The World Betrayed the Stories the Survivors

Total Page:16

File Type:pdf, Size:1020Kb

The World Betrayed the Stories the Survivors SONGS FOR THE BETRAYED WORLD The songs on this album are principally about the THE LIFE & DEATH ORCHESTRA Holocaust, an event unparalleled in human history. Unparalleled, because although there have been many The World Betrayed evils and many genocides, never before had a modern 1 NEVER 4.00 state planned to kill every person of a particular 2 LOVE IN A COLD WORLD 5.22 group, turning race into a crime. 3 THIS WAY FOR THE GAS, The Holocaust signifies the death of millions of human beings, in the main Jews, who were killed in LADIES & GENTLEMEN 12.30 4 AUSCHWITZ 1987 barbaric ways by the Nazis and their collaborators 1.53 during Hitler’s evil regime which extended over 5 PIGTAIL 4.18 Europe between 1933 and 1945. 6 BE HAPPY 1.24 The Holocaust also signifies the experiences 7 JACOB’S JIG 1.15 of Jews and non-Jews who survived the horror, but whose lives were unalterably changed and who con- The Stories tinue to grieve through more than one generation. For many, it will take lifetimes for the horror and 8 FIVE MEN 5.01 grieving to abate. Testimonies by survivors display 9 KLARA’S ESCAPE 7.50 10 US TWO countless painful and conflicting emotions. 3.31 Sadly, the twentieth century has been the 11 HYMN TO A WOMAN UNDER most violent ever. For as well as the Holocaust, it has INTERROGATION 0.51 seen more barbarous acts than any medieval century. 12 DEATHFUGUE 3.49 In truth, the world has been betrayed. 13 VICTOR JARA OF CHILE 5.07 Perhaps it is only through the testimonies of 14 FOR RACHEL: individuals that we can truly appreciate that the mil- lions of people who have been killed in acts of geno- CHRISTMAS 1965 3.40 cide, represent unique individuals: brothers, sisters, The Survivors mothers, fathers, sons, daughters, friends and neigh- bours. In literature and poetry, we can come closer 15 THE SURVIVOR 2.11 to recognising the shared humanity of those who have 16 NIGHT perished, and those who survived. EXCERPT FROM NIGHT 0.59 A few years ago, I was given a book of poems 17 AGAIN 3.49 largely about the Holocaust. The book was The Poetry of 18 TOURISTS 1.40 Survival edited by Daniel Weissbort. Some of the poems so moved me that I set them to music. Pigtail, Five Men, 19 JOSEF & SARA’S WALTZ 1.26 Deathfugue and Us Two were the first poems I set. The 20 NEVER REPRISE 4.00 21 SLEEP poems led me to want to know more about the 2.32 Holocaust and so I researched and read and spoke to people about the Holocaust as much as I could. Out of that research came this work. This album contains some must we forget. Let there be no more camps.And we of the greatest writing ever,by some of the greatest writ- say it in our musical language. ers of the 20th Century,including Yehuda Amichai,Tadeusz Czeslaw Milosz described this impulse best in Borowski, Kevin Carey, Nina Cassian, Paul Celan, his great poem,“Campo Dei Fiori”, Zbigniew Herbert, Reiner Kunze, Micheline Maurel, Czeslaw Milosz,Adrian Mitchell,Tadeusz Rózewicz, Hilda Those dying here, the lonely Schiff, Elie Wiesel and Adam Zych. forgotten by the world, In the main I have set poems to music, our tongue becomes for them although there are two pieces based on prose. Be the language of an ancient planet. Happy is taken from Micheline Maurel’s book, Until, when all is legend and Ravensbrück, while This Way for the Gas, Ladies and many years have passed, Gentlemen, by Tadeusz Borowski, is adapted by Angi on a new Campo dei Fiori Mariani and myself. Early on, I met composer Mark rage will kindle at a poet’s word. Jolyon Sinclair, known to all as Bim, and he worked closely with