Sammy Gronemann

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Sammy Gronemann (around 1930)

Sammy Gronemann (born March 21, 1875 in Strasburg , West Prussia , † March 6, 1952 in Tel Aviv ) was a Jewish German and later Israeli writer , journalist and lawyer as well as a Zionist activist. His mistaken comedy The Wise and the Fool from 1942 became the most successful piece in Israeli theater.

Life

1875-1933

Sammy Gronemann was born in 1875 as the son of Helene Breslau from Russia and the rabbi Selig Gronemann (1843–1918) in Strasburg , West Prussia . His father belonged to neo-orthodoxy and had studied with Zacharias Frankel and Heinrich Graetz in the rabbinical seminary in Breslau . In 1897 he distanced himself from the protest of German rabbis against the first Zionist congress .

Sammy Gronemann spent most of his childhood and school days in Hanover . He attended the Hanoverian Lyceum II. One of his classmates was Börries Freiherr von Münchhausen , who a. a. inspired the character of Christian in his drama Jakob und Christian (1937). The Abitur was followed in 1894 by a year at the Halberstadt Klaussynagoge , a center of neo-orthodoxy. In the following year he continued his studies at Esriel Hildesheimer's rabbinical seminary in Berlin, which he broke off soon after to begin studying law in Berlin, which he completed in 1898. After a legal clerkship at the Nienburg District Court , he was transferred to Hanover as a public prosecutor in 1900.

There Gronemann took part in a Zionist conference for the first time and founded the Hanover Zionist branch, which he represented as a delegate at the fifth Zionist congress . From then on he took part in all Zionist congresses as a delegate, to whom he served from 1911 to 1933 as chairman of the Zionist court of honor he founded and between 1921 and 1946 as chief judge of the congressional court. As a lawyer since 1904 he represented Theodor Herzl , Achad Ha'am , Arthur Schnitzler and Richard Beer-Hofmann, among others . In 1906 he moved to Berlin and specialized in family law, international law and copyright law. In 1910 he was co-founder and until 1933 syndic of the Association of German Writers .

At the age of 14, Gronemann undertook his first literary attempts, which he continued alongside his studies and work: short plays, newspaper articles and short stories which, although thematized with a Zionist tendency, are Jewish self-perception, but are permeated with a characteristic humor that reflects the pathos of the Zionist movement withdrawn , for example in Ein Mordskerl (1904) and other texts, u. a. for the Zionist satirical magazine Der Schlemiel .

During the First World War, after an injury, Gronemann served in the press department of the occupied Upper East region ( Białystok , Kowno , Wilna ). He sought contact with the Jewish population, got to know the Vilna troops and, together with German-Jewish intellectuals such as Arnold Zweig and Herrmann Struck, developed a positive image of the so-called Eastern Jews . He was also active in the German-Jewish Committee for the East and in arbitration tribunals for Jewish refugees from Eastern Europe. He also supported and promoted the Yiddish Vilnius troops and Hebrew Habima ; founded the Jewish Theater Association Berlin in 1921 , which he directed until it was dissolved.

When the global economic crisis affected his legal work in 1929, Gronemann hoped for a new career as a freelance writer in view of the success of the Tohuwabohu, which in 1930 had already seen 16 editions and numerous translations. This failed with the transfer of power to Hitler . Gronemann fled to Paris in 1933, where he devoted himself to helping refugees and establishing Zionist associations. From there he immigrated with his wife to Palestine in 1936, where he was no longer able to pursue his profession as a lawyer and became a justice of the peace . After the tragic accidental death of his wife Sonja (née Gottesmann; 1877–1936), he lived with the family of his sister Elfriede Bergel-Gronemann (1883–1958) and his brother-in-law Salo Bergel, the parents of Bernd Bergel . In Tel Aviv he wrote his memories of an optimist , the first part of which first appeared in Hebrew as memories of a Jeckes , i.e. a German-speaking Jewish immigrant. They make an important contribution to the history of German Zionism. He also wrote six major plays, including The Wise and the Fool , which is translated by Nathan Alterman under the title Shlomo ha-melekh we-Shalmai ha-sandlar (שלומה המלך ושלמי הסנדלר) became the most successful drama on the Israeli stage to date. Today it is mostly only known by the name of its translator; the name of the author disappeared from the collective consciousness. In addition, Gronemann wrote numerous one-act plays, short stories, poems and newspaper articles that satirically reflected the society and culture of the new yishuv , still in German. For him, the German language was a spiritual home and a Jewish cultural language, which should not stand behind the hegemonic claim of Hebrew, which also threatened the literary and cultural life of the Jeckes.

