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Studia Judaica

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np. 10.4467/16890027AP.16.022.6009
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2018 Następne

Data publikacji: 18.10.2018

Opis

Numer został dofinansowany ze środków Stowarzyszenia Żydowski Instytut Historyczny w Polsce oraz Wydziału Humanistycznego Uniwersytetu Marii Curie-Skłodowskiej w Lublinie.


 

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Wojciech Woźniak

Sekretarz redakcji Lidia Jerkiewicz

Redaktorzy gościnni Magdalena Koch, Katarzyna Taczyński

Zawartość numeru

Magdalena Koch, xw Katarzyna Taczyńskaxw

Studia Judaica, Nr 1 (41), 2018, s. 1 - 6

https://doi.org/10.4467/24500100STJ.18.001.9171
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Magdalena Kochxw

Studia Judaica, Nr 1 (41), 2018, s. 7 - 30

https://doi.org/10.4467/24500100STJ.18.002.9172
This paper specifies and describes the main four stages and strategies of intercultural and memory survival of Sephardic women in Bosnia in the past (during the interwar period) and in the contemporary world (before, during, and after the collapse of Yugoslavia). The first strategy, named here as a (manu)script and orality/textuality one, is illustrated by a study Sephardic Woman in Bosnia (1932) by Jewish Sarajevo feminist Laura Papo Bohoreta (1891–1942). The second one, labeled as a translation and print strategy, is connected with the activity of Muhamed Nezirović (1934–2008), especially his translation of Papo’s book from Ladino into Bosnian (2005). The third one, recognized here as a cultural transfer strategy, is represented by the novels The Scent of Rain in the Balkans (1986) and The Ballad of Bohoreta (2006) by contemporary Serbian female writer Gordana Kuić (1942). And—last but not least—the fourth strategy of digitizing manuscripts and archival texts by Laura Papo is represented by Edina Spahić, Cecilia Prenz Kopušar, and Sejdalija Gušić, a team who prepared and has recently edited three collected books with Papo’s manuscripts (2015–2017). 
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Krinka Vidaković-Petrovxw

Studia Judaica, Nr 1 (41), 2018, s. 31 - 54

https://doi.org/10.4467/24500100STJ.18.003.9173
The reasons for researching the works of Yugoslav author Magda Bošan Simin are several: (1) her novel When the Sour Cherries Bloom (1958) was probably the first literary representation of the Holocaust written by a woman author in Yugoslavia; (2) Bošan Simin represents the Holocaust in multiple formats (documentary prose, memoir, autobiographical novel); (3) the book Why They Said Nothing: Mother and Daughter on One and the Same War (2009, English edition 2015) is a narrative comprised of texts written by both Magda Bošan Simin as a Holocaust survivor and her daughter Nevena Simin as a second-generation Holocaust survivor. The research focuses on Holocaust survivors and their post-Holocaust children, issues of memory in Holocaust representation, types of memory, memory mediation, author’s intentionality, gender and identity issues. 
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Dina Katan Ben-Zionxw

Studia Judaica, Nr 1 (41), 2018, s. 55 - 76

https://doi.org/10.4467/24500100STJ.18.004.9174
The first part of this article endeavors to give an idea about the scope and impact of dealing with Jews and Jewish issues in the literature of the former Yugoslavia, so as to provide a frame of reference for presenting in the second part the literary testimonies of several less-known Yugoslav Jewish women writers. In the second part, the writings of thirteen Jewish women writers will be presented. Their writings represent personal testimonies of literary heroines, while revealing some of the writers’ literary strategies to preserve past-time memories, which in many ways characterize the specific feminine experience of a Yugoslav Jewish woman in the postwar period.
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Katarzyna Taczyńskaxw

Studia Judaica, Nr 1 (41), 2018, s. 77 - 95

https://doi.org/10.4467/24500100STJ.18.005.9175
The primary objective of this text is an analysis of Eva Nahir Panić’s biography (she lived from 1918 to 2015) titled Eva, written by Dane Ilić. The protagonist of this story is a Jewish woman born in Čakovec, who married a Serbian officer, survived the Holocaust, went through the camp for the Cominformists, and finally immigrated to Israel. An interpretative category that creates a framework for reading the text is the term “borderline,” which encompasses two meanings here. The first includes borderline situations (such as the Holocaust and the stay in the Sveti Grgur prison camp) which Nahir Panić had to face in her life and which left an indelible mark on her (the burden of her traumatic experience is passed on to the next generation, in Eva’s daughter, Tijana—signifying a postmemory issue). The second pertains to how she functioned in the borders between cultures which directly influenced her fate. With reference to Ewa Domańska’s concept of the rescue history project executed in Poland, I suggest that the life of Eva Nahir Panić, though undoubtedly filled with painful experiences, ought to be considered not in terms of victimization, but of rebirth and affirmation. Nahir Panić’s life story is a highly personalized narrative, which presents her own identity project, and through it the reader discovers the potential of the community. This may also provide a starting point for reflecting on the history of Yugoslavia.
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Sabina Giergielxw

Studia Judaica, Nr 1 (41), 2018, s. 97 - 116

https://doi.org/10.4467/24500100STJ.18.006.9176
The starting point for this paper is the assumption that by obsessive revisiting the events of World War II, the Croatian writer Daša Drndić attempts to influence indirectly the present. It parallels her narrators’ declarations who—with a great dose of probability—can be simultaneously read as her alter egos. Hence, the article investigates and describes the strategy whose main aim is to retain memory about the past. In Drndić’s texts this function is achieved through the acts of archiving, writing down, and grouping. These acts constitute non-standard ways to enhance the literary text with, for example, whole pages filled with the victims’ names (integrated within the text or acting as a peculiar supplement to the volume).
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Adriana Kovachevaxw

