Extensions of Remarks E144 HON. TOM LANTOS
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Someone You Should Know Varian Fry: an Ordinary
SOMEONE YOU SHOULD KNOW VARIAN FRY: AN ORDINARY AMERICAN WHO MADE A DIFFERENCE Stephen Kneeshaw College of the Ozarks In the spring of 1945 Allied armies moved into central and eastern Europe from the West and East. Liberation forces marched into German camps with names such as Dachau (in Germany itself) and Auschwitz (in Poland), and the world began to witness up close the horrors of Adolf Hitler's "final solution" for "the Jewish problem." In reality, some people knew about the horrors of the Holocaust before 1945, and a few had put their own lives in jeopardy in their attempts to save Jews and other "undesirables" from certain death at the hands of Hitler's henchmen. History books often describe the hide-and-seek life that Anne Frank and her family endured in Amsterdam, trying to avoid capture and internment ( or even death) in German camps. Thomas Keneally and Steven Spielberg-in book and movie- introduced Oskar Schindler and his "list."1 Swedish executive and diplomat Raoul Wallenberg used deception, bribery, and "protection passes" to help thousands of Hungarian Jews escape persecution and death in 1944 and 1945-at the expense ofhis own life. Those stories often get told. Now we need to add other names to the list of people who stepped up to the challenges to civilization that Hitler represented. Another notable rescuer-and one of a type I sometimes call "everydaypeople"- was an American journalist named Varian Fry, a good example of an ordinary American who did extraordinary things with his life. Born into a "comfortable" middle- class family in New York City, the son of a Wall Street manager and a teacher, at quick glance Fry seemed blessed with the trappings of wealth. -
Holocaust Memorial DVD Lending Library
Holocaust Memorial DVD Lending Library Assignment Rescue: The Story of Varian Fry Studying the Holocaust through film Correlating the Film Objectives and the Florida State Standards FILM: Assignment Rescue: The Story of Varian Fry Objectives/Questions Florida State Standards Correlates “The story of Varian Fry and the Emergency Rescue Committee is the dramatic account of Varian Fry, a New York journalist sent to Marseilles in 1940 by the Emergency Rescue Committee. His assignment was to help save scores of anti-Nazi refugees trapped in Frances and hunted by the Gestapo. Fry soon became a veritable Scarlet Pimpernel and was responsible for the rescue of hundreds of anti-Nazis, including many of Europe’s most distinguished artists, writers and scholars, among them Andre Breton, Marc Chagall, Max Ernst and Hannah Arendt. The narration, spoken by celebrated actress Meryl Streep provides the historical context for this compelling but little known take of a young American who helped save several thousand political and intellectual refugees in the early years of World War II.” Historical context for Varian SUBJECT: Social Studies Fry. Standard 7 SS.912.W.7: Recognize significant causes, events, figures and consequences of the Great War period and the impact on world- wide balance of power. Benchmark SS.912.W.7.6 Analyze the restriction of individual rights and the use of mass terror against populations in the Soviet Union, Nazi Germany and Occupied Territories. Standard 1 SS.912.W.1: Utilizes historical inquiry skills and analytical processes. Benchmark: SS.912.W.1.1- Use timelines to establish cause and effects relationships of historical events. -
CUL Keller Archive Catalogue
HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles. -
Marta Feuchtwanger Papers 0206
http://oac.cdlib.org/findaid/ark:/13030/kt10003750 No online items Finding Aid for Marta Feuchtwanger papers 0206 Finding aid prepared by Michaela Ullmann USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding Aid for Marta 02061223 1 Feuchtwanger papers 0206 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Marta Feuchtwanger papers creator: Franklin, Carl M. (Carl Mason) creator: Waldo, Hilde creator: Feuchtwanger, Marta Identifier/Call Number: 0206 Identifier/Call Number: 1223 Physical Description: 98.57 Linear Feet173 boxes Date (inclusive): 1940-1987 Abstract: This archive contains the correspondence of Marta Feuchtwanger, wife of German-Jewish writer Lion Feuchtwanger, who survived her husband by almost thirty years. Marta Feuchtwanger remained an important figure in the exile community and devoted the remainder of her life to promoting the work of her husband. The collection contains Marta Feuchtwanger's personal correspondence, texts and manuscripts by her and others, royalty statements received for the works of her husband, correspondence with publishers, and newspaper clippings mentioning Lion and Marta Feuchtwanger and other exiles. The collection also includes correspondence regarding the establishment and administration of the Feuchtwanger Memorial Library and Villa Aurora. Storage Unit: 91g Storage Unit: 91h Scope and Content This archive contains the correspondence of Marta Feuchtwanger, wife of German-Jewish writer Lion Feuchtwanger, who survived her husband by almost thirty years. Marta Feuchtwanger remained an important figure in the exile community and devoted the remainder of her life after his death to promoting the work of her husband. -
