Handbook of Polish, Czech, and Slovak Holocaust Fiction最新文献

{"title":"And God Saw That It Was Bad (I viděl bůh, že je to špatné)","authors":"","doi":"10.1515/9783110671056-003","DOIUrl":"https://doi.org/10.1515/9783110671056-003","url":null,"abstract":"","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123512965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Shop on Main Street (Obchod na korze)","authors":"L. Grosman, János Kádár, Elmar Klos","doi":"10.1515/9783110671056-092","DOIUrl":"https://doi.org/10.1515/9783110671056-092","url":null,"abstract":"About the Author: Ladislav Grosman (1921–1981), came from a Slovak Jewish family, went through various labour camps during World War II and eventually, escaped before being transported to the extermination camps and thus had to hide-out for the rest of the war. After 1945, he studied in Prague and worked as an editor and screenwriter, publishing in both Slovak and Czech. In October 1968 Grosman emigrated to Israel where he taught at Bar-Ilan University. Jewish and especially Holocaust topics played an important role in his works.","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126421104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Proofs of Existence (Dowody na istnienie)","authors":"Hanna Krall","doi":"10.1515/9783110671056-084","DOIUrl":"https://doi.org/10.1515/9783110671056-084","url":null,"abstract":"Translations: German (Existenzbeweise, 1996); Italian (Il dibbuk e altre storie, 1997); Swedish (Existensbevi, 1997); French (Preuves d'existence, 1998); Slovak (Dôkazy jestvovania, 1998); Hebrew (Hokhatot le-kiyum, 1999); English (Proofs of Existence: The Dybbuk; The Chair, A Fox, The Tree; Salvation, Hamlet, A Decision. In: The Woman from Hamburg and Other True Stories, 2005); Czech (Důkazy pro..., 2011).","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133654417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Colors (Barvy)","authors":"","doi":"10.1515/9783110671056-017","DOIUrl":"https://doi.org/10.1515/9783110671056-017","url":null,"abstract":"About the Author: Jiří Weil (1900–1959) was a Czech writer, poet, journalist, translator and scientist. He was born into an assimilated Czech Jewish family in Praskolesy in Central Bohemia. His father owned a small factory. Weil studied comparative literature and Slavonic philology at Charles University. He became a member of the Communist Party and worked as a journalist, translator and critic of Soviet literature. In 1933 Weil went to Moscow as a translator. In 1935 he was denounced as a detractor of the Soviet Union and sent to Interhelpo, a Czech cooperative in Kyrgyzstan (see his novels From Moscow to the Border and The Wooden Spoon, both with autobiographical features). After a few months he travelled to Central Asia as a reporter. At the end of 1935, he was allowed to return to Czechoslovakia. Weil’s first novel From Moscow to the Border (1937) became one of the first true testimonies about the situation in the Soviet Union in the middle of 1930s. During the Nazi occupation of the Czech lands, Weil was persecuted for his Jewish origins. He tried to save himself by marrying Olga Frenclová, an Aryan woman, and worked in the Jewish Central Museum from 1943 to the beginning of 1945. In February of 1945, he was summoned for deportation to the Theresienstadt Ghetto. He staged his own suicide by pretending to drown himself in the Vltava river and went into hiding. His parents were transported to Auschwitz and his sister to Treblinka; none of them survived. His brother died after returning from Theresienstadt to Prague in May 1945. After the war, Weil worked again in the Jewish Museum. In 1946 he began working for the Prague publishing house ELK. His literary works concentrated on the Jewish topics and mainly on the Holocaust. He published short stories and his best known novel→ Life with a Star (1949). Nevertheless, after the Communist coup in 1948, this book was sharply criticised as formalistic and damaging, Weil was excluded from the Writer’s Union and banned. He focused on his professional activity in the Jewish Museum again, for instance, he pushed through a collective presentation of children’s drawings and poems from Theresienstadt. Weil was allowed to publish again at the end of the 1950s (the novel The Harpist, → Elegy for 77,297 Victims, both 1958) but he died of leukemia in 1959 and his last novelMendelssohn Is on the Roof was edited posthumously.","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"15 16","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132939898","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Miracle in the Darkhouse (Zázrak v černém domě)","authors":"černém domě, Milan Uhde","doi":"10.1515/9783110671056-066","DOIUrl":"https://doi.org/10.1515/9783110671056-066","url":null,"abstract":"About the Author: Milan Uhde (1936 in Brno) is a playwright, writer and politician from a Czech-Jewish assimilated family of lawyers. After graduating in Czech and Russian studies (1958), he became an editor for the prominent review for literature and art Host do domu. In the 1960s, he started his literary career writing three collections of stories and the satirical anti-regime play King Vávra (premiered 1964), followed by the play The Bitch of Thebes (1967). After the Soviet occupation in August of 1968, during the so-called normalisation, he was forced to publish either in samizdat or under assumed names. He was one of the first signatories of Charter 77. Just after the Velvet Revolution he became editor-in-chief of the publishing house Atlantis as well as a lecturer at Janáček Academy of Performing Arts in Brno. In 1990 he was appointed to the position of Czech Minister of Culture; he also represented ODS (Civic Democratic Party) in the Czech National Parliament and, after the division of Czechoslovakia in 1993, he became the speaker of the House of Deputies of the Czech Parliament. In 1998 he decided to give up active politics and returned to writing and publishing. His