Studia Judaica, Nr 1 (41), 2018, s. 117 - 137

https://doi.org/10.4467/24500100STJ.18.007.9177
The article presents the contributions of Dora Gabe to the Jewish newspaper Maccabi, published in Sofia from 1920 to 1940. She cooperated with the paper both as a translator and an original author. Gabe’s texts in Maccabi have not been reprinted and are almost forgotten. This factor explains why they need to be revisited. First, I trace Edmond Fleg’s influence on Gabe’s ideas on Jewish identity, as the poet is a vivid promoter and a keen translator of Fleg’s work. Then this topic is represented in light of a hidden conflict between other journalists from Maccabi circles and Dora Gabe. The main argument of the text is that Gabe was criticized not only for assimilating into Bulgarian society but mostly because of her feminist ideas and her original, paradoxically anti-national viewpoints on the Zionist movement.
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Yitzchak Keremxw

Studia Judaica, Nr 1 (41), 2018, s. 139 - 158

https://doi.org/10.4467/24500100STJ.18.008.9178
Rachel Dalven was a Romaniote Jew, translator of modern Greek poetry, playwright, and historian of the Jews of Ioannina, Greece. She was an educated and well-traveled independent woman, who brought to the English-speaking audiences in the West the poets Cavafy, Ritsos, and Yosef Eliya as well as many female Greek poets. She visited the Jewish community of Ioannina several times in the 1930s, and wrote about the deportation and annihilation of the Jews from Ioannina in Auschwitz-Birkenau. She was a cross between a Greek-speaking Romaniote Jew and a Sephardic Jew, both little-known subgroups within the Jewish minority. Residing in New York City, she benefited from being in a rich cultural hub with its connections and benefits in encouraging and enabling translation, poetry, theater, academic research, publishing, and travel grants. 
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Agata Rogośxw

Studia Judaica, Nr 1 (41), 2018, s. 159 - 173

https://doi.org/10.4467/24500100STJ.18.009.9179
This article aims to analyze the works of Jewish women autobiographers who wrote about the Holocaust in the context of Albanian cultural tradition. My research appears in the framework of the wider Holocaust women’s literature and its strong performance in collective memory studies. Another very important element of these narratives is the reflection on representations of war from a female perspective.
The article focuses on the notion of identity displacement of Jewish women escaping to Albania during World War II and acts of crypto-conversion into the Muslim or Catholic religions. Accordingly, I will concentrate on two autobiographies of Jewish women escaping to Albania: Jutta Neumann and Irene Grünbaum.
These autobiographies are introduced to the reader through an approach of self-portrayal, connecting the issues to the traumatic impact of war and its representations, which serve as a process to conceptualize memory and trauma. One aim here is to show how during World War II in Albania women writers explored the personal and historical impact of these events in autobiographical writings.
The two self-portrayals of Jewish women survivors escaping to Albania presented here emphasize a feminine aspect through proclamations of resistance. Despite the obstacles and difficulties caused by the traditional Albanian social structure and the (dis)placement of the Other, the analyzed narratives are infused with reflections of autobiographers concerning the world immersed in a crisis.
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Aleksandra Nacewska-Twardowska, xw Agnieszka August-Zarębskaxw

Studia Judaica, Nr 1 (41), 2018, s. 175 - 202

https://doi.org/10.4467/24500100STJ.18.010.9180
The article elaborates on the attempts of the editors of the Jewish weekly Jevrejski glas (published in Sarajevo in 1928–1941) to support fostering of the Sephardi tradition and Judeo-Spanish language during the period in which an inevitable process of language shift took place among the Sephardi citizens of Bosnia. The column Para noče de šabat, created with the help of the weekly’s readers, was one of the means serving that purpose. In the majority of the texts the main characters were Sephardi women, especially of the older generation, the women called tijas (aunts). For that reason, the paper presents how the authors showed female characters in the context of memory of “the true Sephardi spirit and tradition.” Additionally, we provide basic information on the gathered texts: linguistics and sociolinguistics of the language of the prose (its condition, lexis and local features), as well as the characteristics of narration.
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Recenzje

Katarzyna Taczyńskaxw

Studia Judaica, Nr 1 (41), 2018, s. 203 - 207

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Słowa kluczowe: Sephardic women, memory strategies, orality/textuality, cultural transfer, digitizing archival texts, Laura Papo, Muhamed Nezirović, Gordana Kuić, Holocaust representation, formats of Holocaust representation, role of memory and memory mediation, primary and secondary memory, first- and second-generaton survivors as co-authors, gender in Holocaust representation, identity, Jewish women writers, female outlook in literature, cultural legacy, dual belonging, strategies of preserving the memory, individual testimony and collective memory, Goli Otok, Holocaust, biography, Eva Nahir Panić, borderline, postmemory, identity, Croatian literature, Holocaust, memory, archives, children, ethics, interwar period in Bulgarian literature, history of translation, Jewish press, Zionist movement in Bulgaria, Dora Gabe, Edmond Fleg, Rachel Dalven, Yosef Eliya, Cavafy, Ritsos, Ioannina, Romaniote, Judeo-Greek, Holocaust, Albania, Jewish women, identity, Holocaust autobiographies, resistance, Sarajevo, the Jewish press, Judeo-Spanish, Ladino, short stories, sketches, amateurish prose, memory