1933-1952

At the end of March 1933, Sammy Gronemann and his wife Sonja, with whom he had been married since 1902, fled from the National Socialists to Paris and then emigrated to the British Mandate of Palestine in 1936 . He practiced there as a lawyer and chairman of an arbitration tribunal, ran a German-language salon and wrote some plays such as Jakob and Christian , Heinrich Heine and his uncle , The Trial of the Donkey Shadow and The Wise One and the Fool , which is still performed on Israeli stages today . In these plays he brought up the problems of the Palestinian present and drew not only on biblical material and motifs, but also on Greek antiquity and continued topics of the German-Jewish educational tradition. His memories of a Jecken , which led to an appreciation of this pejoratively used term for the German immigrants in Israel, were influential . Gronemann's memoirs were published in two volumes for the first time in the German original in 2002 and 2004; they are considered an important source for the history of German Zionism. In his function as honorary judge, Gronemann headed the court of the Zionist Congress from 1911 to 1947 and embodied the conscience of the Zionist movement.

plant

The satirical novel Tohuwabohu

With tohu wa-vohu ( wild and confused; Gen 1,2 ; Jer 4,23 ) a mythical, unfinished original state of the earth at the beginning of the creation story is referred to in the Hebrew Bible ( Tanach ) . The German-Jewish lawyer and writer Sammy Gronemann (1875–1952) borrowed this word from the title of his 1920 novel Tohuwabohu , which satirically describes the relationship between German and Eastern European Jews in Berlin . Gronemann dedicated his texts, which are characterized by an astute and benevolent humor , to the literary genesis of a modern Jewish self-confidence. In Tel Aviv , where he emigrated from exile in Paris in 1936 , his dramas, written in German, made a significant contribution to the development of Zionist comedy and the Israeli theater, in which some of them are still successful today.

The novel Tohuwabohu, which was written between 1916 and 1920, partly on the Eastern Front of World War I , interweaves the mutual views of German and Eastern European Jews. He addresses modern transformations of Jewish tradition , questions of assimilation and acculturation , as well as the dangers of anti-Semitism . The novel contrasts the imponderables of Jewish existence in East and West with the development of a new stage of creation. In this a new Jewish, i. H. Zionist self-confidence emerged by means of which internal Jewish divisions were to be overcome and the future of the Jewish people in a state home in Palestine was to be secured.

The plot of the novel begins in the spring of 1903 in the fictional town of Borytschew near Vilna, with a discussion between the law-abiding Jossel Schlenker and the astute Chane Weinstein about the religious provisions on Shabbat. Jossel's halachic reasoning proves to be inferior to Chan’s wit and irony. As a result, Jossel and Chane fall in love, get married and move to Berlin in order to pursue their thirst for freedom and knowledge in their university studies and to escape the cramped world of Eastern Europe , but not the Jewish tradition . Based on their experiences records Gronemann an equally dazzling as humorous portrait of Jewish life in Berlin, a kaleidoscope grotesque distortion of the Jewish tradition as a result of emancipation - as a strict adherence to rigid religious rules ( Halacha ) on one side and waste from Judaism by assimilation and conversion to the other side. The Jewish life embodied by Jossel in Eastern Europe is presented as a natural equilibrium by which the way of life of German Jews is measured.

In Berlin Jossel met his great cousin Heinz Lehnsen, who represented the second generation of converts in his family. He invites Heinz to Borychev, where he experiences the Passover festival for the first time . When the front door is symbolically opened for the prophet Elijah during the ritual seder evening , the noise of a pogrom approaches instead . Heinz recognizes the need for self-defense and political action, but self-image and worldview are permanently shaken. After his return to Germany , he suppressed this experience and traveled to Baden-Baden for the horse races . On the same train he discovers Jossel and Chane, but he avoids them. In contrast to him - representing non-Zionist Jewry - they appear to be responsible, as they take seriously the latent danger of an existential threat to the Jews not only in the Russian but also in the German Reich . The Zionist engagement is presented as the solution: While Heinz's story seems to end in madness , Jossel and Chane travel to Basel for the creative confusion of the sixth Zionist Congress .

