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Montage: Works by Debora Vogel
Inspired by the use of montage in film and photography, cubist collage, atonal music, and the genre of reportage at the intersection of literature and journalism, Vogel created her own literary montage in which she conveys the mundane, seemingly insignificant events of a day together with the events usually considered to be momentous and important. Fiction. Jewish Studies.
Montages
Montages. Debora Vogel and the New Legend of the City' constitutes a superb, thoughtful, and accomplished verbo-visual montage in its own right. The book consists of all manner of targeted scholarly essays, reproductions of avantgarde images [...], photographs of the places (and, above all, the cities) that played an important role in the L'viv author's life, and, finally, of meta-artistic critical texts of Debora Vogel herself, most of them reproduced for the first time in at least eight decades (!). It's a wonder that this book - and the exhibit it accompanies - did not come about considerably sooner.00Exhibition: Museum Sztuki, Lódz, Poland (27.10.2017- 04.02.2018).
Blooming Spaces
Debora Vogel (1900-1942) wrote in Yiddish unlike anyone else. Yiddish, her fourth language after Polish, Hebrew, and German, became the central vehicle for her modernist experiments in poetry and prose. This ground-breaking collection presents the work of a strikingly original yet overlooked author, art critic, and intellectual, and resituates Vogel as an important figure in the constellation of European modernity. Vogel’s astute observations on art, literature, and psychology in her essays, her bold prose experiments inspired by photography and film, and Cubist poetry that both challenges and captivates invite the reader on a journey of discovery—into the microcosm of the talented thinker marked by tragic fate and the macrocosm of Jewish history and Poland’s turbulent twentieth century.
Bruno Schulz and Galician Jewish Modernity
In the 1930s, through the prose of Bruno Schulz (1892–1942), the Polish language became the linguistic raw material for a profound exploration of the modern Jewish experience. Rather than turning away from the language like many of his Galician Jewish colleagues who would choose to write in Yiddish, Schulz used the Polish language to explore his own and his generation's relationship to East European Jewish exegetical tradition, and to deepen his reflection on golus or exile as a condition not only of the individual and of the Jewish community, but of language itself, and of matter. Drawing on new archival discoveries, this study explores Schulz's diasporic Jewish modernism as an example of the creative and also transient poetic forms that emerged on formerly Habsburg territory, at the historical juncture between empire and nation-state.
Women Writing Jewish Modernity, 1919-1939
Focusing on interwar Hebrew and Yiddish writers, Allison Schachter illuminates how women authors leveraged prose fiction to challenge the patriarchal norms of Jewish textual authority, reconceptualize Jewish cultural belonging, and contribute to Jewish literary modernity.
Montaże
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Bruno Schulz: An Artist, a Murder, and the Hijacking of History
A fresh portrait of the Polish-Jewish writer and artist, and a gripping account of the secret operation to rescue his last artworks. The twentieth-century artist Bruno Schulz was born an Austrian, lived as a Pole, and died a Jew. First a citizen of the Habsburg monarchy, he would, without moving, become the subject of the West Ukrainian People’s Republic, the Second Polish Republic, the USSR, and, finally, the Third Reich. Yet to use his own metaphor, Schulz remained throughout a citizen of the Republic of Dreams. He was a master of twentieth-century imaginative fiction who mapped the anxious perplexities of his time; Isaac Bashevis Singer called him “one of the most remarkable writers w...
Bruno Schulz and Galician Jewish Modernity
"In the 1930s, through the prose of Bruno Schulz (1892-1942), the Polish language became the linguistic raw material for a profound exploration of the modern Jewish experience. Rather than turning away from the language like many of his Galician Jewish colleagues who would choose to write in Yiddish, Schulz used the Polish language to explore his own and his generation's relationship to East European Jewish exegetical tradition, and to deepen his reflection on golus or exile as a condition not only of the individual and of the Jewish community, but of language itself, and of matter. Drawing on new archival discoveries, this study explores Schulz's diasporic Jewish modernism as an example of the creative and also transient poetic forms that emerged on formerly Habsburg territory, at the historical juncture between empire and nation-state"--
Face Forms in Life-Writing of the Interwar Years
This book is an interdisciplinary study of the engagement with and representation of the face across literature, photography, and theatre. It looks at how the face is an active agent, closely connected with the history of the media and the social interactions reflected in media images. Focusing on the dynamic period of the interwar years, it explores a range of case studies in Poland, UK, and the US, and examines artists like Stanisław Ignacy Witkiewicz (Witkacy), Virginia Woolf, Debora Vogel, Sir Cecil Beaton, Theodore Władysław Benda, and Edward Gordon Craig. Teresa Bruś argues that these writers and photographers defended the face against threats from modern life – not least, the media. She focuses on transformations of the face in life writing across a range of media and draws attention to the artists’ autobiographical narratives.
