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Leaves Bleter Part 1 Transcript
Bleter fun geshikhte (Leaves of History): The Yiddish Libraries of the Jewish Left in Toronto by Miriam Borden PART 1: One Man’s Trash Jess Pollock: “My name is Jess Pollack. We were in school together, of course—we both did our Masters in Yiddish. I think you texted me something that was like, ‘Hey Jess, the Winchevsky Centre has a few boxes of Yiddish books that they don’t know what to do with, do you wanna help me go through them,” and I was thinking, okay, y’know, what kind of books are we talking here, but I don’t think anyone really knew…We just sort of showed up, and found that massive closet of all the books.” The Morris Winchevsky Centre is a white brick building from the 1950s. Jess Pollock: “I think—they had the name written in Yiddish on the front right? It was quite fitting for what we were doing, really.” It’s on Cranbrooke Avenue, near the intersection of Bathurst Street and Lawrence Avenue in midtown Toronto. Around the corner, there’s a small synagogue that doubles as a beys midresh, a house of Jewish study. On another corner, a yeshiva for boys, and not far away, one for girls. It’s one of the most densely Orthodox Jewish neighbourhoods in Toronto today, the heart of a thriving Haredi community. So it’s somewhat of an odd place to find the headquarters of an ardently secular leftist Jewish organization. But once, before the Haredim settled there, the Winchevsky Centre was just one of several secular Jewish institutions in the area, each housed in mid-century modern buildings that were new when they were built, contracted specially for these organizations. -
Symphonieorchester Des Bayerischen Rundfunks 16 17
16 17 SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Donnerstag 23.3.2017 Freitag 24.3.2017 Sonderkonzert Herkulessaal 20.00 – ca. 21.50 Uhr 16 / 17 HERBERT BLOMSTEDT Leitung MARK PADMORE – Tenor (Evangelist) (»Artist in Residence«) PETER HARVEY – Bariton (Christus) Solisten der Arien ANNA PROHASKA Sopran ELISABETH KULMAN Mezzosopran ANDREW STAPLES Tenor KREŠIMIR STRAŽANAC Bassbariton CHOR DES BAYERISCHEN RUNDFUNKS Einstudierung: Michael Gläser Soliloquenten Priska Eser – Sopran (Magd) Q-Won Han – Tenor (Diener) Andreas Burkhart – Bass (Pilatus) Christof Hartkopf – Bass (Petrus) SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Vittorio Ghielmi -– Viola da gamba Basso continuo Hanno Simons – Violoncello Evangelina Mascardi – Laute Lukas Maria Kuen – Orgel PROGRAMM Johann Sebastian Bach »Passio secundum Joannem« (»Johannes-Passion«) für Soli, Chor und Orchester in zwei Teilen BWV 245 Die Passion wird ohne Pause aufgeführt. KONZERTEINFÜHRUNG 18.45 Uhr Donnerstag, 23.3.2017: Moderation: Markus Thiel Gast: Dr. Norbert Roth, Pfarrer von St. Matthäus München Freitag, 24.3.2017: Moderation: Amélie Pauli LIVE-ÜBERTRAGUNG IN SURROUND im Radioprogramm BR-KLASSIK Freitag, 17.3.2017 ON DEMAND Das Konzert ist in Kürze auf br-klassik.de als Audio abrufbar. »Eine schreckliche Kraft« Von der Kirche in den Konzertsaal: Bachs Johannes-Passion Wolfgang Stähr Entstehungszeit 1724 mit Revisionen bei späteren Aufführungen Uraufführung 7. April 1724, Karfreitag, im Vespergottesdienst der Leipziger Nicolaikirche unter der Leitung des Komponisten Lebensdaten des Komponisten 21. März 1685 in Eisenach – 28. Juli 1750 in Leipzig Ist es eine Laune des Zufalls oder der Wille Gottes? Diese Frage gehört normalerweise nicht zur Kernkompetenz der Musikhistoriker, aber mitunter kommen sie doch ins Grübeln. Man stelle sich einmal vor, Mozart wäre so alt geworden wie Bach: Dann hätte er 1793 die angestrebte Position des Domkapellmeisters an der Wiener Stephanskirche antreten können. -
Final 15/02/2008
