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No full textLose-leaf transcript in modern writing of Dr. Löwenstein's handwritten monograph, published in 1923 at J. Kauffmann Verlag, Frankfurt am Main.digitizedA facsimile edition of the same manuscript may be found in the LBI Library, call number r 11
German police and Jews in occupied Italy.
No full textEnglish translation by John Grossmann of an Italian article, first published in Rivista de storia contemporanea, n. 3, 1984The original version is available in the LBI Library, DS 135 I_8 P5
Die Lebensgeschichte meiner Eltern.
No full textFritz Blum mainly writes about his parents Gustav and Bella Blum (née Behr), covering approx. the years 1881-1992. He describes his father's various businesses and his family's emigration to Portugal in 1938. The bulk of the memoir deals with the family's stay in Portugal from 1938 to 1941.Photocopies of certificates, correspondence, photographs, and other archival materials are interspersed with the German text in folder 1.Also included is a brochure of an exhibition about refugees in Portugal at the Jewish Museum Frankfurt in 1997.Folder 1: Memoir in GermanFolder 2: Memoir in EnglishFolder 3: Exhibition materialFritz Blum was born in Frankfurt am Main on May 26, 1926. His parents were Gustav (1881-1963) and Bella Blum (née Behr, 1893-1992). Gustav Blum first worked in his grandfather's lumber business and established his own business in 1908. The family left Germany in 1938 and found temporary shelter in Portugal. They were able to immigrate to the US in 1941. Gustav Blum opened a winery in Charlotte, NC.Sichel, Fritz
AHC Interview with Ludwig Srulowitz.
No full textLudwig Srulowitz, 2003Louis Srulowitz was born in Vienna in 1922. He lived with his parents at Berggasse 29 in Vienna's 9th district. He attended primary school (Volksschule) at Gruene Tor Gasse (Schubertschule). He was a member of Macabi at Waehringerstrasse also in the ninth district. After he finished primary school, he trained to be a plumber in a small firm. After the Nazis rise to power he fled to Belgium where he stayed until 1944 with false papers.Austrian Heritage CollectionSee also Ludwig Srulowitz's Memoir (ME 1329
AHC Interview with William Gross.
No full textWilliam Gross was born in Vienna in 1922. Until March of 1938 he went to high school at "Amerling-Gymnasium". He left Vienna in 1938 and immigrated to London, where he lived until 1952, when he moved to Montreal, Canada. In 1956, he immigrated to the US. In London, he was in the Civil Defence during the Blitz. He went to the University of London, and received there a degree in Mechanical Engineering in 1945. In the USA, he worked as a mechanical engineer with Colgate - Palmolive Co. from 02/1957 until his retirement in 05/1988.Austrian Heritage Collectio
Natan Altman and the problem of Jewish art in Russia in the 1910s.
No full textThis dissertation examines Natan Altaian's (1889--1970) Jewish works of the 1910s in the context of emerging ideas about Jewish art in contemporary Russia. It counters two critical assessments of Altaian's significance in modern art: that his role was less than pioneering, which Abram Efros suggested in his 1922 monograph on Altman, where he called the artist a "chameleon"; and that Altman's allegiance to the Jewish nationalist movement in the early 1910s was unequivocal, which has been implied by Avram Kampf and Susan Tumarkin Goodman in their surveys of modern Jewish art.The present study promblematizes these views firstly by foregrounding the innovative aspects of Altaian's Jewish works. It shows that his 1913 Jewish Prints provided a blueprint for a folk-oriented modern Jewish style; and that his 1915 sculptural "Self-Portrait" as a Hassid, the first of its kind, challenged both anti-Semitic and Jewish nationalist tendencies to typologize images of Jews. Secondly, this study demonstrates that Altman was aware of ideas about Jewish visuality that permeated Russian culture. It thereby suggests that he used the Jewish nationalist platform to advance himself in broader artistic arenas.Chapter 1 demonstrates a pattern in Altman's biography of a preoccupation with vogue and a desire to be in the center of cultural circles, suggesting that similar concerns of self-promotion motivated his interest in Jewish art. Chapter 2 discusses constructs of Jewish visuality that were operative within art critical writing and institutional practices in Russia in the 1910s. Chapter 3 traces Altman's use of these constructs in his Jewish works. Chapter 4 shows that Altman's 1915 "Self Portrait" critiqued uniformity in artistic representations of Jews. Chapter 5 examines two institution-level projects that helped define Altman's relationship to Jewish art: An-skii's Ethnographic Expedition (1912--1914) and the Jewish Society for the Encouragement of the Arts (1915--1919). Chapter 6 outlines his early competition with Marc Chagall for recognition as a Jewish artist.Thesis (Ph.D.)--University of Southern California, 2003.School code: 0208
The religious acculturation of the Ethiopian Jew in modern Israel: Case study of a spiritual conflict.
