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Annual Report
No full textFolder originally titled: HIAS Report, 2002-2003Digital ImageDigital finding aid
[Schutzbrief for Lucas Heinemann].
No full textPhotocopy of a 1791 letter of protection for Lucas Heinemann, son of David Heinemann, of Petershagen.Processed for digitizatio
Geschichte der Juden in den heutigen Ortsteilen Staufenbergs Daubringen, Mainzlar, Staufenberg und Treis.
No full textRevised manuscript of a brochure published in 1990 for an exhibition about Jews in the town of Staufenberg since the middle ages
The botched kiss: Abraham Goldfaden and the literary origins of the Yiddish theatre.
No full textAlthough an impressive body of scholarship has illuminated aspects of the early Yiddish theatre (1876--1883) and its founder Avraham Goldfaden (1840--1909), there have been few sustained inquiries into the literary quality of his work. Scholars have been quick to dismiss Goldfaden's plays and musical operettas as belonging to the "lowbrow" class of early modern Yiddish culture-itself a category that scholars have, until now, defined only vaguely and inconsistently. Moreover, contradictions still suffuse the great deal we have learned about the events leading up to Goldfaden's establishment of the Yiddish theatre. Did his founding of the theatre originate in Jewish traditional performance? Or was Goldfaden's destiny as the father of the Yiddish theatre sealed when he was first attracted to writing modern Yiddish drama almost a decade earlier? How did these elements come to coalesce in his artistic efforts?This thesis argues that Goldfaden's work is, in fact, of high literary merit that is revealed in close-readings of his major plays. Close readings of works by earlier Yiddish playwrights such as Israel Aksenfeld and Shlomo Ettinger are included in attempt to establish Goldfaden's literary pedigree. Three chapters that explore aspects of Goldfaden's early literary context precede the series of close textual analyses. What intended audience accounts for the sophistication of Goldfaden's work? How were his works made accessible to a common audience? Although scholars have assumed that Yiddish literature during this early era was pitched to a mass audience, these chapters reveal that a variegated Yiddish audience existed and, in fact, had an important impact on the Yiddish literature of the 1860s, 1870s, and 1880s."The Botched Kiss" of the title encapsulates the aesthetic-ideological dilemma that shaped Goldfaden's imaginative world and is elaborated throughout the close readings of his dramas. It equally describes the limited, if not doomed, cultural relationship that grew up between well-intentioned Yiddish-writing Enlightenment proponents and their intended audience of "the Yiddish masses."Thesis (Ph.D.)--Harvard University, 2002.School code: 0084
AHC Interview with Juana Merino Kalfel 1914-2002
No full textThe artist Juana Merino Kalfel was born as Natscha Hammerman in 1912 in Galicia (Poland). During World War One the family fled to Vienna, where they lived in an apartment in the second district. The orthodox family gradually adapted to its assimilated environment, and her mother even stopped keeping a kosher house during the later years in Vienna. Her father had a store near Mariahilferstrasse, and the family moved to a big apartment nearby. Juana attended Bürgerschule, where she encountered discrimination due to her Eastern Jewish background. She became a gifted art student and was enrolled at the Frauenakademie, where she continued her art studies. She graduated with a Bachelor of arts and went to Paris to continue her studies. At the same time she got a position as an illustrator with a fashion magazine in Switzerland. Political unrest in Austria. Recollections of the Anschluss and imprisonment of her father. Fervent preparations for their emigration. After her father’s release he left the country immediately, followed by his wife and Juana’s siblings. She still had a green card from her student days in Paris and returned to France. After the German invasion she found support at a South American consulate. She got false identity papers and was able to escape France with a student visa for the United States. Arrival in New York. Juana soon found work as a fashion illustrator. She continued her education at the Art’s Student’s League with Rene Buche. Position as an illustrator with the New York Times. Visits back in Vienna and reflections on her relationship with Austria. Juana Merino lives in New York.October 4, 2002Austrian Heritage CollectionBuche, Rene ; Hammerman ; Kalfel, Joseph ; Marcus, Elsie ; Chile ; France ; Krakov ; Switzerland ; New York Time
HIAS Kenya Office (Box 114, Folder 9)
No full textThis folder of material was located in Box 114. Folder originally titled: HIAS Kenya Office - 2002, 2004.Digital ImageDigital finding aid
AHC interview with Gabriele Kuranda Milne.
No full textNovember 10, 2002Gabriele (Elly) Milne (née Kuranda) was born in Vienna in 1921, and grew up in the nineteenth district. From march 1938 to the end of the school season, she studied music at the Vienna Conservatory, which she attended all through her childhood (in the junior grades together with Antonie and Rosi Grunschlag (AHC 81 and 82)). She left Vienna in December of 1938 for England where she stayed until 1947, the year she immigrated to the USA. She had private music studies in Oxford, England, and received the Teachers Licentiate diploma from the Royal Academy of Music, London. She is a graduate from Charlotte Marvin College 1944, England. In the US, she became a piano teacher.Austrian Heritage CollectionDigital imag
Re-Remembering, Yad L'Yad, Chicago Action for Jews in the Former Soviet Union
No full textDigital recordingDigital finding aid