest XX century trauma because the railway system and different types of cars enabled the transportation of millions of people from the whole of Europe, whose lives were terminated in the death camps, as well as their wealth, gold and other valuables. Trains found their way into literature with both survivor writers and those who didn’t experience the Holocaust. The symbol of the train had been interpreted within psychoanalysis of dreams as the passage of time and life before it started to operate as a symbol of death in reality. In this paper we tried to investigate how the train trope functions in this trauma-based literary genre with those writers who were inside and those who felt them as cultural heritage. Those who were inside death trains, such as Elie Wiesel, insisted that the only way of representation has to be in documentary and realistic style. On the other hand, writers who were lucky not to experience the hell on Earth couldn’t write from the ‘inside’ and had to find other ways of representation. Their styles vary from allegory in Kosinski’s autofictional novel to magic realism in David and Thomas’s novels. Thomas also adds Freudian psychoanalysis, while Pinter experiments with stage representation