Bibliography of Hebrew and world literature studied in Gymnasium Yavne in Telz, Lithuania

Beside religion, liturgy, and various commentaries of the Bible, the girls were taught classical works in Hebrew, from medieval poetry to modern Hebrew literature, but also world literature such the classics of French enlightenment, the British sentimentalists or the German romantics. This bibliography tells us a lot about the “bildung” and the library of the teachers who conceived it. Although the school was under the supervision of the rabbinate, the minds were open to the vast culture and religion was not pursued as a mean to bring the girls backward, but as a mean to elevate them.

 

Bibliography of Hebrew and world literature - Gymnasium Yavne in Telz

Bibliography of Hebrew and world literature – Gymnasium Yavne in Telz

 

 

Bibliography of Hebrew and world literature - Gymnasium Yavne in Telz

 

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Double fidélité et double trahison

Written by author
April 15th, 2015

Double fidélité et double trahison

Présentation des mémoires Moishé Rozenbaumas, L’Odyssée d’un voleur de Pommes, par Isabelle Rozenbaumas
La Cause des Livres, 2004.

 

Ce livre est l’aboutissement d’un long processus d’écritures, d’écritures au pluriel. Comme Moïshé vous l’a dit, il a pris sa plume en 1994. Le texte que je lisais pour la première fois à l’été 1997, à Berkeley, en Californie, était rédigé en yiddish. Il possédait déjà – la division des chapitres en moins – la construction du texte publié aujourd’hui par la Cause des Livres. Et j’y reconnaissais le récit pensé, soupesé et tenu d’un homme qui s’était frotté à l’histoire avec un grand h.

Assez rapidement, j’entrepris une traduction d’une vingtaine de pages du manuscrit qui, tout en paraissant presque acceptable, me mettait mal à l’aise. Quelque chose comme « mon style » y était perceptible. Mon premier élan fut donc interrompu aussi bien par cette inquiétude que par d’autres travaux de traduction. Quand je reviens à cette tâche, vers 1999 ou 2000, Moïshé avait repris sa plume et traduit son propre texte, à sa manière, en l’amendant, et dans un français que j’appellerais ici « la langue de mon père », TATE LOSHN. Je ne reviendrai pas sur les traits distinctifs de ce second original que j’ai tenté de caractériser dans une post-face.

Toujours est-il que j’avais en face de moi non plus un texte mais deux, l’original yiddish et sa traduction par Moïshé. Ma fréquentation du yiddish, sous la férule bienveillante de maîtres exigeants, n’avait que confirmé à mes yeux la canonicité de tout original yiddish. Que dire alors de la canonicité d’un texte écrit par Moishé lui-même en yiddish, auquel je soupçonnais quelque inspiration métaphysique ? Que dire encore de l’écart qui s’était installé entre l’original yiddish et sa déclinaison par l’auteur lui-même, tout inspiré qu’il fût ? Lorsque je me remis au travail, c’est-à-dire à la réécriture de cette translation dans la dite « langue de mon père », le TATE LOSHN, j’étais à la fois consciente des exigences de la fidélité au premier comme au second original – au Premier comme au Second Temple – et accablée par une certaine opacité qui avait au cours du processus de translation rendu le texte plus impénétrable. La « langue de mon père » était désormais une langue cryptée. Et en tant que telle, elle exigeait une interprétation autant qu’une traduction. Comment dès lors, sous la menace d’une double trahison, mettre en œuvre l’impératif d’une double fidélité ?

Moisheismaynomen2

Je pris le parti, dont j’assume à postériori qu’il s’agit d’un postulat théorique sur cette traduction, sinon sur la traduction en général, de considérer que le travail d’interprétation, conduit en étroite connivence avec Moïshé, assurait la fidélité au texte yiddish. Semaine après semaine, nous avons décousu, retourné et ourlé chaque phrase. J’apprenais au côté de Moïshé le métier de retoucheur, puis de tailleur et peu à peu les rudiments de la haute couture. Aucune tournure, aucune reprise, aucun raccommodage ni stoppage qui ne fût validé dans son sens et son aspect, dans ses finitions, par Moïshé. Comme il l’a écrit, « je savais qu’Isabelle me comprendrait, car s’il le fallait, je pourrais lui expliquer en yiddish ». C’est cette étape interprétative qui à mon sens établissait sur des fondations légitimes la fidélité au texte yiddish original.