In his subsequent books, too, Gronemann criticizes the unreflective acculturation of German Jews and contrasts them with his ideal of Eastern Jews , for example in Hawdoloh and Zapfenstreich (1924), which u. a. informed about the biographical background of the emergence of Tohuwabohu on the Eastern Front of the First World War . Later he repeatedly went back to his "Tohuwabohu", which was meant to diagnose the times and which, as a book title, contributed to the popularization of this Hebrew loan word in German literature. For example, in his third book, named after the Jewish stew dish , Schalet (1927): "The stage of creation of the tohuwabohu in which we find ourselves will one day be overcome, there will be light and perhaps we will noticeably approach the time of revelation" .

The Zionist comedy

With his theater texts, Gronemann founded the genre of the Zionist comedy anticipated by Theodor Herzl , which is characterized by satirical criticism of assimilation and parodic references to the Jewish and humanist educational tradition. It combines two redemption motifs of the Jewish festival calendar : the Purim motif of the carnivalesque reversal of hierarchical relationships in the diaspora and the Passover motif of the exodus from Egypt and the return to the land of Israel .

For example, his Purim play Haman's Escape , published in 1926 and commissioned by Martin Buber around 1900, tells the dream of an assimilated Jewish boy named Heinz, which is based on the Esther story, but in which Haman escapes his execution on the gallows. Heinz pursues him through various epochs of lachrymose Jewish historiography, in which Haman always hides himself as the embodied principle behind anti-Jewish historical figures such as Vespasian , Torquemada or Hitler . Finally, Heinz understands that the persecution of anti-Semitism did not lead to the end of the persecution of the Jews; on the contrary: only the Jewish state can guarantee the bourgeois emancipation of the Jews. The final scene shows Jewish farmers in Palestine while Haman hangs himself in the background. With this outlook, Gronemann combines the Zionist Passover motif of the return to the Land of Israel with the diasporic tradition of the Yiddish Purim play, which he developed in German literature for a Zionist comedy that celebrated its greatest successes on the Hebrew stage.

Another example is the mistaken comedy Jakob and Christian , completed in Palestine in 1937 , which represents Gronemann's first international drama success. It is the story of two swapped infants, one of whom grows up an Orthodox Jew , while the other develops into a National Socialist . Thirty years after their birth, they meet again and learn of their exchange. As a result, in an adaptation of the rabbinical dictum ad de-lo yada (lit. "until nobody knows"; Talmud Bavli , Megilla 7b), new exchanges are made and uncovered. Thus, in a dramatization of the Purim principle, a state of consciousness is created in which it is no longer possible to distinguish between protagonist and antagonist - between "cursed be Haman" and "blessed be Mordechai". By means of Gronemann's dramaturgy, dialectical empathy, both characters experience the position of the other. At the end of the piece, it remains to be seen who is Jewish and who is non- Jewish . In this satirical reversal, Gronemann on the one hand takes the National Socialist racial ideology ad absurdum, on the other hand, Christian also depicts the assimilated German Jew who is reconciled with his counter-figure, the stereotypical " Eastern Jew " Jakob.

Drama in Israel

“The Jewish people are currently returning from a world tour. It played large and small roles in all theaters and is now returning to play in its own theater ”, announced Gronemann in 1935, and concluded:“ This is the end of the comedy and the beginning of the drama ”. By this metaphorical "comedy" he understood the social drama of the neglect of Jewish tradition in acculturation and self-denial ( self-hatred ), the ironic reflection of which he aimed to overcome with his dramas. Overall, they reflect the conflict between the Jewish settlement of Palestine and the continuity of Jewish traditions in the diaspora. In it he diagnosed a diasporic mentality among his contemporaries, which he expressed in a lack of awareness of democracy, in the guerrilla warfare of the parties and in ideological delusions that led to "[election] falsification and terror", for which he is also responsible for the Hebrew language struggle made.

Gronemann had made these observations in his function as the highest congressional judge for decades - a position that earned him, among other things, the reputation of the “institutionalized conscience of the Zionist movement”. No research has yet been carried out on this aspect of his biography or on the history and function of this institution. Gronemann was one of the most important lawyers and functionaries of Zionism in Germany. In Tel Aviv, his legal activity and search for justice shifted to his drama. He became known there as “ Aristophanes of the Zionist Movement ” and, due to his role models in Yiddish literature , as “ Shalom Aleichem der Jeckes.” So Gronemann stands out - through his wit and his humorous work - from the early one, which was characterized by melancholy pathos German Zionism and its literature. In his dramas, in addition to the aforementioned interweaving of the two redemption paradigms of Purim and Passover, the talmudic suspension of the biblical death penalty became a leitmotif of his plays - at a time when the heroes of the early Israeli drama died tragically sacrificed for the fatherland and identification propagated with Jewish martyr ideals .