me on the work. He brought a number - taken from the poem, “Campo Dei Fiori” (on the destruction of of his own compositions to the complete work, plus the Warsaw Ghetto) - Czeslaw Milosz,Warsaw, 1943 he arranged more or less everything, with some help from Herbie Flowers who arranged a lot of the ABOUT THE WRITERS rhythm sections. We were helped significantly by the This work contains writings by some of the greatest immense skill of the musicians who became The Life writers of the 20th Century. Tadeusz Borowski’s and Death Orchestra. Auschwitz stories are masterpieces of world litera- Many people believe any portrayal of the ture.Although a survivor of Auschwitz, Borowski died Holocaust is misguided. How can you express the by his own hand, by gas in 1951 in Warsaw. inexpressible? The German critic, Theodor Adorno Elie Wiesel, another survivor of both said, “After Auschwitz, poetry is barbaric”, but for Auschwitz and Buchenwald won the Nobel Prize in many others there is a greater imperative, the need to 1986 for his unforgettable work, Night, and one of the give voice to the feelings of anger and despair at the key passages is narrated here.Tadeusz Rózewicz is one unspeakable horror. of the most respected Eastern European poets and In making this album, we questioned our we have adapted two of his great poems,The Survivor intentions and our approach, and confronted many of and Pigtail. Micheline Maurel survived Ravensbrück the debates about art representing the Holocaust. concentration camp, and then wrote her book, Why have we used music? Why have we produced Ravensbrück, in which she wrote as a plea to the out- music that is intended to move or be uplifting? Why side world,“Be happy, millions of people envy you.” have we produced music that describes the graphic Two other great Eastern European poets are evil? Why have we related the Holocaust to other acts included, Zbigniew Herbert and Reiner Kunze, both of of genocide? What you will find is many messages in whose works were banned in their own countries. the words of the songs, many in the words of sur- Zbigniew Herbert’s first collection, A Chord of Light vivors. But simply, we say: Never shall we forget. Never could not be published in Poland until after Stalin’s death in 1956; and Reiner Kunze’s work was first Altbeker Cyprys and Gerda Weissmann Klein provide banned in East Germany in 1968 when he publicly a unique view of this darkest period of history.As can protested against the invasion of Czechoslovakia. be read from the excerpts included, their accounts are Herbert lived all over Europe and America, and Kunze memorable and heartbreaking testaments of courage. later resettled in West Germany. Czeslaw Milosz was awarded the Nobel Prize for In the haunting poem, Us Two, Nina Cassian Literature in 1980 and has written many poems on conveys the permanence and strength of love in just 5 the Holocaust which are included in his Collected lines. Paul Celan, has achieved worldwide renown with Poems. his six volumes of poetry published in his lifetime, and Many of the poems and excerpts used have three more since his death in 1970. Celan was Jewish been translated into English. We are indebted to the but his native language was German, and therefore translators of these works. The translators are language became a complex and involved part of his Barbara Vedder for This Way for the Gas, Ladies and work, as can be read in Deathfugue. In the poem, Gentlemen; Hilda Schiff for Auschwitz, 1987; Adam Auschwitz, 1987, Adam Zych describes the enduring Czerniawski for Pigtail and The Survivor; Margaret S horror of that place, in his depiction of a visit to Summers for Be Happy (excerpt