Abstract: The 2015 law granting Spanish nationality to the descendants of Jews expelled in 1492 is the latest example of a widespread phenomenon in contemporary Spain, the "re-discovery" of its Jewish heritage.
In The Memory Work of Jewish Spain, Daniela Flesler and Adrián Pérez Melgosa examine the implications of reclaiming this memory through the analysis of a comprehensive range of emerging cultural practices, political initiatives and institutions in the context of the long history of Spain's ambivalence towards its Jewish past.
Through oral interviews, analyses of museums, newly reconfigured "Jewish quarters," excavated Jewish sites, popular festivals, tourist brochures, literature and art, The Memory Work of Jewish Spain explores what happens when these initiatives are implemented at the local level in cities and towns throughout Spain, and how they affect Spain's present
Abstract: This thesis critically examines the public representation of medieval Anglo-Jewish history today through a cross-section of medieval Anglo-Jewish communities which act as case studies; Winchester, York, Norwich, Bristol, and Northampton respectively. These case studies frame the investigation of issues associated with the limited and often contested archaeological evidence relating to England’s medieval Jews, as well as the frequent tendency of contemporary public facing history to focus on the negative aspects of medieval Jewish life, notably by highlighting persecution and victimisation. It also analyses the development of the most recent public facing interpretations of medieval Anglo-Jewish history in each location, which have been deliberately chosen to provide a range of towns and cities which contain evidence of alleged medieval Jewish human remains.
The assessment of key stakeholders in the public representation of medieval Anglo-Jews was central to this study, and as such this thesis carefully considered the roles of various stakeholders in the preservation and representation of medieval Anglo-Jewish history and memory. Within this thesis, each stakeholder had a valid voice in the assessment of how the history and memory of England’s medieval Jews had been treated and represented. Decolonialist research methodologies were herein utilised in order to fully address the complexities of the various voices of stakeholders; from the perspectives of individuals, communities, and organisations, through a sensitive approach towards respectful interviewing and data collection. This thesis, therefore, provides a uniquely rounded interpretation of stakeholder involvement and investment in how medieval Anglo-Jewish communities are remembered today.
The history and memory of medieval Anglo-Jews has been subject to periods of omission and marginalisation, with the study of medieval Jewish history often hindered by a lack of sources on everyday life. This thesis contributes to the increasingly multi- and inter-disciplinary study of England’s medieval Jews through the application of Death Studies, offers new hypotheses based on traditional Jewish approaches to death ritual and burial practice, and provides fresh insights into aspects of medieval Jewish life with a focus on the dead.
Abstract: The tradition of Jewish studies in Poland has been drastically interrupted by the Second World War and the Holocaust. In the immediate postwar period the process of re-establishing research on Jewish history and heritage was undertaken by the Jewish Historical Commissions and later Jewish Historical Institute in Warsaw. More examples of the individual and group initiatives can be traced only in the 1970s and 1980s. The real happened in the late 1980s with Kraków as one of the first and main centers of revitalized Jewish studies in Poland. The first postwar academic institution in Krakow specializing in Jewish studies – Research Center for Jewish History and Culture in Poland – was established already in 1986 in the Jagiellonian University in Kraków. More than a decade later, in 2000, it was transformed into the first Poland’s Department of Jewish Studies (Katedra Judaistyki) – now the Institute of Jewish Studies. Nowadays there are more similar programs and institutions – at the universities in Warsaw, Wrocław and Lublin (UMCS). Also other academic centers tend to have at least individual scholars, programs, classes or projects focusing on widely understood “Jewish topics.” Jewish studies in Poland, along with the revival of Jewish culture, reflect the contemporary Polish attitude to the Jewish heritage, and their scale and intensity remains unique in the European context. The growing interest in Jewish studies in Poland can be seen as a sign of respect for the role of Jewish Poles in the country’s history, and as an attempt to recreate the missing Jewish part of Poland through research, education and commemoration, accompanied by slow but promising revival of Jewish life in Poland.
Abstract: This chapter situates France’s diverse Jewish community, the largest in Europe, in relation to Holocaust memory, exile from North Africa, the Israeli-Palestinian conflict, anti-Semitism and cultural (co-)production. The chapter begins by historically contextualising contemporary anti-Semitism and goes on to explore cultural representations, including Jewish-Muslim artistic collaborations. Contemporary anti-Semitism in France is driven by three main motivations which sometimes overlap, namely radical Islam, the Israeli-Palestinian conflict, and old anti-Jewish stereotypes. Education and cultural production (particularly collaborative, that is, through Jewish–Muslim cooperation) are particularly important in combating the conflation between Jews and Zionists, and in expressing solidarity between Jews and Muslims, who are both victims of racism in France albeit in the differing forms of anti-Semitism and Islamophobia.