earlier work was also republished by Atlantis.","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133504301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Holocaust (Holokaust)","authors":"Viliam Klimáček","doi":"10.1515/9783110671056-048","DOIUrl":"https://doi.org/10.1515/9783110671056-048","url":null,"abstract":"About the Author: Viliam Klimáček (1958) is a playwright, theatre director and actor, poet and novelist. He graduated from the Medical Faculty at Comenius University in Bratislava and worked as an anaesthesiologist in Bratislava. In 1985 he co-founded the alternative creative GUnaGU Theatre in Bratislava and has been the artistic director and screenwriter of the theatre since that time. In 1992, he left his medical profession and began his professional career in theatre. He uses absurdity and the grotesque in his works, often inspired by the British comedy group Monty Python.","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"149 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127267092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Empty Field (Puste pole)","authors":"","doi":"10.1515/9783110671056-037","DOIUrl":"https://doi.org/10.1515/9783110671056-037","url":null,"abstract":"","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122972304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Land of Forgetting (Krajina zabudnutia)","authors":"A. Baláz","doi":"10.1515/9783110671056-055","DOIUrl":"https://doi.org/10.1515/9783110671056-055","url":null,"abstract":"About the Author: Anton Baláž (1943) is a Slovak prose writer, television and film screenwriter, radio playwright and publicist. After 1989 he started to work as the editor-in-chief of Slovenský denník. In the first year of the independent Slovak Republic (1993) he worked in the office of the President of the Slovak Republic. Baláž’s work is very varied, but one important trend can be observed – it is preoccupied with less known topics of Slovak history. In the second half of the 1990s, Baláž returned thematically to the Jewish past, specifically to the Holocaust of the Slovak Jewish community. His work focuses on the first postwar years. It concentrates on the fate of the Jews who survived the horrors of concentration camps and then tried to reintegrate into ordinary life and to find a new sense of life. He followed the fates of Jews since the 1960s, but decided to write about this topic only in the second half of the 1990s.","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116485346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Last Cyclist (Poslední cyklista)","authors":"Naomi Patz, Lisa Peschel","doi":"10.1515/9783110671056-057","DOIUrl":"https://doi.org/10.1515/9783110671056-057","url":null,"abstract":"About the Author: Karel Švenk, written also Karl Schwenk (1917–1945), came from a Czech-Jewish family, his father was a tailor. Švenk took part in the musically dramatic avant-garde group “Club of Unrecognised Talents” (Klub zapadlých talentů) in Prague from 1934 to 1938. In November 1941, he was deported to the Theresienstadt Ghetto, and was among the young Jewish men sent to prepare the previously non-Jewish camp for the Jewish prisoners (so-called Aufbaukommando). He was the initiator of cultural activities in Theresienstadt, as a cabaret artist, comedian, songwriter and playwright. He wrote and staged the satirical plays Long Live the Life! (1943) and The Last Cyclist (1944). The song Anything Goes! also called Theresienstadt March (Všechno jde! or Terezínský pochod), his best-known music composition, became a secret ghetto anthem. Another of Švenk’s songs Why Does the White Man Sit in the Front of the Bus was preserved by the musician and Theresienstadt survivor George Horner (it was later arranged by David Post and recorded by the Hawthorne String Quartet). In October 1944, Švenk was sent to Auschwitz, then briefly to a factory, and later died in a cattle wagon on a subsequent transport to Mauthausen-Gusen concentration camp. A different source stated that he was shot by a Nazi soldier on a forced march.","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124874555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Scrap of Time (Skrawek czasu)","authors":"Ida Fink","doi":"10.1515/9783110671056-088","DOIUrl":"https://doi.org/10.1515/9783110671056-088","url":null,"abstract":"About the Author: Ida Fink (1921–2011) was born as Ida Landau in Zbarazh, East Galicia (after the war USSR, now Ukraine) to a family of secular Jews that was integrated into Polish culture. In 1938 she started studying at the Lviv Conservatory, but the German invasion of USSR in 1941 interrupted her studies. Ida Landau was confined to the Zbarazh Ghetto with her family until 1942, when she and her younger sister Elsa acquired “Aryan papers” and travelled to Germany as Polish forced labourers. A fair haired, blue-eyed young Ida did not look identifiably Jewish, quite the opposite of her sister. They both survived. A fictionalised account of the war years appears in her novel The Journey (1990). Ida and Elsa spent almost a year in the Displaced Person Camp Ettlingen where she made her writing debut with an essay in the camp newspaper Nasz głos. In 1946, they came back to Poland and stayed in Silesia. In 1948 Ida married Bruno Fink, a survivor of four camps. In 1957, the whole family moved to Israel and settled in Holon. Ida Fink immediately started to publish her short stories in various Polish language periodicals in Israel and the UK. In the 1960s she worked for the Yad Vashem Institute as a testimony recorder, in the 1970s as a librarian in the music section of the Goethe Institute in Tel Aviv. Since the late 1980s, her prose has gained great popularity and won many important literary awards. All her life Fink wrote in Polish.","PeriodicalId":425657,"journal":{"name":"Handbook of Polish, Czech, and Slovak Holocaust Fiction","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114301037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}