Faina ranevskaya biography of abraham

After the June invasion of the Soviet Union, Nazi Germany created “special troops” (Einsatzgruppen), also known as “mobile combat units” of the SS, whose aim was to kill the Jewish population within the field of intervention ranging from the Baltic to all of White Russia. The number of their victims is estimated at between 1,, and 1,, persons (see Desbois ; Rubenstein and Altman ). On 29–30 September , one of these squads slaughtered 33, of the Jewish inhabitants of Kiev in a ravine called Babi Yar or Babyn Yar (Gilbert , ). In the Nazis used prisoners from the Syrets camp to exhume and incinerate the bodies from the shootings and other subsequent murders.

This article examines two narratives by authors who indirectly witnessed these horrendous events: Anatoli Kuznetsov’s Babi Yar: A Document in the Form of a Novel and Ziama Trubakov’s The Riddle of Babi Yar: The True Story Told by a Survivor of the Mass Murders in Kiev, –. Both narratives are acts of remembrance, first-person memoirs where the writer’s life is “described within the context of the events to which the author was a witness and a party” (Goldberg , 12). Kuznetsov’s memoir is written from the point of view of a first-person narrator who was 12 years old when the events took place; his subtitle retains the form of a “documentary novel,” which “suggests the possibility of fictionalizing elisions and transformations within the private domain of the boy’s experience” (Toker , ). However, Kuznetsov explains: “the word ‘Document’ which appears in the sub-title of this novel means that I have included in it only facts and documents, and that it contains not the slightest element of literary invention – of what ‘might have been’ or what ‘ought to have been’” (Anatoli , 17). Trubakov claims to tell “the true story” of Babi Yar, as the subtitle of his book indicates.

My aims are to analyse three types of witnessing (in th

An Arts Fuse regular feature: the arts on stamps of the world.

By Doug Briscoe

Titian and Man Ray are our birthday superstars on this August 27th. But by one of those extraordinary coincidences, August 27 is also the date on which two of the very greatest Renaissance composers died, Josquin des Prez (c/55 – 27 August ) and Tomás Luis de Victoria (c – 27 August ). To my astonishment, nobody seems to have issued a stamp for Josquin, but Spain put out one for Victoria in

So we follow yesterday’s big splash for Frans Hals the Elder with one for Tiziano Vecelli (or Vecellio, born c/90, died 27 August ), or as we English-speaking types call him—pace Dan Ackroyd—Titian. I found that although the master painted many different subjects, the majority of the stamps tended to show his portraits and religious pieces, not so much the mythological ones. So we’ll start with one of those, The Bacchanal of the Andrians (), in a se-tenant Spanish strip with a detail from Titian’s Self-Portrait of c Next to that I’ve placed a detail from another Self-Portrait, one made some time between and , on a stamp from Dominica. In the second row we see more portraits, Man in a Red Cap (c), Isabella of Portugal (), and two stamps of Titian’s famous Equestrian Portrait of Charles V in the Prado (), the first in full color from Belgium and the second in blue from the Dominican Republic. The picture of Isabella was done long after her death in , based on a portrait by a lesser artist. We move on to the second collage, beginning with a row devoted to the same lovely canvas, Flora (), shown on stamps of Bulgaria, Hungary, and Italy. I think the Italian one is my favorite, despite its being in monotone, because it&#;s engraved. In the second row, we turn to some sacred paintings, The Holy Family with a Shepherd (c, Christmas stamp from New Zealand, ); Saint Sebastian (, stamp of Russia, ); detail from Madonna and Child, known as the &#;Gypsy Madonna&#; (, stamp

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