Captured, Deported, Humiliated, Victorious…
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Alleluja! Alleluja!
Wieści ze LWoWa, z ziemi lwoWskiej, haLickopokuckiej, WoŁyNia, bukoWiNy i podoLa heNryk LiTWiN we Lwowie jurij smirNoW ik - s. 5 N od KURIER G y T 15 – 28 kwietnia u galicyjski 2011 W nr 7 (131) d NiezaLeżNe pismo poLakóW Na ukraiNie prometeizm jerzy LUBACH - s. 6 AllelujA! AllelujA! przedświąteczne zabiegi wołyńskich gospodyń aGNieszka raTNa - s. 8 Z okazji zbliżającej się Wielkiej Nocy składam Państwu najserdeczniejsze życzenia zdrowych, spokojnych i rodzinnych Świąt Zmartwychwstania Pańskiego. Niech szczęście, pokój i nadzieja, których blask bije z pustego Grobu, towarzyszy Państwu nie tylko w tym radosnym, świątecznym czasie, ale także w każdym kolejnym dniu. Życzę także, by „Zwycięzca śmierci, samorządowcy piekła i szatana” polskiego otworzył nasze serca i obudził w nas wszystkich wrażliwość na potrzeby i troski innych ludzi. pochodzenia Wesołych Świąt! na spotkaniu we Lwowie Konsul Generalny RP we Lwowie JOANNa demcio Z okazji zbliżających się Grzegorz Opaliński juLia ŁokieTKO Świat Wielkanocnych - s. 12 przesyłamy dla wszystkich naszych przyjaciół garść refleksji mosTy pojedNaNia związanych z tym pełnym zadumy, Lot szybszy ale jakże radosnym czasem. w tym numerze od dźwięku Ciepłych i udanych Świąt Wielkanocnych przedstawiamy krzyszToF szymaŃski oraz wszelkiej pomyślności - s. 22 i radości w życiu zawodowym i prywatnym! rejoN TŁUMACKI czytaj na s.16 - 17 Redakcja KG Nasi partnerzy medialni Kupując nasze pismo, wspomagasz słowo polskie na Wschodzie 2 15 – 28 kwietnia 2011 * Kurier Galicyjski przegląd wydarzeń donald Tusk w kijowie: janukowycz „ukraina może liczyć we Lwowie: nie można tak bezbożnie kraść na pomoc i solidarność polski” Prezydent Ukrainy Wiktor Janu- czym prezydent zaznaczył, że jego kowycz otworzył rozszerzone obrady upomnienie dotyczy nie tylko obwodu 13 kwietnia roboczą wizytę Regionalnego Komitetu ds. -
Ten Chudy Schlechter
Poznańskie Studia Polonistyczne Seria Literacka 22 (42) Joanna Maleszyńska Ten chudy Schlechter Czołówka przedwojennego polskiego filmu Co mój mąż robi w nocy jest niezwykła: nie tworzą jej banalne napisy, za to na tle kotary – jak na kabaretowej, jeszcze nieodsłoniętej scenie – poja- wia się konferansjer i zapowiada autorów filmu. A ponieważ kon- feransjerem tym jest legendarny Fryderyk Járosy, nie wymienia po prostu nazwisk i profesji, ale do nazwiska każdego z przedsta- wionych artystów dodaje, niby dla odróżnienia, formułkę o jego tuszy, zapewne zmyśloną. Oto próbka: Proszę państwa, mam zaszczyt zaprezentować film: – reżyser: nasz niezrównany Michał Waszyński; no, ten gruby Wa- szyński, pan go zna; – scenariusz: Anatol Stern, ten gruby Stern; […] – muzyka: Jerzy Petersburski – ten mały, gruby Petersburski! – teksty dialogów i piosenek: Emanuel Schlechter; to jest ten chudy Schlechter, ten gruby to jest jego kuzyn. Fryderyk Járosy, adoptowany w Polsce światowiec pocho- dzenia – dosłownie! – austro-węgierskiego1 prowadzi pełną wdzięku rozmowę z niewidoczną publicznością, docinając swo- im kolegom ze sceny i kabaretu. Schlechtera oszczędza, i mimo że to tylko scenka komediowa, przekazuje w niej prawdziwą in- formację. Emanuel Schlechter2 rzeczywiście był szczupły, choć 1 Urodził się w roku 1890 jako syn Węgra i Austriaczki, młodość spędził w Austrii, Rosji i Francji; w 1924 r. trafił do Warszawy z teatrzykiem rosyjskich „białych” emigrantów „Niebieski Ptak” – zob. S. Grodzieńska, Urodził go „Nie- bieski Ptak”, Warszawa 2002. 2 Używam niemieckiej pisowni nazwiska jako pierwotnej, powszechniejszej i lepiej utrwalonej w nielicznych źródłach dotyczących pisarza (zob. „Rocznik Lwowski” 1999 czy Polski słownik biograficzny 2012). Forma „Szlechter” jest, jak 56 Joanna Maleszyńska mógł mieć też tęgiego kuzyna: jego rodzina była bardzo rozległa. -
2Nd INFANTRY REGIMENT