Chronologie Des Compositeurs Et Des
1808-1869 : Albert Grisar CHRONOLOGIE DES COMPOSITEURS 1801-1854 : Albert Guillon ET DES PRINCIPAUX ÉCRIVAINS 1883-1946 : Albert Gumble ARTISTES SAVANTS LIBRETTISTES 1885-1978 : Albert Laurent 1897-1985 : Albert Moeschinger 1869-1937 : Albert Roussel 1875-1965 : Albert Schweitzer Classement alphabétique 1846-1918 : Albert Soubies 1941-____ : Albert Stephen 1807-1864 : A. de Rovray (Pier Angelo Fiorentino) 1841-1906 : Albert Vizentini 1764-1821 : A.F. Eler 1875-1959 : Albert William Ketelbey 1976-____ : Aaron Cassidy 1916-1996 : Alberto Bruni-Tedeschi 1900-1990 : Aaron Copland 1916-1983 : Alberto Ginastera 1960-____ : Aaron Jay Kernis 1897-1975 : Alberto Hemsi 1893-1958 : Aarre Merikanto 1813-1877 : Alberto Mazuccato 1749-1814 : abbé Georg Joseph Vogler 1864-1920 : Alberto Nepomuceno 1915-2003 : Abel Ehrlich 1967-____ : Alberto Posadas 1612-1686 : Abraham Calov 1471-1528 : Albrecht Dürer 1791-1868 : Achille d'Artois (Charles A. d'Artois de Bournonville) 735- 804 : Alcuin 1805-1868 : Adalbert Stifter 1940-____ : Alden Jenks 1220-1270 : Adam de Givenchy 1960-____ : Aldo Brizzi 1230-1286 : Adam de La Halle 1925-____ : Aldo Clementi 1445-1505 : Adam von Fulda 1951-____ : Alejandro Vinão 1843-1919 : Adelina Patti 1951-____ : Aleksander Lason 1814-1889 : Adolf von Henselt 1906-1995 : Alessandro Cicognini 1954-____ : Adolfo Nunez 1770-1834 : Alessandro Grazidi 1897-1980 : Adolph Deutsch 1669-1747 : Alessandro Marcello 1891-1971 : Adolph Weiss 1951-____ : Alessandro Melchiorre 1803-1856 : Adolphe Adam 1566-1638 : Alessandro Piccinini 1871-1955 -
Varian Fry Papers
Varian Fry Papers Finding Aid Prepared by Bernard Crystal Published September 2001 ____________________________________________________________________________________ Date Range: 1938-1999 Size of Collection: 9.5 linear ft. (ca. 3,000 items in 19 boxes). Organization of the Material: In nine series: 1. Correspondence; II. Arranged Correspondence; III. Personal Correspondence; IV. Subjecr Files; V. Manuscripts; VI. Photographs; VII. Printed Material;VIII. 2004 Addition; IX. 2005 Addition. Source & Date of Acquisition: Gift of Annette Riley Fry, 1969 1974 2004 & and 2005. Material on Microfilm: Boxes 1-12 are on microfilm. Terms of Access: Available for faculty, students, and researchers engaged in scholarly publication projects. Restrictions on Use or Access: Permission to publish materials must also be obtained in writing from the Director of the Rare Books and Manuscripts Library. Location of Material: On-site Processing Information: Processed by Bernard Crystal 6/92. 2004 addition processed by Bridget T. Lerette 11/2005. 2005 addition processed by Bridget T. Lerette 12/2005. Bib Id: 4078792 Extent of Finding Aid: 27 pages Related Finding Aids: List of photographs, 68 pages. ____________________________________________________________________________________ BIOGRAPHY Fry, a 32 year old Harvard-educated classicist and editor from New York City, helped save thousands of endangered refugees who were caught in the Vichy French area during World War II. His efforts saved prominent persons: Max Ernst; Marc Chagall; Hannah Arendt; Andre Breton; Marcel Duchamp; Franz Werfel; Jacques Lipchitz; Lion Feuchtwanger; Heinrich Mann; Hans Sahl; Wilfredo Lam; Walter Mehring; Otto Meyerhoff; and Alma Mahler. In total, Fry and his collaborators helped to save around 4,000 people. In 1991, 24 years after his death (1967) in obscurity, Fry received his first official recognition from a United States agency, the United States Holocaust Memorial Council. -
Varian Fry Institute 1