from Ravensbrück); Auschwitz over 40 years after the mass murders. Czeslaw Milosz for Five Men; Ewald Osers for Hymn Auschwitz remains a terrifying and chilling place. To A Woman Under Interrogation; John Felstiner for For many years a schoolteacher, Yehuda Deathfugue; Glenda Abramson & Tudor Parfitt for Amichai teaches us all a salutary lesson about what is Tourists, and Margitt Lehbert for the profile of important, in his insightful poem, Tourists. Adrian Zbigniew Herbert. Mitchell is one of the UK’s most talented writers, writing in many different mediums, but most keenly, poetry.We include his poem,Victor Jara of Chile sim- ABOUT THE ARTISTS ply because it powerfully depicts the world betrayed, The picture on the front cover is a watercolour by Arnold Daghani, paint- a gentle and heroic man destroyed by cruelty. The ed whilst inside the Mikhailowka forced labour camp, 1 January 1943. It poem, Again, by the UK writer, Kevin Carey, echoes is dedicated to his wife Nanino wishing her a Happy New Year. many of the questions raised by the above writers and The picture on the back cover of the booklet is by Ralph widens the focus from the horrors of Dachau, to Freeman, entitled Rosina & Carlos IV (1940). other acts of genocide in the 20th century. The photograph on the middle pages of the booklet is by In this booklet, we include excerpts from the Donald Woodman and depicts the view of ramp at Birkenau where works of Primo Levi, Ruth Altbeker Cyprys, Eva selections took place. Fogelman, Gerda Weissmann Klein and Czeslaw Milosz.The Jewish-Italian writer, Primo Levi, wrote his ARNOLD DAGHANI famous prose work, If This is a Man,in 1958, about his Arnold Daghani came from a German-speaking Jewish experiences at Auschwitz,and this was one of the first family in Suczawa, Bukovina, now Suceava in Romania. books to be read by a worldwide readership. He died in 1985 in Hove, UK.
Recommended publications
  • Zbornik Radova | Književnost Knjiga 2 Knjiga Bosanskohercegovački Slavistički Kongres Zbornik Radova (Knjiga 2)
    Bosanskohercegovački slavistički kongres II ZBORNIK RADOVA | KNJIŽEVNOST KNJIGA 2 KNJIGA BOSANSKOHERCEGOVAČKI SLAVISTIČKI KONGRES ZBORNIK RADOVA (KNJIGA 2) © Slavistički komitet; prvo izdanje, 2019. Sva prava pridržana. Nijedan dio ove publikacije ne smije se umnožavati na bilo koji način ili javno reproducirati bez prethodnog dopuštenja izdavača. Izdavač Slavistički komitet, Sarajevo Filozofski fakultet u Sarajevu, F. Račkog 1, Sarajevo, BiH tel. (+387) 33 253 170 e-mail [email protected] www.slavistickikomitet.ba REDAKCIJA Ifeta Čirić-Fazlija, Dijana Hadžizukić, Adijata Ibrišimović-Šabić, Andrea Lešić, Lejla Mulalić, Edina Murtić Glavni urednik Senahid Halilović Urednica Adijata Ibrišimović-Šabić ISSN 2303-4106 ZBORNIK RADOVA | KNJIŽEVNOST Bosanskohercegovački slavistički kongres II Zbornik radova (knjiga 2) Sarajevo, 2019. KNJIGA 2 KNJIGA Objavljivanje ove knjige finansijski je podržalo Federalno ministarstvo obrazovanja i nauke. Bosanskohercegovački slavistički kongres II: Zbornik radova (knjiga 2) 5 SADRŽAJ Predgovor . 9 Adijata Ibrišimović-Šabić: Pod/sjećanja: Prvi bosanskohercegovački slavistički kongres (Predstavljanje Zbornika radova iz književnosti) . 11 I. Književni folklor i stara književnost............................... 15 Masha Belyavski-Frank: Flowers, Fruit, and Food: Symbolism in Bosnian and Macedonian Love Songs and Wedding Songs . 17 Dolores Grmača: Mali Nauk krstjanski fra Matije Divkovića . 40 II. Književnosti narodā BiH i (južno)slavenske književnosti u komparativnoj, interliterarnoj i interkulturalnoj
    [Show full text]
  • The Political Hamlet According to Jan Kott and Jerzy Grotowski
