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Erwin Panofsky and Walter Benjamin: German Jewish cultural traditions and the writing of history in Weimar Germany.
No full textIn this thesis, I have analyzed how Erwin Panofsky's and Walter Benjamin's attitudes toward historical interpretation developed within the fragmented culture of Weimar Germany. I have evaluated the function served by the classical tradition--in particular the works of the German Renaissance artist Albrecht Durer--in the political and cultural rhetoric of the Weimar Republic and in Panofsky's and Benjamin's methodological studies. I specifically focus on how Panofsky's theory of iconology and Benjamin's allegorical philosophy intersect with German idealist thought and with German-Jewish political and philosophical traditions.I have compared their writings to studies by other German writers of the late nineteenth and early twentieth centuries including Frederich Nietzsche, Aby Warburg and Thomas Mann and have attempted to evaluate how Panofsky's, Benjamin's and Aby Warburg's use of language is consistent with the Nietzschean rhetoric circulating within Weimar culture. In concluding, I have compared Panofsky's 1943 monograph of Albrecht Durer with Thomas Mann's Doctor Faustus (1948). Although these two works were written after the National Socialists came to power, I have regarded them as "mournful" tributes to Weimar culture. In this chapter and also throughout the dissertation, I have tried to show how Panofsky and Benjamin utilized the Renaissance and classical traditions as metaphors for their own commentaries about the death and/or survival of enlightened German culture.Thesis (Ph.D.)--Columbia University, 1998.School code: 0054
Photography, philanthropy, and the politics of American Jewish identity.
No full textHistorians and sociologists of American Jewish life have identified a tension between the American Jewish impulse towards integration and Jewish group survival. Philanthropy, however, as an expression of the Jewish values of righteousness and charity has interceded to mitigate these competing values and, in fact, has functioned to strengthen American Jewish solidarity. This dissertation investigates Jewish self-representation in the photographic campaigns sponsored by the United Jewish Appeal (UJA) and the American Jewish Joint Distribution Committee (JDC) in the aftermath of World War Two through the mid-1990s. It posits the photographic production of these philanthropies as an alternative medium through which we may investigate the fabrication of American Jewish identities.Although these photographic campaigns have had the alleged function of charting the rescue and rehabilitation operations of the UJA and the JDC, I suggest that these images indirectly represent the centrality of American Jews to modern Jewish existence. Two general questions frame this inquiry: (1) to what extent is Jewish identity in America inscribed within Jewish philanthropy? and (2) how does the photographic practice of Jewish philanthropies reinforce the imperatives of the organized sector of American Jewry, and participate in the fabrication of American Jewish identities? Analysis of the interface between the visual and written texts suggests that these photographs not only document the rescue efforts of oppressed and impoverished Jews abroad, but equally illustrate how many American Jews anchor their identities in the task of philanthropic relief.This study probes how this self-definition responds to a Jewish identity that has ruptured into a multiplicity of identities, exacerbated by the competing impulses of integration and survival in the modern world. I suggest that the photographic production of mainstream American Jewish philanthropies charts a dual journey of rehabilitation, restoring not only the threatened existence of Jews who inhabit hostile counties, but also the faltering identities of American Jews. My dissertation thus argues that through philanthropy, many American Jews renew their commitment to the Jewish religion and establish their centrality to Jewish survival, while defining a more holistic and organic Jewish community.Thesis (Ph.D.)--University of California, Los Angeles, 1998.School code: 0031
Autobiography of Lisel Salzer
No full textEarly childhood memories; family apartments; Gymnasium; art school; art study in Paris; establishment as professional artist in Vienna; circle of friends in Vienna; emigration to New York; work in New York as fashion illustrator; exhibitions; painted portrait of Grandma Moses; a year with husband on Indian reservations; travels in western United States; move to Seattle; life in Seattle; work as portrait artist; death of husband; acquisition of piano; founding of art galleries in Seattle; surgery for bladder cancer; travels and artistic activities; work for Adlai Stevenson campaign; friends in Seattle over the years.Ms. Lisel Salzer was born in Vienna on 8/26/1906. She was living in the 8th district of Vienna, at Kochgasse 16/8. She attended the artist, "Realgymnasium" at Albertgasse, and the "Frauenakademie" (an art school for girls and women). After becoming an artist, she exibited widely in Austria and other countries (Secession; Galerie Wuethle; Art School Andre Lothe, Paris).See also AR 10873.Synopsis in file.Austrian Heritage CollectionHealthMusicParisTheatr
AHC interview with Adolph Wald
No full textSeptember 4, 1998Austrian Heritage CollectionAdolph Wald was born in Vienna in 1923, where he lived at Obermuellnerstrasse 17 in the second Viennese district. He went to high school at "Gymnasium Sperlgasse". In 1938, he was arrested in Vienna. He immigrated to the US via France. In the US, he got initial support by the relief organization Hias. He died in New York in 2004.Austrian Heritage CollectionSee also Adolph Wald Collection (AR 10800
Edidin, G. on behalf of Chicago Action for Soviet Jewry and Student Struggle for Soviet Jewry Delegation to Ukraine, trip report
No full textDigital ImageDigital finding aid
Israel Scholarships (Box 113, Folder 7)
No full textThis folder of material was located in Box 113. Folder originally titled: Israel Scholarships - 1998.Digital ImageDigital finding aid
Soviet Jewry of Novohrad-Volynskyi, Ukraine
No full textIncludes "Jews of our Town," November 8, 1998 and a meeting in memory of Jews of Novohrad-Volynskyi, October 10, 1999Digital recordingDigital finding aid
Memoirs.
No full textThe material forms only one part of Marianne Lieberman's memoirs. It covers her time in Vienna and Maribor, Slovenia, between the years of 1939 and 1942, with individual chapter headings. Marianne Lieberman remembers her rigid father who would not see her creative talent. She describes early recollections from school, right after the Anschluss in 1938. Her father, being Jewish, had to flee Austria immediately, Marianne Lieberman and her mother went to Slovenia where they stayed with an aunt in 1939. She describes her problems of being baptized. She believed her mother went back to Vienna in 1941, that is why she headed in the same direction. Her first stop was in Graz at a relative's house. Back in Vienna, she was considered a "Mischling" and therefore in danger.Marianne Lieberman was born in Vienna on January 22, 1927 as Marianne Winder. She lived in the eigth Viennese district at Strozzigasse 1 together with her parents. She went to "Gymnasium" (High School) in Vienna. Her mother was Catholic. After the Nazis' rise to power she fled to Slovenia where she continued her education, and was baptized. In 1941, she returned to Vienna, where she remained during WW2. After the war, she started to study dress design in Vienna. In 1947, she came to the USA and got a degree in Creative Arts at UNCC (1975).Austrian Heritage Collectio