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explicitly Jewish text, Der Rabbi von Bacharach ( The Rabbi of Bacharach , written in 1824, published in 1840), a fragmentary novel in which he depicts Jewish life in Germany during the late Middle Ages. The core of the plot is a threat of a pogrom instigated by rumors of a ritual murder carried out by the
(the NDcja) harshly affected the Polish Jews’ daily life. As observed by Heiko Haumann ( A History of East European Jews [Budapest, New York: Central European University Press, 2002], 217), “The Christian Democrats represented an aggressive, religiously motivated anti-Jewishness.” 249
the street paintings of Ernst Ludwig Kirchner, the most famous of which, Der Potsdamer Platz (1914) is set in the milieu of the Wertheim store. Simmel’s famous essays “The Metropolis and Mental Life” and “The Stranger” provide the interpretive keys to Kirchner’s representation of a street life that
courage and idealism is unassailable. Corrie comes across as a passionate, politically committed young woman whose life was snuffed out by a faceless, militarized machine. The play is carefully calibrated as a “countdown to a tragic death.” 30 Corrie may have been a “naïve pawn,” 31 but she stood up for
entertaining ghetto scenes, as in the paintings of Jerome Myers and George Luks rather than those showing this particular underside of immigrant life. As a result, sweatshop scenes were left to journalist photogra- phers such as Jacob Riis and left-wing artists such as William Gropper whose works evolved from
centuries of living the Russian Jewish way of life and held on the eve of the dramatic transformation of the country into a new society—the future Soviet Union. The book’s pictures clearly bore out its didactic approach and introduced the reader to the Jewish artistic tradition, which had by that time taken
the subjects of persecutions and anti-Semitism. These subjects were given attention for the first time at the Bezalel Museum in Jerusalem. This Conclusion550 museum was founded on Zionist ethos, and its display was therefore based on the Zionist view of life in the Diaspora, a view which was
in the United States, Remember and Save archivists (who call themselves activists) are volunteer workers, including the Executive Director. A feeling of urgency motivates these activist-archivists, reflected in the remarks posted on the website of Remember and Save: “Time is running out. Many
portraits play a role in the construction of the collective memory of a Hasidic master and promote speci fi c modes of visu- alization. Finally, the social life of pictures—their production, distribution, collection, and the long shadow they cast over future representation—o ff ers insight into the various
not rounded up and sent off to concentration camps, they were killed in their own living quarters turned into a living hell. After the liberation of the Ghetto, the corpses were not transported to any of the cemeteries on the outskirts of the city, but, uniquely, were put to rest in a mass grave in