2nd INFANTRY REGIMENT 1110 pages (approximate) Boxes 1243-1244 The 2nd Infantry Regiment was a component part of the 5th Infantry Division. This Division was activated in 1939 but did not enter combat until it landed on Utah Beach, Normandy, three days after D-Day. For the remainder of the war in Europe the Division participated in numerous operations and engagements of the Normandy, Northern France, Rhineland, Ardennes-Alsace and Central Europe campaigns. The records of the 2nd Infantry Regiment consist mostly of after action reports and journals which provide detailed accounts of the operations of the Regiment from July 1944 to May 1945. The records also contain correspondence on the early history of the Regiment prior to World War II and to its training activities in the United States prior to entering combat. Of particular importance is a file on the work of the Regiment while serving on occupation duty in Iceland in 1942. CONTAINER LIST Box No. Folder Title 1243 2nd Infantry Regiment Unit Histories January 1943-June 1944 2nd Infantry Regiment Unit Histories, July-October 1944 2nd Infantry Regiment Histories, July 1944- December 1945 2nd Infantry Regiment After Action Reports, July-September 1944 2nd Infantry Regiment After Action Reports, October-December 1944 2nd Infantry Regiment After Action Reports, January-May 1945 2nd Infantry Regiment Casualty List, 1944-1945 2nd Infantry Regiment Unit Journal, 1945 2nd Infantry Regiment Narrative History, October 1944-May 1945 2nd Infantry Regiment History Correspondence, 1934-1936 2nd Infantry -
BATTLE-SCARRED and DIRTY: US ARMY TACTICAL LEADERSHIP in the MEDITERRANEAN THEATER, 1942-1943 DISSERTATION Presented in Partial
BATTLE-SCARRED AND DIRTY: US ARMY TACTICAL LEADERSHIP IN THE MEDITERRANEAN THEATER, 1942-1943 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Steven Thomas Barry Graduate Program in History The Ohio State University 2011 Dissertation Committee: Dr. Allan R. Millett, Adviser Dr. John F. Guilmartin Dr. John L. Brooke Copyright by Steven T. Barry 2011 Abstract Throughout the North African and Sicilian campaigns of World War II, the battalion leadership exercised by United States regular army officers provided the essential component that contributed to battlefield success and combat effectiveness despite deficiencies in equipment, organization, mobilization, and inadequate operational leadership. Essentially, without the regular army battalion leaders, US units could not have functioned tactically early in the war. For both Operations TORCH and HUSKY, the US Army did not possess the leadership or staffs at the corps level to consistently coordinate combined arms maneuver with air and sea power. The battalion leadership brought discipline, maturity, experience, and the ability to translate common operational guidance into tactical reality. Many US officers shared the same ―Old Army‖ skill sets in their early career. Across the Army in the 1930s, these officers developed familiarity with the systems and doctrine that would prove crucial in the combined arms operations of the Second World War. The battalion tactical leadership overcame lackluster operational and strategic guidance and other significant handicaps to execute the first Mediterranean Theater of Operations campaigns. Three sets of factors shaped this pivotal group of men. First, all of these officers were shaped by pre-war experiences. -
Gazeta Spring/Summer 2021
Volume 28, No. 2 Gazeta Spring/Summer 2021 Wilhelm Sasnal, First of January (Side), 2021, oil on canvas. Courtesy of the artist and Foksal Gallery Foundation, Warsaw A quarterly publication of the American Association for Polish-Jewish Studies and Taube Foundation for Jewish Life & Culture Editorial & Design: Tressa Berman, Daniel Blokh, Fay Bussgang, Julian Bussgang, Shana Penn, Antony Polonsky, Aleksandra Sajdak, William Zeisel, LaserCom Design, and Taube Center for Jewish Life and Learning CONTENTS Message from Irene Pipes ............................................................................................... 4 Message from Tad Taube and Shana Penn ................................................................... 5 FEATURES Lucy S. Dawidowicz, Diaspora Nationalist and Holocaust Historian ............................ 6 From Captured State to Captive Mind: On the Politics of Mis-Memory Tomasz Tadeusz Koncewicz ................................................................................................ 12 EXHIBITIONS New Legacy Gallery at POLIN Museum of the History of Polish Jews Barbara Kirshenblatt-Gimblett Tamara Sztyma .................................................................................................................... 16 Wilhelm Sasnal: Such a Landscape. Exhibition at POLIN Museum ........................... 20 Sweet Home Sweet. Exhibition at Galicia Jewish Museum Jakub Nowakowski .............................................................................................................. 21 A Grandson’s -