CONSEIL COUNCIL DE L’EUROPE OF EUROPE COUR EUROPÉENNE DES DROITS DE L’HOMME EUROPEAN COURT OF HUMAN RIGHTS FIRST SECTION CASE OF PFEIFER v. AUSTRIA (Application no. 12556/03) JUDGMENT STRASBOURG 15 November 2007 FINAL 15/02/2008 This judgment will become final in the circumstances set out in Article 44 § 2 of the Convention. It may be subject to editorial revision. PFEIFER v. AUSTRIA JUDGMENT 1 In the case of Pfeifer v. Austria, The European Court of Human Rights (First Section), sitting as a Chamber composed of: Mr L. LOUCAIDES, President, Mrs N. VAJIĆ, Mr A. KOVLER, Mr K. HAJIYEV, Mr D. SPIELMANN, Mr S.E. JEBENS, judges, Mr H. SCHÄFFER, ad hoc judge, and Mr S. NIELSEN, Section Registrar, Having deliberated in private on 18 October 2007, Delivers the following judgment, which was adopted on that date: PROCEDURE 1. The case originated in an application (no. 12556/03) against the Republic of Austria lodged with the Court under Article 34 of the Convention for the Protection of Human Rights and Fundamental Freedoms (“the Convention”) by an Austrian national, Mr Karl Pfeifer (“the applicant”), on 7 April 2003. 2. The applicant was represented by Lansky, Ganzger and Partners, lawyers practising in Vienna. The Austrian Government (“the Government”) were represented by their Agent, Ambassador F. Trauttmansdorff, Head of the International Law Department at the Federal Ministry of Foreign Affairs. 3. The applicant alleged that the Austrian courts had failed to protect his reputation against defamatory allegations made in a magazine. 4. The application was allocated to the First Section of the Court (Rule 52 § 1 of the Rules of Court). -
British Imperialism in Books from the “Third Reich”
Empire and National Character: British Imperialism in Books from the “Third Reich” Victoria Jane Stiles, MA, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy July 2015 Abstract This thesis examines the variety of representations and rhetorical deployments of the theme of British Imperialism within books published in the “Third Reich”. The thesis considers these books not only as vehicles for particular ideas and arguments but also as consumer objects and therefore as the product of a series of compromises between the needs of a host of actors, both official and commercial. It further traces the origins of the component parts of these texts via the history of reuse of images and extracts and by identifying earlier examples of particular tropes of “Englishness” and the British Empire. British imperial history was a rich source of material for National Socialist writers and educators to draw on and lent itself to a wide variety of arguments. Britain could be, in turns, a symbol of “Nordic” strength, a civilisation in decline, a natural ally and protector of Germany, or a weak, corrupt, outdated entity, controlled by Germany’s supposed enemies. Drawing on a long tradition of comparing European colonial records, the British Empire was also used as a benchmark for Germany’s former imperial achievements, particularly in moral arguments regarding the treatment of indigenous populations. Through its focus on books, which were less ephemeral than media such as newspaper and magazine articles, radio broadcasts or newsreels, the thesis demonstrates how newer writings sought to recontextualise older material in the light of changing circumstances. -
Dossier De Presse 39E Rencontres Culturelles De Fénétrange
FESTIVAL de FENETRANGE Dossier de presse 39e Rencontres Culturelles de Fénétrange du 13 août au 15 octobre 2017 Renseignements au bureau du festival au 03 87 07 54 48 ou sur www.festival-fenetrange.org (Possibilité de télécharger le dossier de presse sur le site). PRESENTATION DU FESTIVAL Exigence artistique et sens de la découverte : les atouts majeurs du festival. Nées en 1978, les « Rencontres culturelles de Fénétrange » se sont très vite imposées parmi les événements musicaux d'envergure de l'Est de la France. Un des tout premiers en son temps, ce Festival s'est montré dès le départ à l'avant-garde, tant par les œuvres programmées que par le choix de jeunes artistes. Ici les lieux sont concentrés : château, collégiale, vieilles demeures historiques, île sur la Sarre permettent un véritable forum de