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Zarobki http: Jak nam ustanie gniew, zapominamy http: Jakkolwiek http: At the time, Anna Bikont commented sarcastically in the Gazeta Wyborcza on the political confusion surrounding the planned exhibition: Its incredible popularity demonstrated the huge potential that lay in narrative exhibitions — ones that do not limit themselves to presenting genuine exhibits, but portray the past using scenes, reconstructions and multimedia. In the years that followed, work was begun on other museums of this type: To many journalists and politicians, contemporary narrative museums have become the main tool for shaping historical remembrance.

However, in the case of the history of Polish Jews, that remembrance has led to particularly fierce rows over views that correspond to the basic political divisions in society. The major inflammatory issues are anti-Semitism in public life during the inter-war period, Polish society's attitudes to the Holocaust, and the Jewish survivors' involvement in building the Communist system after the war. One must recall the fundamental nature of the ideological quarrels which have split the elite and the political scene in Poland since Any probing into the more shameful chapters of Polish history e. In turn, left-wing and liberal journalists highlight that Poles should also be aware of painful truths from their past — particularly, the inter-war period and the occupation.

Therefore, when the core exhibition opened in the POLIN building at the end of Octoberit was not just a cultural event, but also a political one, as reflected in abundant reviews by almost all the leading printed and online magazines. Positive opinions definitely prevailed, yet right-wing journalists were seemingly the most enthusiastic about the exhibition. Conservative journalists underlined with satisfaction and evident relief that the exhibition defended 'the good name of the Polish nation', and its main theme was to show how Poland had once been a safe haven for Jews.

The reviewers weighed up the evidence, and were fzeczy that certain aspects of Polish—Jewish history had merely been mentioned and did not take centre stage in the exhibition scenario. The issue of szmalcowniki Poles who betrayed Jews in hiding to the Germans for money was touched on in an Tyyodnik way, as was the Onllne pogrom [of ]. A short description states that Poles did perpetrate the crimes, but were encouraged to do so by the Germans in the town. These datibg were presented without making accusations. Rzecy particular, reviewers scrutinised the gallery covering the Second World War, and praised the exhibition team for inline not only the Holocaust, but also the Polish victims.

Once again, the journalists were mostly looking vo the museum from the point of view of its role in promoting Poland on the international arena. That Ttgodnik not the case for foreign visitors, however; yet Tyodnik museum rrzeczy become a fixture for Western tour groups. Complications with Polish communists of Jewish origin dqting identified with Jews in general arose again after the war. Fortunately, they have broached another controversial topic — the attitude of Jews in Poland's Tygodnikk border regions after September 17, [giving the Red Army an enthusiastic welcome] — but Tygodnki short film may be rather hard to understand for Western tourists unfamiliar with the complexity of this issue.

Jewish history has become an integral part of the history of Poland, and it unfolded within the confines of Polish statehood and national tradition. As one Gazeta Wyborcza journalist remarked: This tale of the history of Polish Jews is simultaneously the first museum of Polish history, and is the best proof of one thousand years of integrated coexistence. But history cannot be edited retroactively: Poland would have been different without the Jews, and the Jews would have been different without Poland. This is shown in an exhibition prepared and funded by Jews and housed in a building erected by Poland.

That in itself demonstrates how it would be absurd to disentangle these two themes. That banner, bearing the Eagle and White Knight beneath a handshake, symbolises the Polish—Jewish brotherhood that typified those years. Or excerpts from a speech given on behalf of the Jews by an ordinary sheet-metal worker, Baruch Goror, near the French Embassy on September 3, the day the Allies joined the war and Varsovians held spontaneous demonstrations outside their embassies. It ends with the words: Pojlin hoch! Dajczland nider! They accused the scenario writers of getting carried away with national myths and aligning the exhibition's narrative with the image of the Jew and loyal Pole.

Critics were offended by what they saw as the exhibition's over-idealised message: The theatre scholar Joanna Krakowska wrote a highly indignant piece for the online cultural magazine Dwutygodnik: That they were in no way cowards; that they fought for Poland; that they spilled their blood for it; and that they were good Poles. The Museum of the History of Polish Jews, in whose four-word name, the third word is the most significant. In reality, it is the history of Polin, with Jews in the leading roles. That would imply that Jewish history has somehow been naturally coupled with Polish history throughout the past millennium.

Meanwhile, we are aware that this is both true and untrue. Jewish civilisation lay beyond borders, existing concurrently in many countries and a number of languages. To the Jewish world, Polin only really became significant in the 16th century, and many of the key Jewish historical events and processes which make up later Jewish history occurred outside of the area usually referred to as Polin. This perspective, which is patently obvious from a map of the routes travelled by Jewish traders […] disappears completely in later periods.

It is as if all aspects of Jewish history were exhausted in Poland as the [Polish—Lithuanian] Commonwealth was growing stronger and expanding. The tzeczy, like the whole district around it, was founded on the ruins of the ghetto, opposite the legendary Monument to the Ghetto Heroes, with which it forms a single composition. The exhibition's format was analysed from the point of view of modern-day ideological conflicts. The reviews rarely mentioned its narrative techniques — the ways in which visitors are told about the past — and did so mostly superficially. At times, their discussion of the way things were expressed was shaped by political accusations.

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