The words and images inscribed in this facsimile edition--by children and grandparents, factory workers and farmhands, professionals and intellectuals, musicians and artists--reflect both joy and trepidation felt during the last months of the Holocaust.
“The most comprehensive to date treatment of these precious artifacts of the Holocaust’s Jewish efforts to maintain religious observations and identity.” —Choice Calendars map time, shaping and delineating our experience of it. While the challenges to tracking Jewish conceptions of time during the Holocaust were substantial, Alan Rosen reveals that many took great risks to mark time within that vast upheaval. Rosen inventories and organizes Jewish calendars according to the wartime settings in which they were produced—from Jewish communities to ghettos and concentration camps. The calendars he considers reorient views of Jewish circumstances during the war and show how Jews were committed to fashioning traditional guides to daily life, even in the most extreme conditions. In a separate chapter, moreover, he elucidates how Holocaust-era diaries sometimes served as surrogate Jewish calendars. All in all, Rosen presents a revised idea of time, continuity, the sacred and the mundane, the ordinary and the extraordinary even when death and destruction were the order of the day. Rosen’s focus on the Jewish calendar—the ultimate symbol of continuity, as weekday follows weekday and Sabbath follows Sabbath—sheds new light on how Jews maintained connections to their way of conceiving time even within the cauldron of the Holocaust. “Rosen demonstrates the relationship between time and meaning, between meaning and holiness, between holy days and the divine presence―all of which came under assault in the Nazis’ effort to kill Jewish souls before destroying Jewish bodies.” —David Patterson, author of Along the Edge of Annihilation: The Collapse and Recovery of Life in the Holocaust Diary
A growing body of scholarship is making visible the contribution of translators to the creation, preservation, and transmission of knowledge about the Holocaust. The discussion has tended to be theoretical or to concentrate on exposing the "distorted" translations of texts by important witnesses such as Anne Frank or Elie Wiesel. There is therefore a need for a positive, concrete, and contextually aware approach to the translation of Holocaust testimonies that acknowledges the achievements of translators while being sensitive to the consequences of particular translation strategies. Peter Davies's study proceeds from the assumption that translators are active co-creators whose work does not simply mediate a pre-existing text, but creates a representation of that text for a new readership in a specific context. Translators of Holocaust testimonies, then, provide a form of textual commentary that works through ideas about witnessing, historical truth, and the meaning of the Holocaust. In this way they are important co-creators of knowledge about the Holocaust and its legacy. The study focuses on translations between English and German, and from other languages (principally French, Russian, and Polish) into English and German. It works through a number of case studies, showing how making translation and its effects visible contributes to a clearer understanding of how knowledge about the Holocaust has been and continues to be created and mediated. Peter Davies is Professor of German at the University of Edinburgh.
When the Nazis invade Czechoslovakia in 1941, twelve-year-old Michael and his family are deported from Prague to the Terezin concentration camp, where his mother's will and ingenuity keep them from being transported to Auschwitz and certain death.
Unrivaled in scope, "Holocaust" is a story of all Europe, of the vast sweep of events in which this great atrocity was rooted, from the Middle Ages to the modern era.
Focuses on the lives of nine Jews who survived as children in Theresienstadt. They spent 1942-44 with their "madrich" or leader, 20-year-old Franta (Francis Maier), as part of a group of 40 Nesharim (Eagles). After a short discussion on various aspects of the camp, pp. 55-171 present interviews taken by the author, the wife of one of the "boys". The survivors, including Franta, relate their experiences during and after the Holocaust. Despite the horrors of ghetto life, that were felt more by their parents, these boys were mostly concerned with sports activities and their lessons. They were greatly influenced by Franta's idealism. Their reunions decades later and the contacts between them testify to the communal values they internalized as Nesharim. The boys are mentioned by their nicknames: Špulka (Erich Spitz), Kikina (George Repper), Míša (Michael Gruenbaum), Pajík (Paul Weiner), Pavel (Paul Huppert), Gorila (Jan Strebinger), Majošek (Martin Mayer), Robin (Robert Herz), and Extrabuřt (Hanuš Holzer). Franta, Pavel, Gorila, and Robin were eventually deported to other camps and Majošek was sent on a transport to Switzerland. Two additonal Nesharim survived the war but, unlike the others, remained in Czechoslovakia; they died before they could be interviewed.