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The Talmud in its Iranian Context ed. by Carol Bakhos and M. Rahim Shayegan (review)

The Talmud in its Iranian Context ed. by Carol Bakhos and M. Rahim Shayegan (review) 178 | Book Reviews press, it was not entirely absent in the wider Soviet press. Once again the boundaries between Shneer's hard and fast categories turn out to be less helpfully distinct than he strives to present them. These criticisms, however, do not detract substantially from a book that helps tell the least well-remembered story of the Holocaust, the Holocaust in the Soviet Union, and its representation in the Soviet media. Shneer's book is strongest of all when articulating how the individual biographical fate of a photographer like Evgenii Khaldei, riven by the competing commitments of his Soviet and Jewish identities, shifted during the war, making him more sensitive to the fate of his Jewish kin under the Nazis and dramatically coloring the kinds of photographs he took. This account of Khaldei and others places them alongside other Soviet cultural figures who documented the Holocaust as knowledge of it first emerged: artist Zinovii Tolkachev, writer and journalist Vasilii Grossman, cinematographers Roman Karmen and Mark Donskoi, although making the links is not really within the scope of Shneer's study. Ongoing scholarship is, however, uncovering more figures of this kind and the cultural artifacts they produced. This enhances our understanding http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Shofar: An Interdisciplinary Journal of Jewish Studies Purdue University Press

The Talmud in its Iranian Context ed. by Carol Bakhos and M. Rahim Shayegan (review)

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Purdue University Press
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Copyright © Purdue University.
ISSN
1534-5165
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Abstract

178 | Book Reviews press, it was not entirely absent in the wider Soviet press. Once again the boundaries between Shneer's hard and fast categories turn out to be less helpfully distinct than he strives to present them. These criticisms, however, do not detract substantially from a book that helps tell the least well-remembered story of the Holocaust, the Holocaust in the Soviet Union, and its representation in the Soviet media. Shneer's book is strongest of all when articulating how the individual biographical fate of a photographer like Evgenii Khaldei, riven by the competing commitments of his Soviet and Jewish identities, shifted during the war, making him more sensitive to the fate of his Jewish kin under the Nazis and dramatically coloring the kinds of photographs he took. This account of Khaldei and others places them alongside other Soviet cultural figures who documented the Holocaust as knowledge of it first emerged: artist Zinovii Tolkachev, writer and journalist Vasilii Grossman, cinematographers Roman Karmen and Mark Donskoi, although making the links is not really within the scope of Shneer's study. Ongoing scholarship is, however, uncovering more figures of this kind and the cultural artifacts they produced. This enhances our understanding

Journal

Shofar: An Interdisciplinary Journal of Jewish Studies – Purdue University Press

Published: Mar 30, 2013

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