Varian Fry Institute 1 Varian's War By Those Who Know 7 Varian Fry in Marseille by Pierre Sauvage 13 MIRIAM DAVENPORT EBEL (1915 - 1999) 54 An Unsentimental Education 59 Mary Jayne Gold a synopsis by the author 87 The Varian Fry Institute is sponsored by the Chambon Foundation Pierre Sauvage, President Revised: February 12, 2008 Varian Fry Institute dedicated to Americans Who Cared When the world turned away, one American led the most determined and successful American rescue operation of the Nazi era. Mary Jayne Gold (1909-1997) prior to World War II Fry and Colleagues Page 1 of 89 Varian Fry (1907-1967) in Marseille in 1941 No stamp for the 100th anniversary of his birth Miriam Davenport Ebel (1915-1999) prior to World War II Charles Fawcett (1915-2008) in Ambulance Corps uniform Fry and Colleagues Page 2 of 89 Hiram Bingham IV (1903-1988) righteous vice-consul in 1940-41, stamp issued in May 2006 Leon Ball “In all we saved some two thousand human beings. We ought to have saved many times that number. But we did what we could.” Varian Fry Viewed within the context of its times, Fry's mission in Marseille, France, in 1940-41 seems not "merely" an attempt to save some threatened writers, artists, and political figures. It appears in hindsight like a doomed final quest to reverse the very direction in which the world—and not merely the Nazis— was heading. from Varian Fry in Marseille, by Pierre Sauvage We are very sad to announce the death of our friend Charles Fernley Fawcett. -
Haggadah Supplement
“WHOEVER SAVES A SINGLE LIFE IS AS IF ONE SAVES THE ENTIRE WORLD.”—TALMUD H AGGADA H S UPPLEMENT The following should be read after singing Dayyenu. READER: Throughout the year, we remember how despots have sought the exile and annihilation of the Jewish people. At Pesach, we tell of Pharaoh. At Hanukkah, of Antiochus. At Purim, of Haman. At Yom HaShoah, of Hitler. We speak of past oppressors, hoping that through awareness we may prevent future tyrants from attaining power. But we also give thanks for those in every generation who came forward to lead our people out of the darkness. We recognize heroic rescuers from every generation, hoping that the memory of their strength will fortify us if confronted with similar evil. READER: We remember Moses, who, with both vision and courage, led his people from slavery to freedom. We remember the Maccabees, whose strength and determination saved the Temple and Jewish life in the Land of Israel. We remember Esther, who interceded to save fellow Jews from destruction. While we commemorate the heroes of the past, we also remember modern heroes who saved Jews from the Holocaust. TOGETHER: During this dark time, there were those who had the courage to care – non-Jews who risked their lives, and often the lives of their families, to save Jews from death. Just as we tell of Moses leading our people to freedom, at our Seder we also tell of contemporary heroes and how they led Jews to their freedom more than seventy years ago. READER: At this Passover Seder we recount the story of Varian Fry, an American journalist, who in June 1940, volunteered to travel from New York to Marseilles, France, as a representative of the Emergency Rescue Committee, a newly formed relief organization. -
Rain by Marc Chagall
Rain by Marc Chagall Print Facts • Medium: Oil and charcoal on canvas • Date: 1911 • Size: 34 1/8 x 42 ½ inches • Location: Solomon R Guggenheim Museum, NY • Style: Cubism • Genre: Landscape • People and animals live in fraternal unity, belonging both to the earth and the cosmos. • There is no sense of gravity; they are equally at home on the rooftops of houses or moving freely about the sky. • The heads of people caught up in their everyday concerns also appear. Artist Facts • Pronounced (sha-GAHL) • Born July 7, 1887 in Liozna, Russia which is near the city of Vitebsk (v uh t EH b s k) • Died March 28, 1985 (age 97) • Married Bella Rosenfeld who he said was his inspiration. • Chagall was the oldest of nine children. • His mother bribed a professor to let Chagall attend a high school that did not allow Jews. • A turning point of his artistic life came when he first noticed a fellow student drawing. Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it." He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist. (From Wikipedia) • Chagall wanted to study art in Petersburg, Russia. He had to get a temporary visa from a friend to even get into the city because Jews were not allowed there without an internal passport. -
Notated Music