Abstract: Introduction de Jean-Pierre Allai
Les événements tragiques qui ont traumatisé notre pays ces dernières années : Toulouse, Charlie Hebdo, Hyper Cacher, Bataclan et, plus récemment, le camion fou de la promenade des Anglais à Nice, nous amènent, légitimement, à nous poser la question : l’offensive islamique contre le monde occidental finira-t-elle par avoir raison d’une civilisation millénaire ou parviendra-t-on un jour à dominer et à terrasser ce fléau impitoyable ? En d’autre termes, et pour ce qui concerne la France : la culture en général et sa composante juive en particulier, pourront-elles survivre à cette offensive des tenants d’un obscurantisme dévoyé qu’on pensait à jamais disparu ?
Pour répondre à cette question essentielle, Sandrine Szwarc, historienne, enseignante à l’Institut Universitaire d’Etudes Juives Elie Wiesel et membre du Comité de Rédaction d’ Actualité Juive, commence par brosser un tableau de la situation culturelle de la communauté juive de France au lendemain de la Shoah. Cette communauté, qui a perdu 76 000 de ses membres, se resserre autour de la « yiddishkeit française ». Les titres de la presse yiddish, d’Unzer Wort à Die Naïe Presse en passant par Unzer Kiyoum et bien d’autres, traduisent le besoin impératif de maintenir une culture qui était le quotidien d’un monde englouti par la folie meurtrière du nazisme. C’est le temps du Cabaret Yiddish et du Centre Medem. C’est le temps aussi des controverses infinies entre sionistes, communistes et bundistes. L’arrivée massive, dans les années soixante, de Juifs d’Afrique du Nord et du Moyen-Orient, renforcera numériquement la communauté tout en apportant une touche de jasmin et de piment que porteront haut les Albert Memmi, Marco Koskas, Chochana Boukhobza et tant d’autres.
Abstract: This research offers an original contribution to the study of contemporary klezmer
music by analysing it in relation to a particular urban environment. With its origins in a
largely destroyed Eastern European Jewish culture, contemporary klezmer is both
historically-grounded and paradoxically rootless, cut loose from geographical
specificity by the internationalism of its recent revival. Seeking to counteract the
music’s modern placeless-ness, this dissertation analyses the musical and spatial means
by which klezmer has been re-rooted in the distinctive material and symbolic conditions
of today’s Berlin. The theoretical framework takes in questions of cultural identity,
music and place, authenticities of tradition and instrumental practice, to show how this
transnational and syncretic music – with few historical ties to Berlin – can be
understood in relation to the city’s particular post-reunification bricolage aesthetic and
subversively creative everyday tactics. Beginning by mapping the criss-crossing
networks of musicians and their multiple artistic perspectives, the dissertation proceeds
through an exploration of the official and unofficial spaces within which these fluid
musical practices operate, leading onto ways that the city of Berlin is made manifest in
the music itself – how the city is interpellated sonically and textually. Processes of
musical transmission and education are analysed through the filters of tradition and
pedagogical ideologies, from which my own instrument, the piano accordion, is used as
a lens through which to uncover the balance between personal expression and
historically-informed performance. The final chapter looks at the relationship between
history, Jewish identity and music in the city. It explores the resonances between the
contested discourse of memorial and present-day cultural and musical production,
discovering how at times sound and music can act as a living sonic embodiment that
speaks against the silence of historical memory
Abstract: With contributions from a dozen American and European scholars, this volume presents an overview of Jewish writing in post–World War II Europe. Striking a balance between close readings of individual texts and general surveys of larger movements and underlying themes, the essays portray Jewish authors across Europe as writers and intellectuals of multiple affiliations and hybrid identities. Aimed at a general readership and guided by the idea of constructing bridges across national cultures, this book maps for English-speaking readers the productivity and diversity of Jewish writers and writing that has marked a revitalization of Jewish culture in France, Germany, Austria, Italy, Great Britain, the Netherlands, Hungary, Poland, and Russia.
