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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Yiddish Songs of the Shoah: A Source Study Based on the Collections of Shmerke Kaczerginski Permalink https://escholarship.org/uc/item/6x72f9t5 Author Werb, Bret Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Bret Charles Werb 2014 Copyright © Bret Charles Werb 2014 ABSTRACT OF THE DISSERTATION Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski by Bret Charles Werb Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2014 Professor Timothy Rice, Chair This study examines the repertoire of Yiddish-language Shoah (or Holocaust) songs prepared for publication between the years 1945 and 1949, focusing its attention on the work of the most influential individual song collector, Shmerke Kaczerginski (1908-1954). Although a number of initiatives to preserve the “sung folklore” of the Nazi ghettos and camps were undertaken soon after the end of the Second World War, Kaczerginski’s magnum opus, the anthology Lider fun di getos un lagern (Songs of the Ghettos and Camps), published in New York in 1948, remains unsurpassed to this day as a resource for research in the field of Jewish folk and popular music of the Holocaust period. ii Chapter one of the dissertation recounts Kaczerginski’s life story, from his underprivileged childhood in Vilna, Imperial Russia (present-day Vilnius, Lithuania), to his tragic early death in Argentina. -
Rose Keeps Smiling Milwaukee, WI 53202-3094 PERMIT NO
Nathan & Esther Pelz Holocaust Education Resource Center A program of the Milwaukee Jewish Federation BOARD OF DIRECTORS: STAFF: Arleen Peltz, Chair Dr. Shay Pilnik, Executive Director Bill Appel Mary Jo Layden Brittany R. Hager McNeely, Director Danny Arnstein Mark Miller of Education & Engagement Gene Bass Mary Munson Murphy Dr. Dan Haumschild, Holocaust Fellow The Nathan & Esther Pelz Holocaust Education Resource Center Dr. Rachel Baum Dr. Monica Olague-Marchan Ronna Bromberg Pachefsky Bruce Peckerman Kari Altman, Coordinator of WINTER 2018 NEWSLETTER Gitta Chaet Joe Peltz Outreach & Public Relations Betty Chrustowski Miriam Peltz Judy O’Hara, Administrative Assistant Our Mission Joe Devorkin Harry Pelz Dave Fantle Rick Rocamora Sara Sillars, Educator The Nathan and Esther Pelz Holocaust Howard Frankenthal Judy Schwerm Education Resource Center (HERC) is Bev Greenberg Matt Seigel Pictured right: Jodi Habush Sinykin Rabbi Ron Shapiro Pinat Hatikvah, A Corner of Hope – dedicated to building a better world, Nancy Kennedy Barnett Brad Shovers an outdoor space dedicated to life after the embracing diversity, and confronting Becky Komisar Holocaust, situated on the Milwaukee Jewish Federation’s Karl Jewish Community racism and hatred by teaching the Campus in Whitefish Bay. lessons of the Holocaust. NON-PROFIT ORGANIZATION Milwaukee Jewish Federation, Inc. US POSTAGE PAID 1360 N. Prospect Ave. MILWAUKEE, WI Rose Keeps Smiling Milwaukee, WI 53202-3094 PERMIT NO. 5632 ose Cygler was born in the small joying life. Rose got pleasure from town of Strzemieszyce, Poland, cooking the many ethnic dishes R on March 18, 1923, to Yachet and she had learned from her mother Yosel Cygler. She was the oldest of three and grandmother in Poland, and brothers and a sister, and enjoyed a their home was always filled with happy and loving childhood. -
Laughter Through Tears”: Jewish Humor in the Aftermath of the Holocaust
“Laughter through Tears”: Jewish Humor in the Aftermath of the Holocaust Avinoam Patt (UNIVERSITY OF HARTFORD) Gelekhter durkh trern—that is how Moyshe Nudelman titled his 1947 book on humorous and satirical works in postwar Poland, which was published in Buenos Aires as part of the multi-volume series Dos poylishe yidentum. The title was a trib- ute to Sholem Aleichem, the iconic Yiddish writer who was often praised for his ability to express “laughter through tears.”1 Yet what, we may rightly ask, could have been humorous about Jewish life in postwar Poland and Germany? In the immediate aftermath of the war, Zalman Grinberg, the frst leader of the liberated Jews in post- war Germany, marked the liberation from the German camps in a speech at St. Ottilien in late May 1945, telling his fellow survivors: “We are free now, but we do not know how to begin our free but unfortunate lives. We have forgotten how to laugh, we cannot cry any more, we do not comprehend our freedom yet, and this because we are still among our dead comrades.”2 A few years later, writing in the United States in 1951, Irving Kristol eulogized the passing of Jewish humor in an article in Commentary magazine, noting: “Jewish humor died with its humorists when the Nazis killed off the Jews of Eastern Europe, though it seems likely that even without the intervention of Hitler this humor would not long have survived the disintegration of the ghetto community from which it drew its inspiration.”3 As others1 at the time noted, it seemed that European Jews were far too traumatized to laugh, and that Jewish children raised without a childhood “were children who could not laugh . -
