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Dinah : Dornheim - Nenzenheim - Hüttenheim /
No full textArchival materials and family trees of the Jewish communities in Dornheim, Nenzenheim and Hüttenheim in Franconia.digitizedSponsored by the Ephraim Gustav Hoenlein Genealogy Project of the Ronald S. Lauder Foundation
Antisemitismus : Tagung der Friedrich-Ebert-Stiftung in Zusammenarbeit mit dem Beauftragten der OSZE fuer Bekaempfung vom Antisemitismus ; 14. Juli 2006 in Mannheim ; Dokumentation des Fritz-Erler-Forums Baden-Wuerttemberg, Landesbuero der Friedrich-Ebert-Stiftung. [electronic resource]
No full textAHC interview with Auguste Glauber.
No full textAug. 29, 2006Ms. Auguste Glauber, nee Mayer, was born in Vienna on 01/19/1906. She first lived in the 20th district of Vienna, then at Franzensbrueckengasse in the 2nd district. She attended elementary school and the Beamtentoechter-Lyceum. She fled via Prague and Belgium to the USA, where she arrived in New York in October of the year 1938.Austrian Heritage Collectio
Waronker 104
No full textDigital imageJay Waronker is an architect and a professor of architecture in the United States, educated at Cornell, Harvard, and the University of Michigan. His paintings and scholarship focus on the synagogues and Jewish architecture of the Indian subcontinent and sub-Saharan Africa, including synagogues found in Zimbabwe, South Africa, Mozambique, and Ethiopia
Rosenstrasse - A Decent Gesture.
No full textThe painting is divided in half, the upper half painted with vague suggestions of buildings in gray (windows), the lower half with a gathering of women and children dressed in colorful clothing facing forward. While the paint was still wet, a wash of gray was painted over all, top to bottom, such that the brush caught the colors and diluted and smeared them, and the figures too became vague and smeared. Depicts the protest in Rosenstrass. Signed and dated in the lower right corner.Until 1943, Jews married to Gentiles enjoyed a measure of security and were spared deportations to concentration camps. But during the final round-up of the last Jews of Berlin in early 1943, the Nazi regime began arresting Jews with Gentile spouses and incarcerated them in a former Jewish community center on Rosenstrasse. The non-Jewish spouses – most of them women—countered with an unprecedented protest in front of the prison, demanding the return the return of their husbands. The initial 600 protesters on the first day gradually swelled to 6,000 after a week. Again and again, the police scattered the women with threats of shooting them, but each time they advanced again unperturbed. Arrests seemed a foregone conclusion. It came as an utter surprise to all participants, when the Gestapo finally relented and released the 2,000 Jewish men, all of whom survived the war. Dr. Joseph Goebbels wrote in his diary that the Nazis feared the protest might be noted abroad and also feared that non-Jewish relatives of Jews in concentration camps might follow suit and stage a protest of their own.Lila GoldArchitect, painter, designer, and media artist, Wolf Werdigier was born in 1946 Pegnitz, Germany, and grew up in post-World War II Vienna. His father was a Jewish concentration camp survivor and his mother a Christian. He began his “Hidden Images” project in Israel in 2001. In 2005 the artist conducted interviews with over 40 New Yorkers of diverse ethnic backgrounds and ages from which he created new works exploring race in America. Werdigier trained as an urban planner. Since 1985, he has maintained his studio in Vienna. Starting in 1979 he held various positions in universities and municipal departments in Vienna, and also in 1989 and 1994 as Visiting Professor at the Pratt-Institute, New York, for Urban Design. Werdigier explores the effects of suppressed trauma on the human psyche. In his work in Vienna, with Israelis and Palestinians, people in the Balkans, and, most recently, African-Americans and Whites, he has used the techniques of psychoanalytic inquiry and the “Social Dreaming Matrix” method. His paintings are informed by the dreams, associations and personal stories gathered in workshops and individual interviews that he considers to be “pathways for the unconscious to reach the conscious”. His works have been shown in Austria as well as in Jerusalem, Tel Aviv, Ramallah, New York City, Philadelphia, and Cleveland, Ohio.Updated record.Digital imag
The Baal Shem of Michelstadt /
No full textBound photocopy of a book; the original German language book is available at the LBI library.Wormser, Sekel Lö