No full textThe Israeli Ethiopian Jews want full admission into mainstream Israeli society. The purpose of this study is to gain insight into the social and religious impediments to integration of Ethiopian Jews in modern Israel. Other immigrant groups to Israel, though initially challenged by the same problems of absorption and settlement, after a short time gained full admission into all areas of Israeli society. This is not the case among many first and second generation Ethiopian Israelis. Thirty years after immigration, this group remains frustrated, alienated and marginalized citizens.This study will highlight two aspects of the Ethiopian Jewish challenge to full Israeli integration: (1) African spirituality, (2) Ethiopian spiritual leadership.Ethiopian Jews transplanted African spirituality to Israel. Anchored in this spirituality was a worldview that conflicted with the worldview of Israeli religious and civil authorities. Thus, the Ethiopian Jews' African spirituality presented obstacles to their full integration into mainstream Israel.Second, de-legitimation of the role and influence of Ethiopian Jewish leadership has had a profound effect on the spirituality of the community, and this de-legitimation presents another salient obstacle to their full integration into modern Israeli society. The Ethiopian Israelis are Jewish in religion, but spiritually and culturally, they are Africans.Thesis (Ph.D.)--University of Pittsburgh, 2003.School code: 0178
To lend the dead a voice: Second-generation German visual art.
No full textThis dissertation is a study of five second-generation German visual artists (i.e., artists born between 1940 and 1970 who are the descendants of Jewish and Gentile Germans of the Third Reich) who deal with the legacy of the Third Reich in their artwork.Informed by contemporary trauma theory, the project traces how the psychological residue inherited from their parents' Third Reich experience has ingrained itself in the social life of contemporary Jews and Germans, finding expression both directly and obliquely in the works of second-generation artists. It is my conviction that the legacy of the Third Reich must be addressed productively in order to accomplish what psychoanalysis has coined the labour of mourning. Because public discourse around World War II and the Holocaust is still subject to a significant reticence, especially among Jews and Germans, alternate means of communication may be found in visual art production.I conducted personal interviews with selected artists in Canada and Germany, namely Brigitte Radecki, Suse Rumland, Eva Brandl, and Bettina Hoffmann, followed by a thorough theoretical analysis of their work and examination of their personal data. As a second-generation German visual artist, I also included my own work in the study. My study establishes that second-generation German visual artists are in a unique position to contribute to a necessary labour of mourning that was bypassed by their parents' generation and that they approach this difficult task in significant ways.As a visual artist, my studio art practice habitually informs my theoretical investigations. Therefore the first part of this thesis consisted of a series of three solo exhibitions (Speechless, The Grim Reaper, and 2001 Earth Odyssey), which were exhibited simultaneously in Montreal in August 2002. They addressed issues of trauma and recovery as experienced by one second-generation artist, with the intent of establishing community and opening new venues for discussion.Thesis (Ph.D.)--Concordia University (Canada), 2003.School code: 0228
Writing for the masses: Heinrich Graetz, the popularization of Jewish history, and the reception of National Judaism.