Mickey Ross Gift Yields $4.5 Million for YIVO's Mission Milstein
NUMBER 206 SPRING 2010 Mickey Ross Gift Milstein Conference Marks Culmination Yields $4.5 Million Of Jewish Communal Archive Project For YIVO’s Mission Digitized resources will soon go on line YIVO learned in 2009 that it is among sev The daylong Milstein Conference on New eral Yiddish institutions that are the prin York and the American Jewish Experience cipal benefi ciaries of the estate of Michael took place on November 2, 2009, in the au (Mickey) Ross, an awardwinning televi ditorium of the Center for Jewish History. sion writer who was the fi rstgeneration Sponsored by YIVO in cooperation with son of Jewish immigrant parents. The ini the 92nd Street Y, The Educational Alli tial bequest, YIVO’s share of which may ance, F·E·G·S Health and Human Services reach $4.5 million, is the largest single gift System, NYANA, and Surprise Lake Camp, in YIVO’s history. It will be supplemented the highly successful and wellattended by periodic residual payments from the es conference featured more than 25 speakers tate. Sharing the estate with YIVO are the and marked the culmination of the Milstein National Yiddish Book Center and the Los Family Jewish Communal Archive Project, Angeles Jewish Foundation. carried out by YIVO since 2006 under a Jonathan Brent opening the conference “This bequest comes at a critical time for $225,000 grant from the Milstein Family us,” said Jonathan Brent, YIVO’s executive Foundation and the Howard and Abby director and CEO. “It will bolster our endow Milstein Foundation. of digitized documents and photographs ment and help ensure that YIVO will contin In light of fi nancial and administrative as well as essays, articles, and other educa ue its work of preserving the legacy of East challenges that threaten the ability of or tional resources. -
Soviet Jews in World War II Fighting, Witnessing, Remembering Borderlines: Russian and East-European Studies
SOVIET JEWS IN WORLD WAR II Fighting, Witnessing, RemembeRing Borderlines: Russian and East-European Studies Series Editor – Maxim Shrayer (Boston College) SOVIET JEWS IN WORLD WAR II Fighting, Witnessing, RemembeRing Edited by haRRiet muRav and gennady estRaikh Boston 2014 Library of Congress Cataloging-in-Publication Data: A catalog record for this book is available from the Library of Congress. Copyright © 2014 Academic Studies Press All rights reserved ISBN 978-1-61811-313-9 (hardback) ISBN 978-1-61811-314-6 (electronic) ISBN 978-1-61811-391-7 (paperback) Cover design by Ivan Grave Published by Academic Studies Press in 2014 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www. academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open. Published by Academic Studies Press 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Table of Contents Acknowledgments ....................................................... -
Saul Sorrin: Oral History Transcript
Saul Sorrin: Oral History Transcript www.wisconsinhistory.org/HolocaustSurvivors/Sorrin.asp Name: Saul Sorrin (1919–1995) Birth Place: New York City Arrived in Wisconsin: 1962, Milwaukee Project Name: Oral Histories: Wisconsin Survivors Saul Sorrin of the Holocaust Biography: Saul Sorrin was an American witness to the Holocaust. He aided survivors at displaced persons camps in Germany as an administrator from 1945 to 1950. Saul was born on July 6, 1919, in New York City, where he attended the City College of New York. In 1940, he applied for a position with the United Nations Relief and Rehabilitation Administration (UNRRA). At the end of 1945, Saul was sent to Neu Freimann Siedlung, a displaced persons camp near Munich, Germany, to help Holocaust survivors. In 1946, he hosted General Dwight D. Eisenhower on an inspection tour of Neu Freimann. At Eisenhower's recommendation, Saul was appointed permanent area director at the Wolf- Ratshausen camp in Bad Kissingen. He served there until March 1950. Saul became deeply committed to the survivors he was helping. He ignored many illegal actions, violated countless rules and regulations, and helped refugees alter their documents to sidestep a variety of restrictions. Saul also aided those who wanted to immigrate illegally to countries with quotas. He even permitted refugees to hold secret military training for the newly formed state of Israel. Saul helped set up cultural institutions in the displaced persons camps he supervised. He began schools and synagogues and organized sporting events and entertainment. He was also able to bring in famous performers. After the war, Saul returned to the U.S. -