rencontres entre public, artistes et opérateurs culturels. Organisée autour d'une thématique précise et renouvelée, la programmation procède d'un dialogue avec les artistes invités, évitant les concerts en tournée. Cette originalité donne au festival un caractère exclusif et inédit, avec des instants privilégiés qu'artistes et festivaliers ont plaisir à partager. Recherche d'excellence musicale qui a permis à Fénétrange, cité médiévale de 720 habitants, d'accueillir de grands artistes tels que Barbara Hendricks, Hildegard Behrens, Aldo Ciccolini… Aujourd’hui, dans une logique de développement territorial, la manifestation se développe vers les voisins de la Petite Pierre, Dieuze, Sarralbe, Parc de Sainte-Croix. L’alliance de la musique et de la gastronomie. Depuis 2002, le Festival de Fénétrange développe une recette originale : l'accord entre musique et gastronomie. -
Ubert Er Nézet- Séguin Sch Web Pro Haska Ner Ruck B
15 / 16 NÉZET- SÉGUIN SCH UBERT PRO HASKA WEB ER B RUCK NER SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Donnerstag 7.7.2016 Freitag 8.7.2016 4. Abo C Herkulessaal 20.00 – ca. 22.15 Uhr SÉGUIN UBERT HASKA ER NER 15 / 16 YANNICK NÉZET-SÉGUIN Leitung ANNA PROHASKA Sopran SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS KONZERTEINFÜHRUNG 18.45 Uhr Moderation: Johann Jahn LIVE-ÜBERTRAGUNG in Surround auf BR-KLASSIK Freitag, 8.7.2016 PausenZeichen: Julia Schölzel im Gespräch mit Yannick Nézet-Séguin Konzert zum Nachhören (on demand): Eine Woche abrufbar auf www.br-klassik.de 4 Programm Carl Maria von Weber »So bin ich nun verlassen« – »Hier dicht am Quell, wo Weiden stehn« Szene und Kavatine der Euryanthe aus dem 3. Akt der Oper »Euryanthe« Franz Schubert »Ich schleiche bang und still herum« Romanze der Helene aus dem einaktigen Singspiel »Die Verschworenen«, D 787 Franz Schubert »Welche Nacht hab ich erlebt!« Arie der Anna aus dem 2. Akt des Opernfragments »Die Bürgschaft«, D 435 Carl Maria von Weber »Einst träumte meiner sel’gen Base« – »Trübe Augen, Liebchen, taugen einem holden Bräutchen nicht.« Romanze und Arie des Ännchen aus dem 3. Akt der Oper »Der Freischütz« Pause Anton Bruckner Symphonie Nr. 7 E-Dur • Allegro moderato • Adagio. Sehr feierlich und sehr langsam • Scherzo. Sehr schnell – Trio. Etwas langsamer • Finale. Bewegt, doch nicht schnell 5 Programm Widrige Verhältnisse Schubert, Weber und die Wiener Oper um 1820 Angelika Rahm Franz Schubert (1797–1828) setzte sich Zeit seines Lebens mit dem Musiktheater auseinander – als Schüler des Opernkomponisten und Hofmusikdirektors Antonio Salieri ebenso wie als begeisterter, gut informierter Opernbesucher mit breiten Repertoirekenntnissen und einer Vorliebe für Gluck und Mozart, und schließlich in seinem eigenen Schaffen. -
The Writer and Director
The writer and director Specific learning outcomes Students will: • understand the process of developing this script. • examine how a scene in the play has been developed by the director. • understand the writer’s purpose in developing this play • understand and be able to describe the features of Stoppard’s writing • identify key ideas in the play. [These learning outcomes relate to the Communication and Interpreting in Drama (CI) and Understanding Drama in Context (UC) strands in The Arts in the New Zealand Curriculum.] Tom Stoppard “If I wanted to change the world, the last thing I would do is write a play.” Tom Stoppard Tom Stoppard was born Tomas Straussler on 3 July 1937 in Zlín, Czech Republic. Stoppard’s father, Eugene Straussler, was a company physician whose Czech company sent the family to a branch factory in Singapore in 1938/39. After the Japanese invasion, his father stayed on and was killed in a prisoner of war camp, but Mrs Straussler and her two sons escaped to India, where she married a British officer, Kenneth Stoppard, in 1946. At the age of nine, Tom and his family went to live in England. Tom Stoppard (he assumed his stepfather’s surname) quit school at the age of 17 and started his career as a journalist in Bristol. He began to write plays in 1960 after moving to London. Travesties: The writer and director, page 1 Accessed from The Arts/Ngā Toi materials, www.tki.org.nz/r/arts/drama/travesties Stoppard’s bibliography of plays, radio dramas and film scripts is extensive. -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Swr2 Programm Kw 48 / 28.11