    Multicultural Shakespeare: Translation, Appropriation and Performance Volume 17 Article 6 June 2018 The Political Hamlet According to Jan Kott and Jerzy Grotowski Wanda Świątkowska Jagiellonian University in Cracow Follow this and additional works at: https://digijournals.uni.lodz.pl/multishake Part of the Theatre and Performance Studies Commons Recommended Citation Świątkowska, Wanda (2018) "The Political Hamlet According to Jan Kott and Jerzy Grotowski," Multicultural Shakespeare: Translation, Appropriation and Performance: Vol. 17 , Article 6. DOI: 10.18778/2083-8530.17.06 Available at: https://digijournals.uni.lodz.pl/multishake/vol17/iss32/6 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Multicultural Shakespeare: Translation, Appropriation and Performance by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Multicultural Shakespeare: Translation, Appropriation and Performance vol. 17 (32), 2018; DOI: 10.18778/2083-8530.17.06 ∗ Wanda Świątkowska The Political Hamlet According to Jan Kott and Jerzy Grotowski1 Abstract: The article presents political interpretations of Hamlet in Poland in the turbulent period of politcal changes between the mid-1950s and mid-1960s. The author discusses the relationships between Shakespeare’s tragedy and Polish political context as well as the influence of audience expectations in the specific interpretations. The selected performances are: Hamlet by Roman Zawistowski (at the Old Theatre in Cracow 1956) and Hamlet Study by Jerzy Grotowski (at the Laboratory Theatre of 13 Rows in Opole 1964). They both were hugely influenced by major commentators of Hamlet, i.e.
    [Show full text]
  • Symphony and Symphonic Thinking in Polish Music After 1956 Beata
    Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century.
    [Show full text]
  • Libertas Schulze-Boysen Und Die Rote Kapelle Libertas Schulze-Boysen Und Die Rote Kapelle
    Libertas Schulze-Boysen und die Rote Kapelle Libertas Schulze-Boysen und die Rote Kapelle Der Großvater, Fürst Philipp Eulenburg zu Hertefeld, Familie genießt als Jugendfreund des Kaisers lange Zeit des- sen Vertrauen und gilt am Hofe als sehr einflussreich. und Nach öffentlichen Anwürfen wegen angeblicher Kindheit homosexueller Neigungen lebt der Fürst seit 1908 zurückgezogen in Liebenberg. Aus der Ehe mit der schwedischen Gräfin Auguste von Sandeln gehen sechs Kinder hervor. 1909 heiratet die jüngste Tochter Victoria den Modegestalter Otto Haas-Heye, einen Mann mit großer Ausstrahlung. Die Familie Haas- Heye lebt zunächst in Garmisch, dann in London und seit 1911 in Paris. Nach Ottora und Johannes kommt Libertas am 20. November 1913 in Paris zur Welt. Ihr Vorname ist dem „Märchen von der Freiheit“ entnom- men, das Philipp Eulenburg zu Hertefeld geschrieben hat. Die Mutter wohnt in den Kriegsjahren mit den Kindern in Liebenberg. 1921 stirbt der Großvater, und die Eltern lassen sich scheiden. Nach Privatunterricht in Liebenberg besucht Libertas seit 1922 eine Schule in Berlin. Ihr Vater leitet die Modeabteilung des Staatlichen Kunstgewerbemu- seums in der Prinz-Albrecht-Straße 8. Auf den weiten Fluren spielen die Kinder. 1933 wird dieses Gebäude Sitz der Gestapozentrale. Die Zeichenlehrerin Valerie Wolffenstein, eine Mitarbeiterin des Vaters, nimmt sich der Kinder an und verbringt mit ihnen den Sommer 1924 in der Schweiz. 4 Geburtstagsgedicht Es ist der Vorabend zum Geburtstag des Fürsten. Libertas erscheint in meinem Zimmer. Sie will ihr Kästchen für den Opapa fertig kleben[...] „Libertas, wie würde sich der Opapa freuen, wenn Du ein Gedicht in das Kästchen legen würdest!“ Sie jubelt, ergreift den Federhalter, nimmt das Ende zwischen die Lippen und läutet mit den Beinen.