Gronemann had his greatest success, which continues to this day, with the confusionary comedy Der Weise und der Farr from 1942 - the most successful play in Israeli theater to date. The fool Schemadai (Hebrew Shalmai) is a reincarnation of the diasporic Schlemihl figure who had its premiere on the Israeli stage in the Hebrew performances of Haman's Escape . After changing roles with King Solomon , Schemadai turns the business of government for a better while Solomon gets to know the world outside his palace. Each enriched by the perspective of the other, both return gratefully to their original life, again with the characteristic dramaturgy of dialectical empathy. In the setting by Sascha Argov and with the addition of Nathan Alterman's couplets, Gronemann's comedy has been considered Israel's first successful musical since the Kameri performance in 1964. But that also means that one of the most important German-language comedies was written in Tel Aviv, at the height of the Shoah .

In Gronemann's last drama - The Queen of Sheba - the tension between German and Eastern European Jews, which has been evident in almost all works since the hubbub , shifts to that between European and Oriental Jews ( Misrachim ). First performed in 1951 in the translation of Chaim Chef and in the setting by Alexander Abramowitsch , the piece - a continuation of The Wise and the Fool - became the first Israeli musical. A year later Gronemann died, leaving behind his entire estate, most of which was lost. Among them the Targum Onkel S. - a satirical poetry epic, which, in the mirror of biblical legends, tells the story of the development and origin of Zionism in the Jewish chaos of modernity. This humorous criticism is based on a more serious one, which is expressed in a posthumously published text from 1953. In this, towards the end of his life, Gronemann shows himself sobered by the realization of the Zionist ideal in the State of Israel. He denounces the repressive language policy from which, in addition to the Arab-Jewish and Israeli population, German and Yiddish-speaking Israelis in particular suffered. He notes that as an "old champion of the National Zionist idea" it was difficult for him to "not despair" in view of the mentality he perceived as fascist in Israel , and he did not shy away from more serious accusations. Nonetheless, he continued to be confident: “Freedom of thought and speech, freedom of movement in every sense, will be realized if anywhere in the world, in Israel, if not in this generation, then in a later generation that has shaken itself off will have cleared exile «. Such a liberation of thoughts in reflection and the expression of a new Jewish self-confidence was rehearsed in his plays with the help of humor, because, according to Gronemann: "in the end, people laugh at themselves."

Works (selection)

  • Collected dramas . Gronemann Critical Complete Edition. Vol. 1. Ed. Jan Kühne. Oldenbourg: DeGruyter 2018. ISBN 978-3-11-051867-2
  • Tohuwabohu . Gronemann Critical Complete Edition. Vol. 2. Ed. Jan Kühne and Joachim Schlör. Oldenbourg: DeGruyter 2019. ISBN 978-3-11-062937-8
  • Hawdoloh and tattoo . 1924 (novel). New edition Königstein / Ts .: Jüdischer Verlag Athenäum, 1984. ISBN 3-7610-0364-1
  • Scarf. Contributions to the philosophy of "if already" . 1927. Ed. Joachim Schlör. New edition Leipzig: Reclam, 1998. ISBN 3-379-01619-5
  • Memories . Edited by Joachim Schlör. Berlin: Philo, 2002. ISBN 3-86572-268-7
  • Memories of my years in Berlin . Edited by Joachim Schlör. Berlin: Philo, 2004. ISBN 3-8257-0350-9