Dans ce travail d’écriture, j’avais été attentive à ce que nous faisions au français. J’avais même parfois été troublée de l’exotisme, de la yiddishkayt, voire des barbarismes qui avaient ainsi émaillé la langue. C’est dans une ultime étape réalisée sous l’impulsion amicale et parfois sévère de notre éditrice, Martine Lévy, que je compris que le sel de ce texte et le sens de cette vie avaient besoin de cette impolitesse faite au français. Ainsi, je regrette aujourd’hui d’avoir trahi des générations de coupeurs modélistes immigrés d’Europe de l’Est en ne maintenant pas le mot de « patronage » au prétexte qu’en français, on parle de « patron » pour désigner le modèle réalisé en papier ou en toile, préparant à la coupe définitive d’un vêtement. Seuls contre les sectateurs de Larousse et de Littré, contre le Bon Usage, nos pères et nos grands-pères, façonniers et tailleurs, coupeurs et modélistes, continuaient imperturbablement à dessiner leurs patronages.

Tout comme la transmission exige des formes de trahison, la fidélité implique une certaine impolitesse, et Dieu sait qu’en France autant que dans la langue française, l’élégance de cette impolitesse est un fil sur lequel le traducteur ne se promène pas sans risque. Déplacée aussi la pléthore des adverbes dans une langue où la répétition, l’hyperbole et l’impropriété sont les stigmates de l’ignorant ou de l’étranger. Déplacée   comme l’obstination de cette mamie ashkénaze du film Petite conversation familiale de la regrettée Hélène Lapiower, soutenant face au fiancé italien de sa petite-fille que les pâtes se mangent en effet cuites et non à demi crues. Déplacée donc comme le mauvais goût.

Un petit signe, parmi les premiers échos de lecteurs captivés, m’a permis d’espérer que je n’avais peut-être pas tout à fait échoué à atteindre un certain équilibre dans la traversée, puisque le but du funambule n’est pas topographique mais cinétique. Mon ami l’acteur yiddish Rafael Goldwaser nous a demandé de pouvoir lire quelques extraits du livre de Moïshé au cours d’une présentation de la culture yiddish. Que vas-tu lire d’autre lui ai-je demandé ? « Un peu de Singer, un peu de Manger et un peu de ton père », me répondit-il.

MoisheafnferfMoisheafnferf retouchéJ.-C.LONKA

Qu’est-il, enfin, dans cette aventure traductologique, advenu de la fille de son père ? Il n’est pas anodin d’écrire en tant que traducteur, disons ici de traducteur particulier, les mémoires de son auteur, de l’auteur de ses jours. Double trahison, double fidélité, ce sont des lignes de force aussi, de notre rapport à l’histoire, à notre histoire. Pourquoi double ? Pourquoi ne pas faire simple ? Parce que notre histoire n’est pas seulement un continuum d’événements liés par des chaînes de causalité. Elle est aussi le résultat d’un travail rigoureux et patient d’élaborations, de reconstructions, de représentations. Nourrie par la parole familiale, adossée au récit de mon père, plongée dans mes propres interrogations, j’ai exploré les entrelacs de cette histoire au cours d’un retour sur nos pas en Lituanie, où j’ai avec Michel Grosman réalisé un film, une réflexion sur le yiddish, son flamboiement, son déni, ses destructions, sa persistance. Avoir la chance de réécrire un livre rédigé dans « la langue de son père », c’est pouvoir façonner, ciseler ce tissu de représentations en tentant de rapiécer ce que je suis par ce que nous avons été, et de surjeter fil à fil une étoffe élimée, fripée et déchirée, comme le revers de l’habit de l’endeuillé. Raccommoder, rafistoler, remailler cette histoire m’a permis de saisir le fil qui me relie, non pas dans l’abstrait aux générations qui nous constituent en effet, mais de façon très concrète à Méré-Hayé en particulier, à Tsivie et Aaron en particulier, à Yitshak, à Haye-Dvoyre, à Hassye-Rivke et à Barukh en particulier, afin qu’ils m’habitent sans me hanter. Car tout dans cette traduction a été si particulier.

