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At Terezín, many children sang for the Nazi officials and the Red Cross. They were used as propaganda tools, between 1943 and 1944, to make the world believe that Hitler had given a "paradise" to the Jews. Only around 100 of the 15,000 innocent people who passed through this transit camp survived. Ela Stein Weissberger, deported at the age of 11, is one of the few survivors. In Hans Krása's opera Brundibár (The Bumblebee) performed at the camp, she played the role of the Cat, the rebellious animal who attacks the mustached monster in the hope of winning the war! Her poignant testimony gives voice once again to the courageous, hopeful children who left 4,500 drawings, diaries and poems at Terezín. Like an internal road movie, the author offers a parallel narrative—she looks back on her own family history, her search for Ela, her anecdotes from the shooting of a documentary film, and she speaks up for all children targeted by hatred. Writer, journalist, director and stage director, Henriette Chardak has written biographies of Kepler, Pythagoras, Leonardo da Vinci... and an investigation into the health effects of sweeteners (Le light c'est du lourd, Max Milo, 2018).
Drawing on oral histories, diaries, letters, photographs, and archival records, the author presents a look at the lives of the children who lived and died during the Holocaust
This innovative book reveals children's experiences and how they became victims and actors during the twentieth century's biggest conflicts.
Henriette Chardak recounts her search for Ela, rare survivor of the 15,000 children who passed through the Terezin camp and were used as propaganda tools by Hitler, and her anecdotes from the filming, as well as her own family history.
In a bold rethinking of the Hollywood blacklist and McCarthyite America, Joseph Litvak reveals a political regime that did not end with the 1950s or even with the Cold War: a regime of compulsory sycophancy, in which the good citizen is an informer, ready to denounce anyone who will not play the part of the earnest, patriotic American. While many scholars have noted the anti-Semitism underlying the House Un-American Activities Committee’s (HUAC’s) anti-Communism, Litvak draws on the work of Theodor W. Adorno, Hannah Arendt, Alain Badiou, and Max Horkheimer to show how the committee conflated Jewishness with what he calls “comic cosmopolitanism,” an intolerably seductive happiness, centered in Hollywood and New York, in show business and intellectual circles. He maintains that HUAC took the comic irreverence of the “uncooperative” witnesses as a crime against an American identity based on self-repudiation and the willingness to “name names.” Litvak proposes that sycophancy was (and continues to be) the price exacted for assimilation into mainstream American culture, not just for Jews, but also for homosexuals, immigrants, and other groups deemed threatening to American rectitude. Litvak traces the outlines of comic cosmopolitanism in a series of performances in film and theater and before HUAC, performances by Jewish artists and intellectuals such as Zero Mostel, Judy Holliday, and Abraham Polonsky. At the same time, through an uncompromising analysis of work by informers including Jerome Robbins, Elia Kazan, and Budd Schulberg, he explains the triumph of a stoolpigeon culture that still thrives in the America of the early twenty-first century.
“Recalling the diaries of . . . Anne Frank, Ginz’s diaries reveal a budding Czech literary and artistic genius whose life was cut short by the Nazis.” —International Herald Tribune Not since Anne Frank’s The Diary of a Young Girl has such an intimately candid, deeply affecting account of a childhood compromised by Nazi tyranny come to light. As a fourteen-year-old Jewish boy living in Prague in the early 1940s, Petr Ginz dutifully kept a diary that captured the increasingly precarious texture of daily life. His stunningly mature paintings, drawings, and writings reflect his insatiable appetite for learning and experience and openly display his growing artistic and literary genius. Petr was killed in a gas chamber at Auschwitz at the age of sixteen. His diaries—recently discovered in a Prague attic under extraordinary circumstances—are an invaluable historical document and a testament to one remarkable child’s insuppressible hunger for life. “Given his unprecedented situation, his words were unprecedented. He was creating new language. He was creating life . . . The diary in your hands did not save Petr. But it did save us.” —Jonathan Safran Foer, author of Extremely Loud & Incredibly Close and Everything Is Illuminated
Aninku and Pepicek find their mother sick one morning, they need to buy her milk to make her better. The brother and sister go to town to make money by singing. But a hurdy-gurdy grinder, Brundibar, chases them away. They are helped by three talking animals and three hundred schoolchildren, to defeat the bully. Brundibar is based on a Czech opera for children that was performed fifty-five times by the children of Terezin, a Nazi concentration camp in 1943.
He then examines the pacifist reaction in interwar France to show how it contributed to a climate of collaboration with dictatorship and mass murder.
Since the early nineteenth century, the women of Gee’s Bend in southern Alabama have created stunning, vibrant quilts. In the only photo-essay book about the quilts of Gee’s Bend for children, award-winning author Susan Goldman Rubin explores the history and culture of this fascinating group of women and their unique quilting traditions. Rubin uses meticulous research to offer an exclusive look at an important facet of African American art and culture. In the rural community of Gee’s Bend, African American women have been making quilts for generations. They use scraps of old overalls, aprons, and bleached cornmeal sacks—anything they can find. Their traditions have been passed down through the decades. Much to the women’s surprise, a selection of the quilts was featured in an exhibition at the Museum of Fine Arts, Houston, in 2002. The exhibition then traveled to the Whitney Museum in New York City. “Eye-poppingly gorgeous,” wrote a critic for the New York Times about the exhibition. He continued, “Some of the most miraculous works of modern art America has produced.” The Metropolitan Museum of Art will exhibit its newly acquired collection of Gee’s Bend quilts in 2017. Rubin is known for producing well-researched, highly praised, and sophisticated biographies of artists and other important figures. Through similar research, The Quilts of Gee’s Bend shares specifics about this rare community and its rich traditions, allowing children to pause to consider history through the eyes of the people who lived it and through a legacy that is passed on to the next generation.
Ori Z. Soltes considers the emerging and evolving discussion on and the expanding array of practitioners of 'Jewish art' in the past two hundred years--beginning with the issue of defining 'Judaism' and 'Jewish art.'