Jewish History: Holocaust
Renowned for her remarkable skills as a reference librarian, Dina Abramowicz built an impressive library collection at the YIVO Institute for Jewish Research, where she worked since 1947. Her scholarship and expertise, praised by readers and writers alike, were celebrated by both library and cultural achievement awards.
Anouk Aimée is perhaps best known for her remarkable presence as an icon of cool, sophisticated beauty in more than seventy films across seven decades, including such classics as Alexandre Astruc’s Le Rideau Cramoisi (The Crimson Curtain, 1952), Federico Fellini’s La Dolce Vita (1960) and 8 1/2 (1963), Jacques Demy’s Lola (1963), André Delvaux’s Un Soir, un Train (One Evening, One Train, 1968), George Cukor’s Justine (1969), Bernardo Bertolucci’s Tragedy of a Ridiculous Man (1981), Robert Altman’s Prêt à Porter (Ready to Wear, 1994) and, most unforgettably, Claude Lelouch’s Un Homme et une femme (A Man and a Woman, 1966)
She was the only woman among the early members of the Mosad, which smuggled Jews out of Europe and into Palestine in an attempt to circumvent the aliyah restrictions of the British Mandatory authorities. Late in World War II Aliav-Klüger was among the first representatives of the Yishuv to meet with Holocaust survivors on European soil and come to the aid of the she’erit ha-pletah (surviving remnant). In early 1949 Aliav-Klüger returned to Israel and, like many of her Mosad comrades, joined the Zim national shipping company. In 1974 she was selected as Woman of the Year by the National Council Of Jewish Women in the United States in honor of the release of her book, The Last Escape, describing her activities with the Mosad le-Aliyah Bet between 1938 and 1941 (published originally in English and translated into Hebrew).
Altman, who represented the Ha-Shomer ha-Za’ir movement in the underground correspondence, was a symbol and a legend among the members of her movement in Palestine—a symbol that was quickly forgotten.
Noted both in Israel and abroad, Ziva Amishai-Maisels is a researcher of modern art, both Jewish and non-Jewish.
The particular insights of Jewish women writers and their intimate dilemmas of contemporary life throw light on how society and family have changed for this new generation of writers. The novels attract a larger readership than anyone could have predicted.
One of the many strengths of Anissimov’s works lies in their outspoken presentation of the sexual and emotional relationship between the sexes from the point of view of the woman. In this respect, Anissimov’s works are intriguing complements to the American Jewish novel of the 1960s and 1970s.
A political theorist with a flair for grand historical generalization, Hannah Arendt exhibited the conceptual brio of a cultivated intellectual, the conscientious learning of a German-trained scholar, and the undaunted spirit of an exile who had confronted some of the worst horrors of European tyranny.
Under Arnon’s direction the Kibbutz Contemporary Dance Company toured throughout Israel, the United States, Europe and the Far East. In 1996 she became the director emerita of the Kibbutz Dance Company.
It is now generally considered that while men and women shared the same fate and their daily existence in the internment and concentration camps was more or less similar, differences between the sexes did exist. Such differences are reflected in the works of art produced in the camps.
A number of studies from the mid-1980s onward have demonstrated the impact of the Holocaust on visual art, in particular for artists who themselves experienced the agony of the Holocaust, but also among their contemporaries. These artists portrayed the Holocaust’s atrocities and responded to the horrific trauma through various forms of expression. Now, more than sixty years after the Holocaust, it is apparent that its impact has carried over into the works of so-called “second generation” artists as well.
By focusing on Jewish women artists working in Britain today, whose Jewishness and gender are central to their artistic output, it offered valuable insights into the diverse ways in which women perceive their Jewishness in contemporary Britain. Aware of their complex “otherness” as women, Jews and artists, they put that awareness to good creative use; and in so doing, proved that art has a crucial role to play in exploring—and perhaps crystallizing—issues of identity.
The Association of Italian Jewish Women, or ADEI, was founded in 1927 in the city of Milan, Italy, home to the second largest Jewish community in the country.
Liliane Atlan is a postwar French Jewish writer whose plays, poetry and narratives display innovative forms at the limit of written and oral literature.
Rokhl Auerbach (1903–1976), a member of the Polish-Jewish literary elite, ran a soup kitchen in the Warsaw Ghetto while simultaneously in her writing recording the voices of its captive inhabitants. She ultimately survived the war by passing herself off as an "Aryan," and went on to found the Department for the Collection of Witness Testimony at Yad Vashem in Jerusalem.
Rose Ausländer, a German-speaking Jewish poet from Czernowitz/Bukovina who spent much of her life in exile in the United States and Germany, wrote that her true home was the word itself.
Although modern Austrian art attracted a high proportion of Jewish women, most of them are forgotten today both because of the male ethos of late nineteenth- and early twentieth-century life which relegated women to the domestic domain, and because of the Holocaust which robbed many Jewish women artists of their lives and erased their artistic achievements from popular recognition.
Born Cilly Edelberg in Latvia in 1899, the dancer who called herself Tatjana Barbakoff lacked formal dance training, yet created a world of her own through her charming personality, exotic stage costumes and lyrical dance expression.
Under her simple stage name “Barbara,” Monique Andrée Serf (b. Paris June 9, 1930, d. Neuilly-sur-Seine November 24–25, 1997) was an immensely popular French singer and composer in the cabaret style.
To encourage her fellow prisoners in the Kaiserwald concentration camp, the young Rivka Basman Ben-Hayim recited a poem of her own composition to them every day for two years. After her arrival in Israel in 1947, she went on to publish nine books of Yiddish poetry, lyrical pieces which hint at the pain of the Holocaust yet are full of calm and comfort: the calm to be found within the natural world, the comfort to be found within friendship and love.
Matilde Bassani Finzi continued her activity in anti-fascist groups and, together with Giorgio Bassani, organized parlor meetings and helped distribute newspapers and newsletters. After Mussolini’s fall on July 25, 1943, Bassani Finzi was released together with all the political prisoners. Immediately upon her release she contacted the Resistance groups, who began to organize in case Germany should invade Italy, which it did on September 8, 1943. After the war she continued to work for the ideals in which she believed: freedom, democracy and equality for women.
On May 18, 1942, two anti-Nazi Communist groups set fire to the anti-Soviet exhibit, Das Sowjetparadies (The Soviet Paradise), which was held in the Lustgarten in Berlin. The larger, leading group of the two, almost entirely Jewish in its composition and led by Herbert Baum, was known as the Baum Gruppe.
Evelyn Torton Beck is Professor Emerita of women’s studies as well as an affiliate faculty member in the Jewish studies and comparative literature programs at the University of Maryland, College Park (UMCP). She is a scholar, a teacher, a feminist, and an outspoken Jew and lesbian on campus. With her energy and drive, the state flagship campus has become a more welcome place for Jewish, female, and homosexual students, faculty, and staff.
Behrens’s stories are like journeys through interiors. Her Jewish stories, Salomo und die anderen—Jüdische Geschichten (Salomo and the Others—Jewish Stories, 1993), are about survivors of the Holocaust. In scenes of great disquiet and illuminated precision she delineates the well-observed social situation in present-day Germany.
Margarete Berent was the first female lawyer to practice in Prussia and the second female lawyer ever licensed in Germany. In 1925 she opened her own law firm in Berlin. Not only was she the first female lawyer and the head of her own law firm, but she was also an ardent feminist and active in promoting opportunities for women.