The Nobel Peace Prize for 2014

Written by author
October 12th, 2014

Malala is the hero of Bat Kama At. Standing for the cause of girls’ education has been recompensed by the highest reward ever. She is the age of the Yavne gymnasium students.

Her action began when she was only 11 years old. She is now 17 and received

The Nobel Peace Prize for 2014

http://www.nobelprize.org/nobel_prizes/peace/laureates/2014/press.html

malala-yousafzai-ftr

Written by author
October 22nd, 2013

This website is granted by the Fondation pour la Mémoire de la Shoah,
Paris – France

Ce site reçoit le soutien de la Fondation pour la Mémoire de la Shoah,
Paris – France

YIVO’S AWARD FOR JEWISH BALTIC STUDIES

Written by author
October 21st, 2013

The author has been honored to be this academic year recipient of YIVO’S AWARD FOR JEWISH BALTIC STUDIES

As an important part of my research is made public on this website, I find it important to present here the text of my application, to which I only added a few documents relating to it.

RESEARCH PROPOSAL FOR YAVNE TELZ SCHOOL WAS LIFE
Isabelle Rozenbaumas

PROGRESS REPORT OF “BAT KAMA AT”

Yavne Telz School Was Life is a future exhibition and the development of the project “Bat Kama At ?” about the life and fate of 500 girls from Telz/Telsiai in Lithuania, a broader project aiming to maintain and deepen the knowledge of the history and the culture of Lithuanian Jews, to highlight aspects of history that have remained neglected, namely the exceptional excellence of the education provided to the girls in the Gymnasium Yavne, a Jewish religious secondary school, in the Interwar period. The Yavne Girls’ Gymnasium was established in Telz in 1920, amidst the effervescent atmosphere of the young and independent Republic of Lithuania (1918-1940). From its earliest years, the institution aspired to excellence and attracted the best female students of the region, and from more distant cities as well.
Born during the making of my film [nemt]: A Language Without A People For A People Without A Language and the (co-)writing of my father’s memoirs from a fascination with three class photographs saved by my mother during the war, the project has traveled a long way since then.

In 2008, I went to Israel to meet the last remaining witnesses of this community and collected a significant number of class and group photographs. Although most of the 500 girls and women were massacred in December 1941 during a last phase of the Holocaust in Telsiai (Telz), the conduct (exclusively in Yiddish) of interviews of the survivors focused on the school history and yielded unedited materials. In 2011, I have also interviewed three rebbetsins of the rabbinical family Bloch. Through the interviews, part of the girls has been identified by their name or a biographical information. This historical research is developed on the website: http://batkamaat.org/ supported by the Fondation pour la Mémoire de la Shoah, in Paris, and as soon as they will be edited part of the accounts will be available on line.

<a href="http://batkamaat.org/?attachment_id=292">The faces of the children on each photograph are ordered from the top row, and from left to right</a>


The newest development of this already large collection is the discovery of 489 documents in the Lithuanian Central Archives (file 1382-1), including class reports, pedagogical meeting reports, exam reports, around 380 diplomas delivered by the Lithuanian Ministry of Education in Kaunas between 1924 and 1940, more than 250 identity photographs on the diplomas. The American Embassy in Vilnius has provided support to acquire copies of these documents. The introduction to the catalogue and almost 100 documents have been published on this web page: http://batkamaat.org/?page_id=32


