Exploring Jewish Arts and Culture – serie

Winner of seven MoliÈres, the Pulitzer Prize of France, Jean-Claude Grumberg is one of France’s leading dramatists and a distinguished voice of modern European Jewry after the Shoah. His success in portraying contemporary Parisian Jews on the stage represents a new development in European theater and a new aesthetic expression of European Jewish experience and sensibility of the Holocaust and its aftermath, a perspective quite different from either the American or the Israeli one. Grumberg’s Jews are French to their fingertips, yet they have been made more consciously Jewish by the war and the difficulties of reintegrating into a society in which too many neighbors denounced them or ignored their pleas to save their children. Affirming the new status of Jewish culture, Grumberg’s plays insist on the recognition of Jewish identity and uniqueness within the majority societies of Europe.This volume offers the first English translation of three of Grumberg’s prize-winning plays: The Workplace (L’Atelier, 1979), On the Way to the Promised Land (Vers toi Terre promise, 2006) and Mama’s Coming Back, Poor Orphan (Maman revient, pauvre orphelin, 1994). Presented in the order of the history they record and steeped in Grumberg’s personal experience and insights into contemporary Parisian life, these plays serve as documentary witnesses that begin with the immediate postwar reality and continue up to the end of the twentieth century. Seth Wolitz provides notes on the plays’ themes, structures, characters, and settings, along with an introduction that discusses Grumberg’s place within the emergence of French-Jewish drama and a translation of an interview with the playwright himself.

Like a forest recovering from a cataclysmic fire, the Jews of Eastern Europe are drawing on deep roots to regrow their communities in the long aftermath of the Holocaust and decades of Soviet domination. The children and grandchildren of victims and survivors are reconstructing the histories of their families and reviving the forgotten Jewish customs, bringing them forward into the twenty-first century and creating a contemporary culture that would be both familiar and strange to the generation that perished in the conflagration of the Holocaust.Loli Kantor is the daughter of Holocaust survivors who lost nearly their entire families, and her desire to reconnect with her family’s history first took her to Poland in 2004. As she photographed her parents’ hometowns and grappled with the destruction and grief of the past, her vision gradually widened beyond the personal to focus on the signs of the rebirth of Jewish culture in Eastern Europe. Over eight years, she traveled in the Ukraine, as well as Poland, Romania, and the Czech Republic, photographing Jews in their everyday lives and listening to their stories in their homes, synagogues, and communities. Her luminous black-and-white and color images eloquently reveal how Eastern European Jews are honoring the past and building the future through such things as revived observances of the holidays, including Passover, Sukkoth, and Hanukkah. They also explore the role that artists are playing in the preservation of Jewish culture, which might otherwise have been completely lost. Polish art historian and critic Anda Rottenberg offers an appreciation of Kantor’s photography and its place in reclaiming Eastern European Jewish identity. Novelist Joseph Skibell celebrates Kantor’s “brave vision, unblinking and unafraid.”

From the 1850s to the 1950s, photography was one of the most open avenues for Jews in Britain to make a living, as well as to contribute to mainstream culture. If one’s picture was snapped for a price in Britain, the person behind the lens was more than likely born a Jew. Through the 1970s, Jews were prime movers behind nearly all things photographic in Britain, including photojournalism, portrait studios, collecting, applications of photography to the fine arts, and the emergence of photography criticism and history as distinct fields. Yet despite Jews having played such remarkable roles, far out of proportion to their number and in all facets of photography, little attention has been paid to ethnic-religious difference in studies of British photography.Richly illustrated with both color and black-and-white images, Jews and Photography in Britain is the first-ever historical investigation of this topic, ranging from the mid-nineteenth century to Queen Elizabeth’s controversial photo shoot with Annie Leibovitz in 2007. Michael Berkowitz explores subjects such as the attempts of H. W. Barnett to unsettle portrait conventions, the spectacular photo editing of Stefan Lorant, the influence of Erich Salomon on Fleet Street, the inception of the “Gernsheim Corpus” (a seminal resource for art historical research) conceived by Walter and Gertrud Gernsheim, the innovative photography practices at London’s Warburg Institute under Fritz Saxl, and the pioneering efforts at collecting and publishing about photography as history and art by Helmut and Alison Gernsheim.