    [Show full text]
  • Widerstandsgruppe Schulze-Boysen/Harnack
    Widerstandsgruppe Schulze-Boysen/Harnack Bearbeitet von Klaus Lehmann Herausgegeben von der zentralen Forschungsstelle der Vereinigung der Verfolgten des Naziregimes VVN Berliner Verlag GmbH, Berlin 1948, 88 Seiten Faksimileausgabe der Seiten 3 bis 27 und 86 bis 88 Die Schulze-Boysen/Harnack-Gruppe wurde 1942 von der Gestapo un- ter dem Begriff Rote Kapelle entdeckt und ausgeschaltet. Diese erste ausführliche Veröffentlichung erschien in der damaligen Sowjetischen Besatzungszone und wurde von der VVN, einer von der Sozialistischen Einheitspartei Deutschlands (SED) gelenkten Organisation, herausge- geben. Während die Widerstandsarbeit der Schulze-Boysen/Harnack-Gruppe mit Flugblättern, Zeitschriften, Klebeaktionen, Hilfe für politisch verfolg- te bis hin zur Beschaffung von Waffen beschrieben wird, wird ihre Spi- onagetätigkeit für die Sowjetunion bewusst verschwiegen. Die Spionagesender, die vom sowjetischen Nachrichtendienst zur Ver- fügung gestellt worden waren, werden hier stattdessen in Geräte um- gedeutet, die "mit ihren Sendungen das deutsche Volk" aufklären soll- ten (S.15). Dies zeigt, dass man sich zur Spionage für Stalin nicht be- kennen wollte, weil diese mit den damals gängigen moralischen Maß- stäben nicht in Einklang zu bringen war. Dies wandelte sich erst Ende der 1960-er Jahre, als die Sowjetunion einigen Mitgliedern der Roten Kapelle postum Militärorden verlieh und die DDR sie fortan als "Kundschafter" und Paradebeispiel für kommu- nistischen geführten Widerstand feierte. Auf den Seiten 28 bis 85 werden 55 Mitglieder
    [Show full text]
  • Paradoxes of Occidentalism: on Travel and Travel Writing in Ceauşescu's
    CHAPTER ELEVEN PARADOXES OF OCCIDENTALISM: ON TRAVEL AND TRAVEL WRITING IN CeauşesCu’s ROMANIA* Can we talk about a unitary Romanian image of the West in the Cold War period? Any investigation of ‘the image of the other’ needs to spec- ify the range and nature of sources, as well as the limits of the source base. The few existing studies on Romanian views of the outside world under the communist regime tend to treat the early (pre-1965) period and stress the negative light in which the West was portrayed in official pro- paganda as against an idealised private view.1 The most detailed study of ideology in Ceauşescu’s Romania, while offering a highly complex and nuanced interpretation, maintains nonetheless that in 1970s and 1980s Romania ‘to be against the regime had become synonymous with being pro- European, whereas Ceauşescu and those in factions more or less allied with him ranted against Western imports and the Europeanising oblitera- tion of the national soul’.2 Here I use a previously neglected type of source, namely published and unpublished accounts of travel to western Europe and the wider world in the period 1948–1989, to suggest a slightly different line of thinking about the public image of the West in late communist Romania.3 Short of a com- plete survey, I have laid emphasis on establishing a base of materials so that research may develop in different directions henceforth. Examina- tion of several of these accounts suggests that the pronounced develop- ment of a strong national ideology under Ceauşescu was not necessarily incompatible with writing extensively about western Europe or even with the production of a pro-European discourse, often by the same writers.