Fruma Kopelovitch's diploma for year 1934


CONNECTING ARCHIVAL DOCUMENTS WITH ORAL HISTORY AND OTHER SOURCES

The collection relating to the Yavne Gymnasium in Telz conserved in the Lithuanian Central Archives is unparalleled in its importance. We are aware of additional archives documenting Jewish schools from the interwar period, a time when they developed throughout Lithuania. An enormous amount of important research awaits us in this new, untapped field. The pioneering research of Naomi Seidman on the Beis Yakov movement shows that traditional models of education as well as secular ones are at work in the organization of Jewish education to Orthodox girls in Eastern Europe since the end of the 19th century.
Founded under the authorization of the Lithuanian government on November 8, 1920, the Yavne School for Girls stood at 16 Market Square, Turgaus gatve. The documents’ dates range from 1924 until the Soviet authorities closed the school in 1940.
The study of file 1382-1 in the Lithuanian Central Archives containing 489 remarkably preserved documents permitted us to discover in detail the school’s curriculum, as well as the individual trajectories of several of its future teachers, thereby significantly advancing our knowledge of this educational community. A significant part are diplomas where the Lithuanian page faces the Hebrew one. Some documents are only in Lithuanian: http://batkamaat.org/?page_id=32

But we are still a long way from having analyzed all the documents and examined them on the background of the oral sources – the interviews – and the literary sources. Some testimonies are still sleeping in the archives of Yivo as the one of Leyb Koniuchowsky about the Holocaust in Telz and the surrounding shtetlekh, translated by Jonathan Boyarin some 15 years ago and unexploited. Sefer Telz, has many details about the life and the schools of the town, but information about the schools are also to be found in other yizker bikher from the Lithuanian towns and cities – among them Kovne who had Yavne schools – about the Yavne system of education.
Lists of the Telzer population (specially 900 names of the Lithuanian Names Project) are revealing information as we are examining and publishing each document of the file 1382-1. Knowing more about the school community and its teachers requires also to examine the 50 first documents of these archives (from 5 to 50 pages) consisting in pedagogical reports and meetings from 1924 to 1940. The study of these archives will bring a knowledge of the concerns of the school authorities year by year from 1924 to the eve of the war.
By now, this case study illustrates the school’s high standards of completeness and excellence reflected in these documents. This amazing bibliography speaks for itself:


Throughout the curriculum we bear witness to a religious teaching based in reason, comprehensive study of Hebrew language and literature, as well as a wide variety of world literature in Hebrew translation. A very high level of science and technology and the study of modern languages, as well as Latin, were stressed in a commitment to providing these girls with a solid foundation of professionalization along with religious and ethical principles. What we need to understand better are the influences that have brought the religious authorities in Telz to open so widely the girl’s curriculum to secular culture, notwithstanding the fact that, doing so they took the risk to jeopardize their own influence. Whatever will be the outcome of this research, the community’s religious leaders must be given due credit for their wise and forseeing concern for the education and future of their daughters, no matter the choice – secular path or religious tradition – they have entrusted in the hands of the young women.

THE AUTHOR AS LIVING ARCHIVE: A QUESTION OF DISCIPLINE

One of the theoritical aspects that has emerged in this work is at the crossroad of the archival research itself with the usual cross-checking of oral, archival and literary sources, and a reflection born in the course of this specific investigation of a history to which the author is directly related by its family narrative and personal memories.
Through the process of interviews and identifications, the author received a documentary yet intimate body of knowledge, difficult to put in order, and sometimes contradictory. Lists of names, faces with no names, faces reappearing in multiple photographs… Some faces became familiar and when their names were finally established, the author recognized them as one of those she frequently heard about as a child, in the family narrative. Some of these memories would never have surfaced if not the discovery of the 489 documents of the file 1382-1 of the Lithuanian central archives with the rich information they carry. But, on the other hand, these archives would have never appeared under the same light to somebody without the clues of these vivid narratives.