ARCHIVAL DESCRIPTION of NOTATED MUSIC Archival Description of Notated Music October 2020 Music Library Association Society of American Archivists MUSIC LIBRARY ASSOCIATION www.musiclibraryassoc.org THE SOCIETY OF AMERICAN ARCHIVISTS www.archivists.org © 2020 by the Music Library Association and Society of American Archivists All rights reserved. ISBN: 978-1-945246-55-5 Table of Contents Preface 5 1 Introduction 9 2 Principles of Archival Appraisal, Arrangement, and Description 13 Library Cataloging and Archival Description 13 Appraisal 13 Arrangement 17 Description 18 3 Notated Music in Archival Collections 22 Appraisal 22 Arrangement 33 Description 45 4 Related Resources 76 Existing Standards 76 Processing and Cataloging Manuals with Descriptive Standards 78 On Music Archives 79 User Studies 81 Sources for Terminology and Definitions 82 Further Readings 83 Glossary 85 Appendix A: Finding Aid Examples 104 Appendix B: Guidelines for Archival Description of Notated Music, A Supplement to Describing Archives: A Content Standard 139 How to Use This Supplement 139 DACS 2.3 Title (Required) 140 DACS 2.4 Date (Required) 143 DACS 2.5 Extent (Required) 146 DACS 2.6 Name of Creator(s) (Required, If Known) 148 DACS 2.7 Administrative/Biographical History (Optimum) 151 DACS 4.3 Technical Access (Added Value) 158 DACS 4.5 Languages and Scripts of Material (Required) 159 DACS 7.1 Notes (Added Value) 161 About the Authors 165 Preface The Music Library Association’s (MLA) Working Group for Archival Description of Music Materials got its start in 2016 at the MLA conference in Cincinnati, Ohio. The working group was initiated by MLA’s Archives and Special Collections Committee, and charged officially by the MLA Board of Directors in June 2016. -
Varian Fry and the Refugees of France by Nancy Brown
1 WEDNESDAY OCTOBER 13, 1999 AFTERNOON SESSION B 16:30-18:00 No Longer A Haven: Varian Fry and the Refugees of France by Nancy Brown Hannah Arendt recognized Freda Kirchwey’s article, “Nightmare in France,” published in the August 17, 1940 edition of The Nation magazine, as the only honest report on the refugee crisis in France made available to the American public. Several years after her internment in the Gurs concentration camp in France, Arendt wrote: Before this war broke out we were even more sensitive about being called refugees. We did our best to prove to other people that we were just ordinary immigrants. We denied that our situation had anything to do with “so-called Jewish problems. We lost our home, which means the familiarity of daily life. We lost our occupation, which means the confidence that we are of some use in this world. We lost our language, which means the naturalness of reactions, the simplicity of gestures, the unaffected expression of feelings. We left our relatives in the ghettos and our best friends have been killed in concentration camps, and that means the rupture of our private lives. Hell is no longer a religious belief or a fantasy, but something as real as houses and stones and trees. Apparently nobody wants to know that contemporary history has created a new kind of human beings—the kind that are put in concentration camps by their foes and in internment camps by their friends. Hannah Arendt, her husband, and her mother owe their lives to the efforts of the Marseilles office of the Emergency Rescue Committee established on August 13, 1940 under the leadership of American journalist Varian Fry. -
Unpublished up to Now Hans Ulrich Reck March 2013 Survival in Marseille
unpublished up to now Hans Ulrich Reck March 2013 Survival in Marseille: Varian Fry, Surrealism and a Note on Refugee Aid Max Ernst, Jacqueline Lamda, André Masson, André Breton, Varian Fry (f. l. t. r.) in the 'Bureau du centre américain du secours', Marseille, 1940-41 (Photo Ylla/ Camilla Koffler, Fondation Chambon, Cellection Fry) From a technical perspective, style labels are often helpful in art history yet, with regard to content, they tend to obscure the view of the essentials. Epistemologically, they are not usable anyway, since they amount to nothing more than a ‘chronic’ model that is not able to accommodate any insight into the conditions of art. But, as stated above, as a marker and index for technical identification they may be used without doing any harm. Inevitably however, there are some paradoxes: with the prevailing success of a label, there will be a growing, yet unnoticed, belief that there was a corresponding, verified corpus of work. Again, this would not be such a problem if only individual cases at the margins were excluded or went unnoticed initially. However, if a label is applied not only to decades, historical positions, artists groups and other countable and objectified elements but also to both methodical and thematic concerns of the artistic articulation itself, then we are, indeed, faced with a serious problem, because then the label affects the substance and becomes misleading. The label of ‘Surrealism’ has always been such a particularly lamentable case in point. Just think of all the different artists and issues that are considered part of this ‘movement’ or ‘style’, especially since, in German, there is an almost inevitable danger of misunderstanding by mixing up ‘Subrealism’ and ‘Suprarealism’.