SWR2 PROGRAMM - Seite 1 - KW 48 / 28.11. - 04.12.2016 Karl Ditters von Dittersdorf: 7.57 Wort zum Tag Montag, 28. November Harfenkonzert A-Dur Andrea Vigh (Harfe) 8.00 Aktuell 0.05 ARD-Nachtkonzert Budapest Strings Michael Haydn: Leitung: Karoly Botváy 8.10 SWR2 Journal am Morgen Sinfonie G-Dur Das Magazin für Kultur und MDR Sinfonieorchester 5.00 Nachrichten, Wetter Gesellschaft Leitung: Howard Arman Edward Elgar: 5.03 ARD-Nachtkonzert 8.30 SWR2 Wissen ”Enigma-Variationen” op. 36 Johann Sebastian Bach: Falsche Erinnerungen Elfrun Gabriel (Klavier) Präludium und Fuge C-Dur BWV 846 Warum unser Gedächtnis lügt Max Butting: Dina Ugorskaja (Klavier) Von Gabi Schlag und Benno Wenz Sinfonietta op. 37 Niels Wilhelm Gade: Orchester der Staatsoperette Konzertouvertüre C-Dur op. 14 Die Londoner Psychologin Julia Dresden Danish National Radio Symphony Shaw hat Anfang 2016 Studenten Leitung: Ernst Theis Orchestra suggeriert, sie hätten als Kinder eine Giovanni Bottesini: Leitung: Christopher Hogwood kriminelle Tat begangen. Zwei Drittel Kontrabasskonzert h-Moll Johan Halvorsen: der Probanden waren überzeugt, Yun Sun (Kontrabass) ”Passacaglia” dass sie sich an diese Vorgänge Thüringisches Kammerorchester Julia Fischer (Violine) erinnerten und sie tatsächlich erlebt Weimar Daniel Müller-Schott (Violoncello) hätten. Durch Suggestion und Leitung: Martin Hoff Tomaso Albinoni: Einbildung lassen sich dem Max Bruch: Concerto d-Moll op. 9 Nr. 2 Gedächtnis Erinnerungen von Sinfonie Nr. 1 Es-Dur Harmony of Nations Ereignissen einpflanzen, die nie Staatskapelle Weimar Oboe und Leitung: Alfredo stattgefunden haben. Neurologen Leitung: Michael Halász Bernardini haben nun herausgefunden, wie und Franz Xaver Dussek: wo die “falschen Erinnerungen” 2.00 Nachrichten, Wetter Sinfonie G-Dur entstehen und dass das Gedächtnis Helsinki Baroque Orchestra diese Verzerrung von Erlebnissen 2.03 ARD-Nachtkonzert Leitung: Aapo Häkkinen benötigt, um die Gegenwart zu Johann Sebastian Bach: Sergej Prokofjew: bewältigen und die Zukunft zu Violinkonzert E-Dur BWV 1042 ”Ouvertüre über hebräische meistern. -
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Hungary and the Holocaust Confrontation with the Past
UNITED STATES HOLOCAUST MEMORIAL MUSEUM CENTER FOR ADVANCED HOLOCAUST STUDIES Hungary and the Holocaust Confrontation with the Past Symposium Proceedings W A S H I N G T O N , D. C. Hungary and the Holocaust Confrontation with the Past Symposium Proceedings CENTER FOR ADVANCED HOLOCAUST STUDIES UNITED STATES HOLOCAUST MEMORIAL MUSEUM 2001 The assertions, opinions, and conclusions in this occasional paper are those of the authors. They do not necessarily reflect those of the United States Holocaust Memorial Council or of the United States Holocaust Memorial Museum. Third printing, March 2004 Copyright © 2001 by Rabbi Laszlo Berkowits, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Randolph L. Braham, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Tim Cole, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by István Deák, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Eva Hevesi Ehrlich, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Charles Fenyvesi; Copyright © 2001 by Paul Hanebrink, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by Albert Lichtmann, assigned to the United States Holocaust Memorial Museum; Copyright © 2001 by George S. Pick, assigned to the United States Holocaust Memorial Museum In Charles Fenyvesi's contribution “The World that Was Lost,” four stanzas from Czeslaw Milosz's poem “Dedication” are reprinted with the permission of the author. Contents