literature

  • Jäger, Gudrun, Manfred Pabst, Birgit Seemann and Siegbert Wolf: Gronemann, Sammy (Samuel) Dr. jur. Jurist. In :: Lexicon of German-Jewish authors . (Volume 9). Edited by Renate Heuer. Munich: KG Saur 2001, (Archive Bibliographia Judaica), pp. 315-23. ISBN 3-598-22689-6
  • Eliav, Mordechai and Esriel Hildesheimer: The Berlin Rabbinical Seminar 1873-1938. Berlin 2008, ISBN 978-3-938485-46-0 , p. 127.
  • Kühne, Jan: The Zionist Comedy in Sammy Gronemann's Drama. About the origins and characteristics of a latent genre. Berlin / Boston: De Gruyter 2020 (Conditio Judaica; 94), ISBN 978-3-11-059408-9 .
  • Kühne, Jan: “Of the Two the Jew is - (Curtain falls.)” Sammy Gronemann's Dramaturgy of the German-Jewish Encounter in Mandate-Palestine / Israel (1936–1952). Jewish Culture and History 17, No. 1 (2016).
  • Jas Kühne: Tohuwabohu. In: Dan Diner (Ed.): Encyclopedia of Jewish History and Culture (EJGK). Volume 6: Ta-Z. Metzler, Stuttgart / Weimar 2015, ISBN 978-3-476-02506-7 , pp. 127-131.
  • Mittelmann, Hanni: Centrum Judaicum (ed.): Sammy Gronemann: a life in the service of Zionism. Hentrich & Hentrich, Berlin 2012, ISBN 978-3-942271-57-8 . (Jewish Miniatures, Volume 121).
  • Mittelmann, Hanni: Sammy Gronemann (1875–1952). Zionist, writer and satirist in Germany and Palestine. Campus, Frankfurt am Main 2004, ISBN 3-593-37511-7 . (Campus Judaica. Volume 21).
  • . o V. : Sammy Gronemann. In: Life and Destiny. For the inauguration of the synagogue in Hanover , with photos by Hermann Friedrich a. a., Hrsg .: Landeshauptstadt Hannover, press office, in cooperation with the Jüdische Gemeinde Hannover eV, Hannover: [Beeck in commission], [1963], p. 138.
  • Schulze, Peter: Gronemann, (1) Sammy. In: Dirk Böttcher, Klaus Mlynek, Waldemar R. Röhrbein, Hugo Thielen: Hannoversches Biographisches Lexikon. From the beginning to the present. Schlütersche, Hannover 2002, ISBN 3-87706-706-9 , p. 135, online via Google books
  • Schulze, Peter: Gronemann, (1) Sammy. In: Stadtlexikon Hannover, p. 230.
  • Gronemann, Sammy , in: Werner Röder; Herbert A. Strauss (Ed.): International Biographical Dictionary of Central European Emigrés 1933-1945 . Volume 2.1. Munich: Saur, 1983 ISBN 3-598-10089-2 , p. 417f.