    [Show full text]
  • Pamięć I Sprawiedliwość Pismo Instytutu Pamięci Narodowej
    PAMIĘĆ I SPRAWIEDLIWOŚĆ PISMO INSTYTUTU PAMIĘCI NARODOWEJ ISSN 1427-7476 2 (24) 2014 PAMIĘĆ I SPRAWIEDLIWOŚĆ PISMO NAUKOWE POŚWIĘCONE HISTORII NAJNOWSZEJ PAMIĘĆ I SPRAWIEDLIWOŚĆ PISMO NAUKOWE POŚWIĘCONE HISTORII NAJNOWSZEJ 2 (24) 2014 Warszawa RADA PROGRAMOWA: dr Petr Blažek, dr Jochen Böhler, dr José M. Faraldo, prof. Idesbald Goddeeris, prof. dr hab. Ryszard Kaczmarek, dr Łukasz Kamiński, prof. Padraic Kenney, dr hab. Marek Kornat, prof. dr hab. Paweł Machcewicz, dr Andrij Portnow, prof. dr hab. Rafał Stobiecki, prof. dr hab. Dariusz Stola REDAKCJA: dr Władysław Bułhak, dr Natalia Jarska (II sekretarz redakcji), dr Małgorzata Choma-Jusińska (sekretarz redakcji), dr Patryk Pleskot, dr Sławomir Poleszak (redaktor naczelny), dr Grzegorz Waligóra, dr hab. Marek Wierzbicki, dr hab. Rafał Wnuk Spis recenzentów współpracujących z czasopismem „Pamięć i Sprawiedliwość” przy tomach wydanych w 2014 r.: dr hab. Tomasz Balbus, dr hab. Grzegorz Berendt, dr Karolina Bittner, dr hab. Daniel Boćkowski, dr hab. Robert Borkowski, dr Błażej Brzostek, dr Jan Bury, dr hab. Adam Dziurok, prof. Tadeusz Dubicki, prof. Jerzy Eisler, dr hab. Ry- szard Gryz, prof. Andrzej Friszke, dr Łukasz Garbal, dr Piotr Gontarczyk, dr Andrzej Grajewski, dr hab. Igor Hałagida, dr hab. Grzegorz Hryciuk, dr hab. Wanda Jarząbek, dr Sławomir Kalbarczyk, dr Bartosz Kaliski, dr Daniel Koreś, Paweł Knap, dr Marcin Kruszyński, dr hab. Dariusz Libionka, dr Sebastian Ligarski, dr Piotr M. Majewski, dr hab. Mariusz Mazur, dr Anna Mazurkiewicz, dr hab. Grzegorz Motyka, dr hab. Filip Musiał, dr hab. Piotr Niwiński, dr hab. Sławomir M. Nowinowski, prof. Andrzej Paczkowski, dr Mariusz Patelski, prof. Maria Pasztor, dr hab. Joanna Sadowska, dr Paweł Sasanka, dr Paweł Skubisz, dr hab.
    [Show full text]
  • Ell 1E5 570 ' CS 20 5 4,96;
    . MC0111117 VESUI17 Ell 1E5 570 ' CS 20 5 4,96; AUTHOR McLean, Ardrew M. TITLE . ,A,Shakespeare: Annotated BibliographiesendAeaiaGuide 1 47 for Teachers. .. INSTIT.UTION. NIttional Council of T.eachers of English, Urbana, ..Ill. .PUB DATE- 80 , NOTE. 282p. AVAILABLe FROM Nationkl Coun dil of Teachers,of Englishc 1111 anyon pa., Urbana, II 61.801 (Stock No. 43776, $8.50 member, . , $9.50 nor-memberl' , EDRS PRICE i MF011PC12 Plus Postage. DESCRIPTORS Annotated Biblioal7aphies: *Audiovisual Aids;'*Dramt; +English Irstruction: Higher Education; 4 *InstrUctioiral Materials: Literary Criticism; Literature: SecondaryPd uc a t i on . IDENTIFIERS *Shakespeare (Williaml 1 ABSTRACT The purpose of this annotated b'iblibigraphy,is to identify. resou'rces fjor the variety of approaches tliat teachers of courses in Shakespeare might use. Entries in the first part of the book lear with teaching Shakespeare. in secondary schools and in college, teaching Shakespeare as- ..nerf crmance,- and teaching , Shakespeare with other authora. Entries in the second part deal with criticism of Shakespearear films. Discussions of the filming of Shakespeare and of teachi1g Shakespeare on, film are followed by discu'ssions 'of 26 fgature films and the,n by entries dealing with Shakespearean perforrances on televiqion: The third 'pax't of the book constituAsa glade to avAilable media resources for tlip classroom. Ittries are arranged in three categories: Shakespeare's life'and' iimes, Shakespeare's theater, and Shakespeare 's plam. Each category, lists film strips, films, audi o-ca ssette tapes, and transparencies. The.geteral format of these entries gives the title, .number of parts, .grade level, number of frames .nr running time; whether color or bie ack and white, producer, year' of .prOduction, distributor, ut,itles of parts',4brief description of cOntent, and reviews.A direCtory of producers, distributors, ard rental sources is .alst provided in the 10 book.(FL)- 4 to P .