The London Gazette of TUESDAY, 6Th JUNE, 1950
jRtttnb, 38937 2879 SUPPLEMENT TO The London Gazette OF TUESDAY, 6th JUNE, 1950 Registered as a newspaper MONDAY, 12 JUNE, 1950 The War Office, June, 1950. THE ALLIED ARMIES IN ITALY FROM SRD SEPTEMBER, 1943, TO DECEMBER; 1944. PREFACE BY THE WAR OFFICE. PART I. This Despatch was written by Field-Marshal PRELIMINARY PLANNING AND THE Lord Alexander in his capacity as former ASSAULT. Commander-in-Chief of the Allied Armies in Italy. It therefore concentrates primarily upon Strategic Basis of the Campaign. the development of the land campaign and the The invasion of Italy followed closely in time conduct of the land battles. The wider aspects on the conquest of Sicily and may be therefore of the Italian Campaign are dealt with in treated, both historically and strategically, as reports by the Supreme Allied Commander a sequel to it; but when regarded from the (Field-Marshal Lord Wilson) which have point of view of the Grand Strategy of the already been published. It was during this- war there is a great cleavage between the two period that the very close integration of the operations. The conquest of Sicily marks the Naval, Military and Air Forces of the Allied closing stage of that period of strategy which Nations, which had been built up during the began with the invasion of North Africa in North African Campaigns, was firmly con- November, 1942, or which might, on a longer solidated, so that the Italian Campaign was view, be considered as beginning when the first British armoured cars crossed the frontier wire essentially a combined operation. -
London 6/81 [1/1] Dear Willy! [1/2] You'll Probably Be Puzzled Getting A
London 6/81 [1/1] Dear Willy! [1/2] You’ll probably be puzzled getting a letter after all these years [1/3] from me. After leaving Canada in the spring of 1942 [1/4] I spent several months in London, and [1/5] then I was sent to the [1/6] Middle East. In Baghdad, Cairo and Tel-Aviv [1/7] I edited a daily for Gen. Anders’s army [1/8] and along with that army I later went on the [1/9] Italian campaign.2 In 1946 I found myself in London where [1/10] I still support myself working as a [1/11] newspaper reporter. [1/12] My wife and daughter (already 16 years old) are unfortunately [1/13] under harsh conditions in Poland. From Italy [1/14] I attempted to get them out of Poland, but I had [1/15] bad luck. Twice they were stopped at the border. [1/16] You can imagine what they have gone through [1/17] and what they are still going through. Our whole family in Lwow [1/18] perished—supposedly only Hala saved [1/19] herself—there only remain [2/1-2] now people who are separated from me by the Iron Curtain. [2/3] In the past two years I have renewed my efforts, [2/4] however, without results. Since war [2/5] is coming closer I have decided to make one more [2/6] desperate effort to bring them here from Poland. [2/7] This is usually very hard under the current conditions [2/8] and it is also very costly. -
Roman Ryterband: Life and Work