Cover Art Celebration of Israel a MESSAGE from the MILKEN ARCHIVE FOUNDER
Cover Art Celebration of Israel A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews fi rst arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of specifi cally Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture. -
UNIVERSITY of CALIFORNIA Los Angeles Yiddish Songs of The
UNIVERSITY OF CALIFORNIA Los Angeles Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Bret Charles Werb 2014 Copyright © Bret Charles Werb 2014 ABSTRACT OF THE DISSERTATION Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski by Bret Charles Werb Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2014 Professor Timothy Rice, Chair This study examines the repertoire of Yiddish-language Shoah (or Holocaust) songs prepared for publication between the years 1945 and 1949, focusing its attention on the work of the most influential individual song collector, Shmerke Kaczerginski (1908-1954). Although a number of initiatives to preserve the “sung folklore” of the Nazi ghettos and camps were undertaken soon after the end of the Second World War, Kaczerginski’s magnum opus, the anthology Lider fun di getos un lagern (Songs of the Ghettos and Camps), published in New York in 1948, remains unsurpassed to this day as a resource for research in the field of Jewish folk and popular music of the Holocaust period. ii Chapter one of the dissertation recounts Kaczerginski’s life story, from his underprivileged childhood in Vilna, Imperial Russia (present-day Vilnius, Lithuania), to his tragic early death in Argentina. It details his political, social and literary development, his wartime involvement in ghetto cultural affairs and the underground resistance, and postwar sojourn from the Soviet sphere to the West. Kaczerginski’s formative years as a politically engaged poet and songwriter are shown to have underpinned his conviction that the repertoire of salvaged Shoah songs provided unique and authentic testimony to the Jewish experience of the war. -
Disability in Late Imperial Russia: Pathological Metaphors and Medical Orientalism
Disability in Late Imperial Russia: Pathological Metaphors and Medical Orientalism by Nicholas L. Sauer Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the History Program YOUNGSTOWN STATE UNIVERSITY May 2016 Disability in Late Imperial Russia: Pathological Metaphors and Medical Orientalism Nicholas L. Sauer I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: _______________________________________________________________ Nicholas L. Sauer, Student Date Approvals: _______________________________________________________________ Dr. Brian Bonhomme, Thesis Advisor Date _______________________________________________________________ Dr. Daniel Ayana, Committee Member Date _______________________________________________________________ Dr. Helene Sinnreich, Committee Member Date _______________________________________________________________ Dr. Salvatore A. Sanders, Dean of Graduate Studies Date © Nicholas L. Sauer 2016 ABSTRACT In late imperial Russia (1861-1917), both scientific and creative elites readily used illness and disability as metaphors for the societal and political crisis that befell the Tsarist regime. These mainstream elites—be they medical doctors, anthropologists, writers, or artists—held complex views of the ill and disabled, seeing them simultaneously as symbols of wisdom and purity as well as dysfunction and degeneration. Whether perceived in a positive or negative light by elites, the ill and disabled were subject to inequitable power structures in which they were reduced to objects of loathing, pity, or fascination. This thesis explores elite attitudes to these marginalized populations as revealed through Russian belles-lettres, medical literature, artwork, and Tsarist education policy. -
The Lawrence Marwick Collection of Copyrighted Yiddish Plays at the Library of Congress: Introduction to the Annotated Bibliography