Introduction Thomas Nolden and Vivian Liska
1. Secret Affinities: Contemporary Jewish Writing in Austria Vivian Liska
2. Writing against Reconciliation: Contemporary Jewish Writing in Germany Stephan Braese
3. Remembering or Inventing the Past: Second-Generation Jewish Writers in the Netherlands Elrud Ibsch
4. Bonds with a Vanished Past: Contemporary Jewish Writing in Scandinavia Eva Ekselius
5. Imagined Communities: Contemporary Jewish Writing in Great Britain Bryan Cheyette
6. A la recherche du Judaïsme perdu: Contemporary Jewish Writing in France Thomas Nolden
7. Ital'Yah Letteraria: Contemporary Jewish Writing in Italy Christoph Miething
8. Writing along Borders: Contemporary Jewish Writing in Hungary Péter Varga with Thomas Nolden
9. Making Up for Lost Time: Contemporary Jewish Writing in Poland Monika Adamczyk-Garbowska
10. De-Centered Writing: Aspects of Contemporary Jewish Writing in Russia Rainer Grübel and Vladimir Novikov
Abstract: Los instrumentos y técnicas docentes, tanto en estudios primarios y secundarios como en el ámbito universitario, se adaptan a los nuevos métodos desarrollados por la ciencia de la didáctica para un mejor entendimiento y asimilación. Este hecho encuen-tra también formas en las nuevas tecnologías (TIC) que sirven como refuerzo para el aprendizaje. Sin embargo, herramientas clásicas tales como el uso del teatro aún siguen teniendo resultados destacables. El objetivo de estas páginas es el de ofrecer el modo en que se articula el género dramático en la adquisición de elementos lingüísticos, culturales e histórico-sociales y su practicidad en los estudiantes de grado en la Uni-versidad de Granada a través de dos ejemplos prácticos, el teatro en lengua hebrea y en judeoespañol o sefardí. 1. El género teatral en el contexto pedagógico: técnicas y aprendizaje de idiomas La enseñanza de técnicas teatrales no está programada en las guías docentes ni for-ma parte de ellas como una materia optativa, en nuestro caso, en el grado de Lenguas Modernas y sus Literaturas de la Universidad de Granada. Esta tarea, aunque requiere importante consideración y queda en manos de los responsables del taller, docentes que actúan como los directores del mismo. Las claves que se aplican en esta actividad, destinada a alumnos de idioma y cultura, tienen que ver con las formas de comuni-cación y la construcción de un conocimiento intercultural. El espacio teatral genera un lugar en el cual el alumno/actor puede discutir su personalidad y confrontarla con
Abstract: The dissertation explores the work of Tanya Ury and Esther Dischereit as political interventional, contemporary, Jewish art in Germany. Ury and Dischereit analyze the power relationships surrounding the body, femininity, and expressions of Jewishness in contemporary Germany. The dissertation focuses on the nature of their artistic work - such as video art performances, sound installations, and radio plays- in its relation to, and impact on the public discourse about history, memory, and a culturally diverse society in contemporary Germany. Performance and Body Art comment in the strategies of `re-embodiment' and `re-enactment', illustrate the historical facts from a contemporary perspective, and urge us to reconsider the transmissions of memory. Ury and Dischereit offer experimental spaces of experience, and succeed in preserving Jewish knowledge and art. The work by Ury and Dischereit unfolds a vital political function, as it creates and fosters a creative critical resistance.
Abstract: À Paris, Tel-Aviv, Istanbul ou Los Angeles, on entend et chante les fameux standards judéo-espagnols. Ce partage de connaissances est le résultat d’une patrimonialisation qui a commencé dès les années 1950 dans un espace transnational à la suite de l’éclatement géographique des Judéo-Espagnols de l’Empire ottoman. Cet article expose les différentes étapes de ce processus, tant dans la diachronie que dans la synchronie, à partir d’un terrain multisite mené en France, aux États-Unis et sur le cyberespace. On découvrira que la construction du patrimoine à travers l’expérience de la migration peut être envisagée comme un mouvement de reterritorialisation permettant aux Judéo-Espagnols de faire communauté, de reconsolider la filiation judéo-espagnole dans l’espace familial et ainsi, de constituer un territoire historique fédérateur incarné par le patrimoine. Au-delà de ce cas spécifique, l’article montre comment le patrimoine musical, en raison de son statut d’objet immatériel facilement transportable, peut nous conduire à repenser la patrimonialisation au-delà du territoire et à l’envisager comme un processus de consolidation et de création de liens entre des individus et des groupes d’individus partageant un sentiment d’appartenance.