Becoming a living archive means being capable of establishing links between information provided by informants and documents which gradually emerge. One must connect the dots between names cited in narratives heard at home and those which emerge during the accounts of other witnesses, as well the living archive remembers – or not – the captions of photographs published in the Telz book of remembrance read a thousand times over, the Sefer Telz. The family memories are not stored in a place where they are automatically available, they have to be awaken or activated by new information, involving or emotion or idea association. Very much like the accounts delivered by the surviving witnesses that have been interviewed. Gradually, from one document or photograph to another, the investigation delivered new names, suddenly faces became familiar, friendships and family ties were established, and the information began to take form in a manner which resolved outstanding questions and led to new, more precise ones. Through the website http://batkamaat.org/, part of this material is slowly being reconstructed and immortalized.
I propose to explore this specific position as an author working at the articulation of history and memory with the methods of history and anthropology but open to and even hungry for the perceptions of a creator. Through a number of similar literary, anthropological and historical approaches, from writing autobiography as history in Pierre Vidal-Naquet’s Memoirs, to Daniel Mendelsohn’s family quest in The Lost, throught the work of the archeologist Laurent Olivier in The Dark Abyss of the Past , I will draw a picture of a form of research that has been widely developed in the field of different disciplines without having always been sufficently pointed out as a global phenomenon relating to the changing statues of history, and in the context of this changing itself.

Short bibliography:
Pour une microhistoire de la Shoah, Ed. Claire ZALC, Tal BRUTMANN, Ivan ERMAKOFF, Nicolas MARIOT. (Paris: Seuil, Le Genre Humain, sept. 2012.) See the essays of Paul-André ROSENTAL, “Généalogies mentales”, and Ivan JABLONSKA, “Écrire l’histoire de ses proches”, pp. 12-69.

Laurent OLIVIER. The dark abyss of time archaeology and memory; translated from French by Arthur GREENSPAN. (Lanham: Alta Mira Press, 2012).


Support FMS / Soutien FMS

Written by author
February 23rd, 2013

This website is granted by the Fondation pour la Mémoire de la Shoah,
Paris – France

Ce site reçoit le soutien de la Fondation pour la Mémoire de la Shoah,
Paris – France

 

Students meeting

Rencontre des étudiants

 

 

On February 14th 2013 the students of V. Borisevičiaus gymnasium, with teachers Lina and Janina, visited the students of the Art Academy of Telsiai, class of Fashion and knitwear design, under the direction of Pr. Zita Incirauskiene. Both groups of students are involved in the project Bat Kama At.
The synergy and the dynamics that emerged from the participation of these students to the project Bat Kama At has already produced high artistic quality works. It opens great expectations to the students contribution to the exhibition Yavne Telz School Was Life.

Le 14 février 2013 les étudiants du lycée V. Borisevičiaus, accompagnés de leurs enseignants Lina et Janina, ont visité l’exposition réalisée par les étudiants de l’Académie d’Art de Telsiai, de la classe de création textile, dirigée par le Pr. Zita Incirauskiene. Les deux groupes d’élèves sont impliqués dans le projet Bat Kama At.
La synergie initiée par la participation de ces étudiants a d’ors et déjà produit des travaux de grande qualité. Elle ouvre des perspectives prometteuses à notre proposition de laisser une place nécessaire à leur expression dans l’exposition “Apprendre c’est vivre”.


Teachers of Vincento Borisevicius


Jewish Lives in Fabric/ Vies juives, d’étoffes et de nuages

Written by michelgrosman
February 12th, 2013

Jewish Lives in Fabric
Vies juives, d’étoffes et de nuages


Are eyes the mirrors of the soul?

- The Jewish Girls of Telz from Yesterday seen by Today’s Lithuanian Girls/
– Jeunes filles juives d’hier à Telz vues par des jeunes filles lituaniennes d’aujourd’hui à Telsiai

This artistic contribution for the project “ Bat Kama At?” is the creation of 3 students of the 3rd year class of Fabric design under the high-minded direction of Pr. Zita Incirauskiene, in Telsiai Art Academy, a section of Vilnius Art Academy.
These photographs were taken during the first presentation of the works in the Art Academy, on January 2013.