No full textThis dissertation examines the role that Heinrich Graetz played in the popularization of Jewish history. Prior to Graetz, Jewish history had been read by only a small number of scholars and enlighteners. Following the publication of his Geschichte der Juden, and then later his Volksthumliche Geschichte der Juden, Jewish history was promoted for all Jews as a way of strengthening their Jewish consciousness, and his works were considered essential for any Jewish library. Graetz's placement of the Jewish nation at the center of his History, an approach I have called National Judaism, played a crucial role in how his History was received. National Judaism represents an important stage in the development of Jewish nationalism, one that both differed from Zionism, as well as resisted its teleology.The first half of the dissertation explores the process by which Graetz's History became part of the modern Jewish canon. This History , which combined the traditional values of Hokhmat Yisra'el scholars in the Austro-Hungarian Empire with modern German historical methodology, represented a third way in Jewish historiography. With its nation-centered narrative and subjective approach to historical writing, it was bridge for the cultural values of Hokhmat Yisra'el to be presented to Western European Jews. It became the catalyst for prompting Jews to read their own history and for changing the way Jewish history was written, and through its translations into French, English, Russian, Hebrew, and Yiddish, transmitted these values to much of the Jewish world.The second half of the dissertation looks at the particular role played by National Judaism in the reception of Graetz's History among two distinct and often opposing groups: German-Jewish reformers and Zionists. In both cases, the determining factor in their response to Graetz's History was his emphasis on the continuing importance of the Jewish nation. For the reformers, for whom such a national conception was impossible, Graetz was labeled as "Polish," and his History as anti-German. The Zionists, on the other hand, saw in Graetz's National Judaism a forerunner of their own form of Jewish nationalism and claimed both Graetz and his History for Zionism.Thesis (Ph.D.)--University of California, Los Angeles, 2003.School code: 0031
All dear unto God: Saints, pilgrimage and textual practice in Jewish Morocco.
No full text"All Dear Unto God: Saints, Pilgrimage and Textual Practice in Jewish Morocco," is based on two years of ethnographic and archival research centered around annual pilgrimages to the shrines of deceased Jewish holy-men in Morocco. My approach to the these events combines: (1) a rich ethnographic account of pilgrimage as experienced by variously situated devotees with (2) sustained attention to ways in which shrine activity has been articulated with the historical forces of French colonialism, post-colonial nationalism, transnational capitalism, and Moroccan Jewish diaspora. The ethnographic core of my dissertation develops the argument, relatively absent in previous accounts of the phenomenon, that Moroccan Jewish hagiography and pilgrimage emerges as an extension of textual ideologies and practices that circumscribe Judaic experience in Morocco more generally. I demonstrate that saints and pilgrimage are situated within a phenomenology of Judaic torah in which sacred texts mediate an authoritative but open-ended domain of written and oral genres of production and transmission, mutually indexing liturgical practices, and shrine-based pilgrimage rituals. As such, my dissertation contributes to the anthropology of local religion, ritual experience, textual practice, and narrative performance. At a second level, my dissertation demonstrates the ways in which Moroccan Jewish pilgrimage has been represented and regulated in service of colonial, nationalist, and Jewish modernist projects. Specifically, I show how a range of colonial representations critically cast Moroccan Jewish pilgrimage as evidence of indigenous archaism, whereas post-colonial discourses have exploited the events as tourist attractions and celebrated pilgrimage as emblems of Moroccan national patrimony and Jewish cultural heritage. Finally, I argue that the hagiographic narratives and ritual performances creatively mediate contemporary Moroccan Jewish social transformations related to gender hierarchy, diasporic identity, and global capitalism. Rather than exploring pilgrimages only as sites for the expression of religious community, I attend to the competing forms of social hierarchy and identity that emerge and are displayed by Moroccan Jews who arrive at shrines from throughout Morocco and the Moroccan Jewish disaspora.Thesis (Ph.D.)--University of Michigan, 2003.School code: 0127