Roman Ryterband: Life and Work 2014 PADEREWSKI LECTURE-RECITAL Polish Music Center INTRODUCTION The program of music by Roman Ryterband (1914-1979) presented by the Polish Music Center on the USC campus on 2 April 2016 celebrates the culmination of a long and truly satisfying collaboration with the composer’s widow, Clarissa Ryterband, his daughters, Astrid Ryterband and Diana Eisele, and their families, to assemble a great treasure trove of materials related to Roman Ryterband. This concert and the commemorative booklet herein officially mark the donation of the Ryterband Collection to the archives of the Polish Music Center, which celebrated its thirtieth anniversary of service in 2015. Besides disseminating information about Polish music worldwide and staging concerts on the USC campus and beyond, the Polish Music Center is a unique repository of manuscripts by leading Polish composers. The Manuscript Collection that began in 1984 with gifts from Stanisław Skrowaczewski and Witold Lutosławski now encompasses thousands of items representing the most important Polish composers of the twentieth century, including such exceptional figures as Zygmunt Stojowski, Henryk Wars (Henry Vars), Bronisław Kaper, and Ignacy Jan Paderewski. Each of these extraordinary collections represents a microcosm of a composer’s life and persona, often encompassing not only manuscripts, sketches and notes, but also personal and professional correspondence, memorabilia and countless personal items, photographs, and writings. Pieced together, this mosaic of elements offers a fascinating portrait of the artist, shedding much light on their activities, personal interests, family and friends, and historical context. This is particularly true of the Roman Ryterband Collection, which opens up new vistas and exciting possibilities for thorough research into this relatively little-known composer. -
Article A.Zawistowski
An Outstanding Work in the Service of Propaganda: the Case of Mikhail Romm's The Dream Prof. Andrzej Zawistowski Can the story of September 1939 be told without mentioning soldiers, weapons or war? Can aggression be shown as historical justice? Can a propaganda film using the narrative of Stalinist propaganda, move and enchant an audience today? Historians wish to believe that they have a monopoly on speaking about the past. In reality, however, it is popular culture that has the greatest influence on creating an image of past years. Hundreds, sometimes thousands, of people reach for the works of historians. At the same time, a picture created by a novel or a film reaches tens or even hundreds of millions of people. That is why today the most famous of the 'Righteous Among the Nations' is Oskar Schindler, the protagonist of Steven Spielberg's film. For many Poles who grew up in the 1970s and 1980s, the Second World War is associated with television characters from that era: a tank crew identified by tactical number 102 and an agent codenamed J-23. Such examples are numerous. Films give history a face. They are evocative, arouse sympathy or antipathy and remain in the memory as a symbol. Cinema and history In 2016 the Ministry of Culture of the Russian Federation recommended that schools take part in '100 lectures: the history of home cinema for school pupils'. For this project, a list of 100 Soviet and Russian feature films recognized as classics was prepared. Each of these films was enriched with a brief introduction in which people from contemporary Russian cinema, such as directors, actors and critics, introduced students to the world of a particular film. -
Musique Et Camps De Concentration
Colloque « MusiqueColloque et « campsMusique de concentration »et camps de Conseilconcentration de l’Europe - 7 et 8 novembre » 2013 dans le cadre du programme « Transmission de la mémoire de l’Holocauste et prévention des crimes contre l’humanité » Conseil de l’Europe - 7 et 8 novembre 2013 Éditions du Forum Voix Etouffées en partenariat avec le Conseil de l’Europe 1 Musique et camps de concentration Éditeur : Amaury du Closel Co-éditeur : Conseil de l’Europe Contributeurs : Amaury du Closel Francesco Lotoro Dr. Milijana Pavlovic Dr. Katarzyna Naliwajek-Mazurek Ronald Leopoldi Dr. Suzanne Snizek Dr. Inna Klause Daniel Elphick Dr. David Fligg Dr. h.c. Philippe Olivier Lloica Czackis Dr. Edward Hafer Jory Debenham Dr. Katia Chornik Les vues exprimées dans cet ouvrage sont de la responsabilité des auteurs et ne reflètent pas nécessairement la ligne officielle du Conseil de l’Europe. 2 Sommaire Amaury du Closel : Introduction 4 Francesco Lotoro : Searching for Lost Music 6 Dr Milijana Pavlovic : Alma Rosé and the Lagerkapelle Auschwitz 22 Dr Katarzyna Naliwajek–Mazurek : Music within the Nazi Genocide System in Occupied Poland: Facts and Testimonies 38 Ronald Leopoldi : Hermann Leopoldi et l’Hymne de Buchenwald 49 Dr Suzanne Snizek : Interned musicians 53 Dr Inna Klause : Musicocultural Behaviour of Gulag prisoners from the 1920s to 1950s 74 Daniel Elphick : Mieczyslaw Weinberg: Lines that have escaped destruction 97 Dr David Fligg : Positioning Gideon Klein 114 Dr. h.c. Philippe Olivier : La vie musicale dans le Ghetto de Vilne : un essai -