The approach of the young artists Simona Remeikaitė, Kristina Balsytė and Rytė Krakauskaitė, is the most rewarding answer that we can imagine to our own endeavour as historians and authors. It captures not only the vulnerability and the features of the young woman and girls from Telz during the flourishing interwar period, but also the fragility of the historical traces. Doing so, these thoughtful artistic contributions become powerful reminiscence in the present and a sign, a call for keeping this fragment of outstanding educational history for the future.

The high quality of these three contributions foreshadows the place they are going to take in the exhibition: Yavne Telz School Was Life.

Kristina Balsytė

- My work for Bat Kama At project is an interpretation of the school life. It is composed with a few diplomas of the girls and the image of a dress/uniform.

The diplomas are printed on fabric. As well, the uniform is made from the same fabric used as a frame to present the work. As a whole, it appears as a classroom blackboard on the wall.

Lives in fabric

I imagine the bright school life before the tragedy, each detail sounds familiar to us. We are the same age the girls were, maybe we have similar thoughts on our minds despite the fact that we live in another century.

Telšiai is my native town, and through this project I know about it more.

I’m glad to be a part of this project.

Kristina Balsytė

Simona Remeikaitė

– With this work for Bat Kama At project, I wanted to thrill the hearts of all.

For that, I chose feminine accents – lace, handkerchiefs, women’s accessories. These subtle details convey sensitivity, gentleness, goodness, which connect these 500 killed women and girls with the present and future generations of women and girls. I have put together the details in a simple cardboard box, which symbolizes simplicity and impermanence.

simona 1

Simona

Detail Simona

The second installation confronts the tragic death of women and girls, with or without portraits on blank white matter sheets. Sometimes an added detail of feminine lace softens and gives the sensitivity to the evocation. These portraits and blank sheets aim to recollect the affected girls and woman for future generations, as if the future depends on this reminiscence: implicitly, the fact that their portraits appear on white sheets prevents from the recurrence of such events.
In this work I wanted to pay attention to the delicacy and tenderness of women, powerless to defend themselves and other women. I hope that this imaginative recreation incites you to think not only about the past but about the present and the future.

I hope that seeing our works has the power to change at least the perspective of one person among hundreds of minds about the future. I hope that what have happened to the Jewish girls of Gymnasium Yavne could never be repeated, and that their behavior as young educated girls serves as a model.

Feminine accents – lace, handkerchiefs, women’s accessories

Rytė Krakauskaitė

– My contribution to the project “Bat kama at?” is named “Souls”.
This work includes eight different textile elements bedecked with calligraphy and photo prints. These eight parts constitute the narrative of an abstract and spiritual story of the students of the Yavne Gymnasium, in Telz, Telsiai before WWII.
My work starts with school and classes pictures, then continues with calligraphied texts about the gymnasium in English and Lithuanian. To that I added details from portraits of the girls, specially of their eyes which are supposed to be the mirror of the souls. I finished my “story” with calligraphied Jewish prayer. The texts and photographs are printed on a material light and transparent like veils or clouds.

Like veils and clouds

calligraphy: Hear, O Israel, the Lord is our God


I also wrote a Jewish prayer


The first text in calligraphy is something that I wrote shortly about the Yavne Gymnasium history in Lithuanian.
On another element, I wrote the translated text of the mezuza in English. I wrote:
Hear, O Israel, the Lord is our God, the Lord is one. You shall love the Lord, your God, with all your heart, with all your soul, and with all your resources. And these things that I command you today shall be upon your heart. And you shall teach them to your children, and you shall speak of them when you sit in your house and when you go on the way, when you lie down and when you rise up. And you shall bind them as a sign upon your arm and they shall be an ornament between your eyes. And you shall write them upon the doorposts of your house and on your gates.

I also wrote a Jewish prayer on another element. I took the prayer from this website http://tora.lt/ .

