Documents found
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291.More information
This article attempts to address contemporary French investigations of the Shoah from the angle of their inclusion over a long period of time : that of the development of Franco-Judaism, this particular form of relationship to Jewishness born of the French Revolution. Focusing on two representative narratives, Histoire des grands-parents que je n'ai pas eus (A History of the Grandparents I Never Had, 2012) by Ivan Jablonka and 209 rue Saint-Maur (209 Saint-Maur Street, 2020) by Ruth Zylberman, this paper analyzes the mechanisms by which, behind the memorial enterprise, a work of amnesia emerges when a lived Judaism, filled with positivity, is at stake, rather than a sterile and blighted Judaism defined by extermination. This study reveals the ambivalence of texts that abandon their ethics of restitution, scrupulousness, and rigor when they risk confronting a disturbing vision of Judaism.
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293.More information
A. M. Klein's allegorical novel, The Second Scroll, contains a surprising episode describing the “near-conversion” of its protagonist to Catholicism. Why did Klein choose to explore the theme of apostasy, a subject rarely treated in Jewish literature? In what ways does conversion emerge as a theme in postwar relations between Jews and French Canadians? These questions are explored in relation to another conversion narrative, Karl Stern's Pillar of Fire which was published in 1951, the same year as The Second Scroll.
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294.More information
I look at Ukrainian neo-poetic film and its relationship with ICH, exploring the efforts to renew approaches to achieve filmic expressions of independence, “Ukrainian-ness,” and grounded-ness in the national aspect. To articulate the renewal of aesthetic and stylistic solutions for neo-poetic works in the 21st century, I first review the principles characteristic for the classics of Ukrainian poetic cinema of the 1960s. Based on an interest in folklore, ancient traditions, authentic details of daily life, the poetic cinema of the “Sixtiers” (шістдесятники) was saturated with deeply ambiguous content and engaged in poeticization and mythologization. This approach resonated with the later conceptualization of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. From the beginning of the 2000s, we see a change in approach in cinematic techniques for the re-creation of myths, rituals, aesthetic expressions of everyday life, and colourful ethnographic elements of Ukrainian culture. The film itself (beyond the physical medium) becomes (in)tangible cultural heritage.
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296.More information
This article examines how Italian dramatists of the fifteenth and sixteenth centuries represented the Holy Land in the plays that they composed for performance by young men in religious confraternities. The fact that these plays were meant to have a strong pedagogical purpose makes their representation of the Holy Land all the more important not only for the historical aspect of how ancient Palestine was understood and represented in early modern Italy, but also for what this representation meant for Christians and Jews living in early modern Italy. The questions of historical understanding and knowledge are thus closely tied to the questions of the revival of interest in Hebraic knowledge in Renaissance Italy and of the growing anti-Semitism of the time (when ghettos were established in cities such as Venice and Florence, to mention just two). At the same time, when a city such as Florence begins to envision itself and present itself as “the new Jerusalem,” the depiction of Jerusalem (in particular) and the Holy Land (in general) in the religious plays mounted by its young men becomes all the more revealing. The Holy Land can thus be both the exotic Orient and quotidian Florence, part of the East and of the West, both Hebrew and Christian. By extension, the “Jew” can be the “Other” but also the “Self.”