Poland First to Fight
Poland First to Fight Poland First to Fight Bogusław Kopka, Paweł Kosiński Muzeum ii Wojny Światowej Gdańsk 2018 Poland was the first country to firmly resist the brutal expansion of the totalitarian powers that were utterly indifferent to the rights of weaker countries. Poland’s armed resistance to German aggression on September 1, 1939, was a turning point in world politics towards the Third Reich. Contrary to the hopes of Adolf Hitler, on the third day after the commencement of military operations the German attack on Poland transformed into a world war. Two-turret and single turret Vickers E light tanks with crews On September 3, the United Kingdom and France ful- of the 11th armoured battalion filled their commitments to Poland by declaring war during exercises. Rembertowo, on Germany, although for eight months they waged summer, 1939 a strange war (the Phoney War) after passively observ- Photo H. Poddębski, MIIWŚ ing the struggle and military defeat of the Republic of Poland. Two weeks later – in accordance with the Czołgi lekkie Vickers E w wersji jedno i dwuwieżowej z załogami provisions of the Hitler-Stalin Pact (August 23, 1939) – z 11. batalionu pancernego the Soviet Union attacked Poland. w czasie ćwiczeń. Rembertowo, lato 1939 r. The six-year war gradually spilled onto successive con- Fot. H. Poddębski, MIIWŚ tinents and eventually spread to most of the world. The fortunes of the Allied and Axis forces changed many times. The most difficult period for the anti-Hitler coalition was between the summers of 1940 and 1941. 5 The most spectacular shifts of the front were experienced by the USSR, which was forced into the Allied camp by the Germans themselves. -
Legacy of Polish Music Abroad at Three Glances
LEGACY OF POLISH MUSIC ABROAD AT THREE GLANCES PRESENTED BY ARTISTIC FOUNDATION CONCENTUS PRO ARTE , POLISH LANDSCAPES October 2, 2018 | 8 PM Joanna Okoń Katarzyna Glensk ,‚ LANDOWSKA IN MEMORIAM October 3, 2018 | 8 PM Władysław Kłosiewicz ,,‚ LOVE WILL FOREGIVE YOU ANYTHING October 4, 2018 | 8 PM Kuba Stankiewicz American Trio MARKING 100 YEARS OF POLISH INDEPENDENCE The goal of the INVITATION Festival is to showcase the music of forgotten artists associated with Poland from the first half of the twentieth century, in all its diversity and richness. Three insights into the Polish musical life of this period allow us to become aware of the role and importance of Polish heritage in the field of „contemporary” music, in the researching and popularizing of „old music”, and the discerning of Jazz as the „music of the future”. The name of the project is taken from the Jazz composition by Bronisław Kaper of the same title. Bronisław Kaper, along with Henryk Wars and Victor Young (a Jazz protégé, a graduate of the Warsaw Conservatory of Music, and a legendary composer of standards), all of whom are artists whose works are performed by some of the world’s greatest jazz musicians. However, in popular perception, these Jazz artists are rarely associated with Poland. Instead, they are simply linked with really smart Jazz standards. Meanwhile, this beautiful music is not only a part of Polish culture, but a source of inspiration for future generations: the basis for artistic exploration; and a Polish contribution to the world’s cultural heritage. There are more examples, such as the fine compositions for violin and piano of little-known Polish composers from the first decades of the 20th century; largely forgotten names such as Godowski, Poldowski, Achron, Mistowski, Adamowski, Niemczyk and Weinberg - lost pearls of chamber music.