A thief-turned-saint, killed by an insult. A rabbi burning down his world in order to save it. A man who lost his sanity while trying to fathom the origin of the universe. A beautiful woman battling her brother’s and her husband’s egos to preserve their family. Stories such as these enliven the pages of the Talmud, the great repository of ancient wisdom that is one of the sacred texts of the Jewish people. Comprised of the Mishnah, the oral law of the Torah, and the Gemara, a multigenerational metacommentary on the Mishnah dating from between 3950 and 4235 (190 and 475 CE), the Talmud presents a formidable challenge to understand without scholarly training and study. But what if one approaches it as a collection of tales with surprising relevance for contemporary readers?In Six Memos from the Last Millennium, critically acclaimed novelist Joseph Skibell reads some of the Talmud’s tales with a storyteller’s insight, concentrating on the lives of the legendary rabbis depicted in its pages to uncover the wisdom they can still impart to our modern age. He unifies strands of stories that are scattered throughout the Talmud into coherent narratives or “memos,” which he then analyzes and interprets from his perspective as a novelist. In Skibell’s imaginative and personal readings, this sacred literature frequently defies our conventional notions of piety. Sometimes wild, rude, and even bawdy, these memos from the last millennium pursue a livable transcendence, a way of fusing the mundane hours of earthly life with a cosmic sense of holiness and wonder.

Jews have always played an important role in the generation of culture in Latin America, despite their relatively small numbers in the overall population. In the early days of cinema, they served as directors, producers, screenwriters, composers, and broadcasters. As Latin American societies became more religiously open in the later twentieth century, Jewish characters and themes began appearing in Latin American films and eventually achieved full inclusion. Landmark films by Jewish directors in Argentina, Mexico, and Brazil, which are home to the largest and most influential Jewish communities in Latin America, have enjoyed critical and popular acclaim.Evolving Images is the first volume devoted to Jewish Latin American cinema, with fifteen critical essays by leading scholars from Latin America, the United States, Europe, and Israel. The contributors address transnational and transcultural issues of Jewish life in Latin America, such as assimilation, integration, identity, and other aspects of life in the Diaspora. Their discussions of films with Jewish themes and characters show the rich diversity of Jewish cultures in Latin America, as well as how Jews, both real and fictional, interact among themselves and with other groups, raising the question of how much their ethnicity may be adulterated when adopting a combined identity as Jewish and Latin American. The book closes with a groundbreaking section on the affinities between Jewish themes in Hollywood and Latin American films, as well as a comprehensive filmography.

Jews have always played an important role in the generation of culture in Latin America, despite their relatively small numbers in the overall population. In the early days of cinema, they served as directors, producers, screenwriters, composers, and broadcasters. As Latin American societies became more religiously open in the later twentieth century, Jewish characters and themes began appearing in Latin American films and eventually achieved full inclusion. Landmark films by Jewish directors in Argentina, Mexico, and Brazil, which are home to the largest and most influential Jewish communities in Latin America, have enjoyed critical and popular acclaim.Evolving Images is the first volume devoted to Jewish Latin American cinema, with fifteen critical essays by leading scholars from Latin America, the United States, Europe, and Israel. The contributors address transnational and transcultural issues of Jewish life in Latin America, such as assimilation, integration, identity, and other aspects of life in the Diaspora. Their discussions of films with Jewish themes and characters show the rich diversity of Jewish cultures in Latin America, as well as how Jews, both real and fictional, interact among themselves and with other groups, raising the question of how much their ethnicity may be adulterated when adopting a combined identity as Jewish and Latin American. The book closes with a groundbreaking section on the affinities between Jewish themes in Hollywood and Latin American films, as well as a comprehensive filmography.

Honorable Mention - The International Photography Awards 2024 Book CategoryDocumentation, through photographs and interviews, of those who survived the unique Nazi ghetto/camp located at TerezÍn, Czech Republic.Dennis Carlyle Darling has photographed and interviewed hundreds of Holocaust survivors who spent time at the German transit camp and ghetto at TerezÍn, a former eighteenth-century military garrison located north of Prague. Many of the prisoners were kept there until they could be transported to Auschwitz or other camps, but unlike German captives elsewhere, they were allowed to participate in creative activities that the Nazis used for propaganda purposes to show the world how well they were treating Jews. Although it was not classified as a “death camp,” more than 33,000 prisoners died at TerezÍn from hunger, disease, and mistreatment. In Borrowed Time, Darling reveals TerezÍn as a place of painful contradictions, through striking and intimate portraits that retrace time and place with his subjects, the last remnants of those who survived the experience. Returning to sites of painful memories with his interview subjects to photograph them, Darling respectfully depicts these survivors and tells their stories.