    [Show full text]
  • Gierałtowski Pisarze Wwritersriters
    Krzysztof Gierałtowski Pisarze WWritersriters Fundacja Rozwoju Fotografi i FFoundationoundation fforor tthehe DDevelopmentevelopment ooff PPhotographyhotography Krzysztof Gierałtowski Pisarze wybrani z kolekcji „Polacy Portrety Współczesne” Fundacja Rozwoju Fotografi i Wstęp Zofi a Gebhard ......................... 4 Czesław Miłosz ...................... 64 Jerzy Andrzejewski ............................. 14 Wojciech Młynarski .............. 66 Edwin Axer ......................................... 16 Józef Morton ......................... 68 Miron Białoszewski ............................ 18 Sławomir Mrożek .................. 70 Aleksander Adolf Maria Bocheński ..... 20 Wiesław Myśliwski ................ 72 Kazimierz Brandys .............................. 22 Tadeusz Nowak ...................... 74 Leopold Buczkowski .......................... 24 Marek Nowakowski ............... 76 Józef Czapski ...................................... 26 Jerzy Pertek ............................ 78 Janusz Głowacki ................................. 28 Jerzy Putrament ..................... 80 Manuela Gretkowska .......................... 30 Tadeusz Różewicz .................. 82 Zbigniew Herbert ............................... 32 Jarosław Marek Rymkiewicz .. 84 Gustaw Herling-Grudziński .............. 34 Maciej Słomczyński ............... 86 Jarosław Iwaszkiewicz ......................... 36 Julian Stryjkowski ................. 88 Maria Janion ....................................... 38 Jan Józef Szczepański ............. 90 Krzysztof Kąkolewski ........................
    [Show full text]
  • Baranczak Tribute
    Stanisław Barańczak (1946–2014) A Tribute TABLE OF CONTENTS Michael Flier, Donald Fanger, Helen Vendler, Wilhelm Dichter, Clare Cavanagh, Karol Berger, Barbara Toruńczyk, Irena Grudzińska-Gross, President of the Republic of Poland Bronisław Komorowski Funeral Service for Stanisław Barańczak Mount Auburn Cemetery, 3 I 2015 Małgorzata Omilanowska A Farewell to Stanisław Barańczak Adam Zagajewski A Winter Journey Adam Michnik Farewell, Staszek Beth Holmgren Remembering Stanisław Barańczak Jan Kochanowski, Jan Andrzej Morsz#n, Adam Mickiewicz, Cyprian Kamil Norwid, Konstan# I. Gałczyński, Wisława Szymborska Poems translated by Stanisław Barańczak Stanisław Barańczak Ustawianie głosu / Voice coaching translated by Stanisław Barańczak and Clare Cavanagh Speeches delivered during the funeral ceremony of Stanisław Barańczak, Mount Auburn Cemetery, Cambridge (MA), 3 I 2015 MICHAEL FLIER Opening words—funeral service for Stanisław Barańczak: Nine days ago Stanisław Barańczak passed from our midst. He le#t behind an extraordinary legacy of poetry, translation, and cultural criticism that will continue to inspire us and those who follow. We have gathered here today—family, friends, colleagues—to celebrate the life and art of one of the great poetic voices of our time, and to remember the ways in which he occupies such a special place in our minds and in our hearts. —Born in Poznań in 1946, Stanisław, by the mid-sixties had become one of the leading young poets of a protest movement that came to be known as the New Wave. The art produced had to be published under- ground to avoid o#ficial censorship. He notes in an early essay about how this poetry used what he called “contaminated language,” the stifling words of Newspeak, to expose the shallowness and lies of government ideolo$, undercutting the authori% of the regime with its own forms of expression.