Rytė Krakauskaitė

ADVISORY COMMITTEE/ COMITÉ SCIENTIFIQUE

Written by author
July 19th, 2012

Bat Kama At is very honored to present the board of its Advisory Committee:

ADVISORY COMMITTEE

Barbara Kirshenblatt-Gimblett:
– Professor of Performance Studies, New York University
– Program Director, Core Exhibition, Museum of the History of Polish Jews:
www.jewishmuseum.org.pl/template/gfx/inf_pras_1_en.pdf

Jonathan Boyarin:
– Leonard and Tobee Kaplan Distinguished Professor of Modern Jewish Thought, Jonathan Boyarin, University of North Carolina at Chapel Hill:
www.unc.edu/ccjs/faculty.bios08/boyarin.bio.html

David Biale:
– Emanuel Ringelblum Distinguished Professor. Chair, Department of History. University of California, Davis.
– Author and editor of many books:
history.ucdavis.edu/people/dbiale

Yitskhok Niborski:
– Professor of Yiddish at INALCO, Paris. Founder and main figure of “Maison de la Culture Yiddish Bibliothèque Medem”, Paris.
– Author of dictionaries Yiddish-French:

http://yiddishparis.com/blog/tag/yitskhok-niborski/

Samuel Kassow:
– Charles H. Northam Professor of History, Trinity College, Hartford, Connecticut:
– His major contribution to Jewish historiography: Who Will Write Our History: Emanuel Ringelblum and the Oyneg Shabes Archive, Indiana University Press, 2007.
en.wikipedia.org/wiki/Samuel_Kassow

Jonathan Brent:
– Executive Director, YIVO Institute for Jewish Research.
– Editorial Director of the “Annals of Communism” at Yale University Press :

Anna Foa:
– Professeur of modern history, Faculté de Lettre de l’University “La Sapienza”, Roma.Spécialist of social and cultural contemporary history
– Author and editor


COMITÉ SCIENTIFIQUE

Barbara Kirshenblatt-Gimblett:

– Professeur du département “Performance Studies”, New York University;
– Directrice du programme de l’exposition permanente du Musée d’histoire des Juifs de Pologne : http://www.jewishmuseum.org.pl/template/gfx/inf_pras_1_en.pdf

Jonathan Boyarin:

– Professeur émérite, chaire Leonard and Tobee Kaplan en “Modern Jewish Thought”, University of North Carolina at Chapel Hill: http://www.unc.edu/ccjs/faculty.bios08/boyarin.bio.html

David Biale:

– Professeur émérite, chaire Emanuel Ringelblum.
– Président du départment d’histoire. University of California, Davis.
– Auteur et éditeur de nombreux livres traduits en plusieurs langues: http://history.ucdavis.edu/people/dbiale

Yitskhok Niborski:

– Professeur de yiddish à l’INALCO. Fondateur et co-directeur de la Maison de la Culture Yiddish Bibliothèque Medem, à Paris.
– Auteur de plusieurs dictionnaires Yiddish-Français:

http://yiddishparis.com/blog/tag/yitskhok-niborski/

Samuel Kassow:

– Professeur d’histoire, chaire Charles H. Northam,Trinity College, Hartford, Connecticut:
– Sa contribution à l’historiographie des Juifs de Pologne est fondamentale particulièrement avec son dernier ouvrage (traduit de l’anglais): Qui écrira notre histoire ?: Les archives secrètes du ghetto de Varsovie, Grasset, 2011.

http://en.wikipedia.org/wiki/Samuel_Kassow

Jonathan Brent:

– Directeur du YIVO : Institute for Jewish Research.
– Directeur éditorial des “Annals of Communism” , Yale
University Press :

http://www.yivoinstitute.org/index.php?tid=154&aid=594

Anna Foa:

– Professeur d’ histoire moderne, Faculté de Lettre de l’Université de La Sapienza, Rome.
– Spécialiste de l’histoire sociale et culturelle contemporaine (notamment des femmes):

http://w3.uniroma1.it/dsmc/old/docenti/foa.htm