The Lawrence Marwick Collection of Copyrighted Yiddish Plays at The Library of Congress: Introduction to the Annotated Bibliography by Zachary M. Baker with the assistance of Bonnie Sohn Library of Congress Washington, D.C. — 2004 Contents The Lawrence Marwick Collection of Copyrighted Yiddish Plays at the Library of Congress: Introduction to the Annotated Bibliography ............................................................................v Zachary M. Baker Yiddish Plays From The Lawrence Marwick Collection.......................................................................1 Index to Yiddish Titles...........................................................................................................................172 Index to Yiddish and English Titles in Roman Characters ..............................................................188 Index to Names of Persons Other Than Primary Authors ..............................................................217 Yiddish Plays from the Lawrence Marwick Collection: Introduction – iii THE LAWRENCE MARWICK COLLECTION OF COPYRIGHTED YIDDISH PLAYS AT THE LIBRARY OF CONGRESS: INTRODUCTION TO THE ANNOTATED BIBLIOGRAPHY by Zachary M. Baker Background This bibliography of one of the largest and most significant extant collections of Yiddish plays sheds light on the vibrant popular culture of Jewish immigrants to the United States. The more than 1,290 plays included here were first identified by the late Dr. Lawrence Marwick, Head of the Hebraic Section of the Library of Congress, on the basis -
Multilingual Metal Music EMERALD STUDIES in METAL MUSIC and CULTURE
Multilingual Metal Music EMERALD STUDIES IN METAL MUSIC AND CULTURE Series Editors: Rosemary Lucy Hill and Keith Kahn-Harris International Editorial Advisory Board: Andy R. Brown, Bath Spa University, UK; Amber Clifford-Napleone, University of Central Missouri, USA; Kevin Fellezs, Columbia University, USA; Cynthia Grund, University of Southern Denmark, Denmark Gérôme Guibert, Université Sorbonne Nouvelle, France; Catherine Hoad, Macquarie University, Australia; Rosemary Overell, Otago University, New Zealand; Niall Scott, University of Central Lancashire, UK; Karl Sprack- len, Leeds Beckett University, UK; Heather Savigny, De Montfort University, UK; Nelson Varas-Diaz, Florida International University, USA; Deena Wein- stein, DePaul University, USA Metal Music Studies has grown enormously over the last 8 years from a hand- ful of scholars within Sociology and Popular Music Studies, to hundreds of active scholars working across a diverse range of disciplines. The rise of interest in heavy metal academically reflects the growth of the genre as a normal or con- tested part of everyday lives around the globe. The aim of this series is to provide a home and focus for the growing number of monographs and edited collections that analyse heavy metal and other heavy music; to publish work that fits within the emergent subject field of metal music studies; that is, work that is critical and inter-disciplinary across the social sciences and humanities; to publish work that is of interest to and enhances wider disciplines and subject fields across social sciences and the humanities; and to support the development of early career researchers through providing opportunities to convert their doctoral theses into research monographs. -
Is Argentine Tango Russian, and How Jewish Is Russian Tango?
I NNA N ARODITSKAYA Is Argentine tango Russian, and how Jewish is Russian tango? …now I’m here, I’m dancing a tango (BERNSTEIN, CANDIDE) Introduction ver since I personally and quite accidentally stepped into the tango scene in Chicago, I have been intrigued by the history of tango in Russia. The process of Eunwrapping Russian infatuation with sound, movement, and the social implications of tango guided me to a surprising significant link, little explored in scholarship, between tango and Jews. This paper attempts to entwine two dramatic immigration stories, of Jews and tango. The identification of Russian Jews in the US diaspora with tango flows from an involvement with tango that predates the Russian Revolution, manifests itself in Russian modernism, and has a unique connection with the culture of Odessa. Personal When late evening descends on the city and most Chicagoans are about to slip into pajamas, I pull out my pumps and whatever glittering decoration I can find – earrings, a bracelet, a belt, and a dress with slits that enable swift steps. A professor goes to town; a magical word – tango – transports me to a different world called “milonga” – a place for tango dances where I and hundreds of others plunge into a weekly reunion of music, gliding, pivoting, ornamenting that suspends time. About the time I immigrated to the US in the mid-1990s, «nomadic milongas […] were mushrooming. […] Tango dancing was rapidly turning into a unique social field that brought together a diverse crowd of cosmopolitan regulars and tango artists of different nationalities» – writes Anahí Viladrich about Manhattan.1 1 ANAHÍ VILADRICH, More Than Two to Tango: Argentine Tango Immigrants in New York City, Tucson, University of Arizona Press, 2013, p.