    [Show full text]
  • A Critique of the Ideological Conflict Between Socialist State Policy and Christian Music in Cold War Romania
    ll IILenin in Swaddling Clothes : A Critique of the Ideological Conflict Between Socialist State Policy and Christian Music in Cold War Romania Sabina Pauta, Pieslak On April 11 , 1924, the monarchic government of Romania decreed, through the so-called "Gheorghe Marzescu" law, that the political practice of Com­ munism was subversive to the national cause and therefore illegal. Until the ban was lifted in 1944, the government imprisoned members of the Roma­ nian Communist Party (Constantiniu 2002:309). To raise funds for their incarcerated comrades while avoiding official detection, groups of activists belonging to Red Assistance International (Ajutorul Ro~u International) adapted certain winter caroling practices of the Christian Orthodox Church. Instead of singing star songs (cemtece de stea) or Christmas carols (colinde) and carrying staffs bearing the star of Bethlehem with the image of the infant Jesus in swaddling clothes, the activists sang altered texts that urged listen­ ers to contribute money to the cause of the working class and carried staffs decorated with a five-pointed star emblazoned with Lenin's image (Cernea, Radulescu, and Pintean 1964:124-25).1 Example 1 illustrates how the verses of a popular Christian star song, "The star is rising on high" ("Steaua sus rasare"), were changed to promote the activists' revolutionary platform. Rather than depicting the "great joy" and abundance of the Magi's gifts, the text used by the Communists focuses on harsh economic conditions and on the need for workers to unite under the leadership of their perceived "savior," Lenin. Examples 1a and 1b show the transformation of this traditional carol into a declaration of Communist principles.
    [Show full text]
  • INTRODUCTION “Characteristic” Is the Most Common of Several Terms
    Cambridge University Press 0521802016 - The Characteristic Symphony in the Age of Haydn and Beethoven Richard Will Excerpt More information INTRODUCTION “Characteristic” is the most common of several terms used in the eighteenth and early nineteenth centuries to indicate instrumental mu- sic in which a subject is specified, usually by a text. Over 225 orchestral works qualify, some with sentences and paragraphs describing each of several movements, or what modern listeners would call a program, and others with only a word or two characterizing a single movement or a whole work (see Appendixes 1 and 2, pp. 249–98 below). They are “symphonies” according to the way in which the word was used at the time, to encompass orchestral pieces of many shapes and sizes rather than solely the three- and four-movement examples that match later conceptions of the genre.1 The disparity in their texts reflects vary- ing compositional ambitions as well as chronological development, the more elaborate characterizations appearing mostly after 1770 and then with increasing frequency as the years pass. But however long their texts and whatever their length or structure, symphonies bearing written characterizations in the years 1750–1815 are drawn together by a marked affinity for a few common subjects. Titles consisting of only one or a few words identify over 70 examples as pastoral (Appendix 2), 15 as military, 15 as hunts, 10 as storms, and more than 30 as expressions of national or regional characters – in sum, nearly 150 symphonies or movements as representations of five sub- ject categories (Appendix 3a–d). The lengthier descriptions incorporate the same ingredients into scenarios original to the composers or adapted from literature and current events (Appendix 3e–f).
    [Show full text]