Web links

Individual evidence

  1. ^ Lewy, Thomas: Between all stages. The Jeckes and the Hebrew Theater 1933–1948. Übers. Schirrmeister, Sebastian. Berlin: Neofelis 2016, p. 143
  2. ↑ See Herzl, Theodor: Protestrabbiner. In: Die Welt 7 (July 16, 1897), pp. 1–2.
  3. ↑ Peter Schulze: Gronemann ... (see literature)
  4. ^ The Lyzeum II in Hanover was renamed the Goethegymnasium in 1912; see Dieter Brosius : Goethegymnasium , in: Hannover Chronik , pp. 133, 148; online through google books
  5. ^ Hanni Mittelmann: Sammy Gronemann (1875-1952) . Frankfurt / M. 2004, pp. 10-24.
  6. ^ Ernst Fischer: The "Protection Association of German Writers" 1909–1933 . In: Archiv für Geschichte des Buchwesens 21 (1980), Sp. 1–666
  7. ↑ https://archive.org/details/schlemielberling1119unse_ead
  8. ↑ Karol Sauerland: Sammy Gronemann's view of Eastern Jewry . In: Jens Stüben (Ed.): East Prussia - West Prussia - Danzig . Munich 2007, pp. 425-436
  9. ^ Zer-Zion, Shelly, and Jan Kühne. "The German Archive of the Hebrew Habima: Bureaucracy and Identity." Naharaim 7 (2013): pp. 239-60.
  10. ↑ Gronemann, Sammy: Memories of an Optimist. In: Jedioth Chadashoth (23.4.1948-25.3.1949).
  11. ↑ Gronemann, Sammy: זכרונות של יקה [memories of a joker]. Translator Dov Sadan. Tel Aviv: Am Oved 1946.
  12. ↑ Gronemann, Sammy: שלמה המלך ושלמי הסנדלר [King Solomon and Shalmai, the cobbler]. Translator Alterman, Nathan. Tel Aviv: Moadim 1942. Sa Yerushalmi, Dorit: The Utterance of Shoemaking: Cobblers on the Israeli Stage. In: Jews and Shoes. Edna Nahshon. Oxford: Berg 2008, pp. 181-94. Lewy, Thomas: Between all stages. The Jeckes and the Hebrew Theater 1933–1948. Übers. Schirrmeister, Sebastian. Berlin: Neofelis 2016, p. 143
  13. ↑ Kühne, Jan: The Zionist Comedy in Sammy Gronemann's Drama. About the origins and characteristics of a latent genus [i. Publication]. Berlin / Boston: De Gruyter 2019 (Conditio Judaica; 94), p. 65f.
  14. ^ Kühne, Jan: German-language Jewish literature in Palestine / Israel. In: Handbook of German-Jewish Literature. Edited by Hans Otto Horch. Berlin / Boston: DeGruyter 2015, pp. 201-20. https://www.degruyter.com/viewbooktoc/product/182082
  15. ↑ Sammy Gronemann: Memories , memories of my years in Berlin , see the section “Works”.
  16. ↑ a b Sammy Gronemann: Tohuwabohu . In: Jan Kühne and Joachim Schlör (eds.): Sammy Gronemann Critical Complete Edition . tape 2 . De Gruyter Oldenbourg, Berlin / Boston 2019, ISBN 3-11-062549-0 .
  17. ↑ Sammy Gronemann: Scarf. Contributions to the philosophy of "if already" . Ed .: Joachim Schlör. Reclam, Leipzig 1996, ISBN 3-379-01619-5 .
  18. ↑ Theodor Herzl: Diaries 1895-1904 (Vol. 1) . Jewish publishing house, Berlin 1922, p. 616 (April 25, 1897) .
  19. ↑ Jan Kühne: The Zionist Comedy in Sammy Gronemann's drama. About the origins and characteristics of a latent genre . In: Conditio Judaica . tape 94 . De Gruyter Oldenbourg, Berlin / Boston 2019, ISBN 978-3-11-059408-9 , pp. 83 f. (Chapter 2) .
  20. ↑ Sammy Gronemann: Collected Dramas . In: Jan Kühne. Scientific advice: Hanni Mittelmann, Joachim Schlör. In collaboration with Jakob Hessing. (Ed.): Sammy Gronemann Critical Complete Edition . tape 1 . De Gruyter Oldenbourg, Berlin / Boston 2018, ISBN 978-3-11-051638-8 , pp. 467 f .
  21. ↑ Chanoch, Gershon: מכתב מלוצרן [letter from Lucerne]. In: Davar (September 1, 1935).
  22. ↑ Gronemann, Sammy: To my relief. In: Jedioth Chadashoth (March 30, 1953), p. 13.
  23. ↑ God man, Moshe: סמי גרונמן מדריכנו בתוך ״תוהו ובוהו״ [Sammy Gronemann leads us in the 'Tohuwabohu']. In: Haboker (April 15, 1938).
  24. ↑ Auerbach, Elias: Sammy Gronemann sA In: Mitteilungsblatt (March 14, 1952).
  25. ↑ Kühne, Jan: The Zionist Comedy in Sammy Gronemann's Drama. About the origins and characteristics of a latent genus [i. Publication]. Berlin / Boston: De Gruyter 2019 (Conditio Judaica; 94), p. 24f.
  26. ↑ Kühne, Jan: “The most beautiful theater remains the court.” Death penalty and Talion in Sammy Gronemann's drama. Ashkenaz 24, (No. 2 2014): 305-23.
  27. ^ Lewy, Thomas: Between all stages. The Jeckes and the Hebrew Theater 1933–1948. Translated by Sebastian Schirrmeister. Berlin: Neofelis 2016, p. 143.
  28. ^ Yerushalmi, Dorit: The Utterance of Shoemaking: Cobblers on the Israeli Stage. In: Jews and Shoes. Edna Nahshon. Oxford: Berg 2008, pp. 181-94.
  29. ↑ Gronemann, Sammy: Targum Onkel S. In: Jedioth Chadashoth (March 11, 1952).
  30. ↑ Gronemann, Sammy: To my relief. In: Jedioth Chadashoth (March 30, 1953), p. 13.
  31. ↑ Gronemann, Sammy: הבדיחה וההומור של היהודי [Jewish wit and humor]. In: Bamah 45 (1945), pp. 34-41.
personal data
SURNAME Gronemann, Sammy
BRIEF DESCRIPTION Jewish writer, journalist and lawyer
DATE OF BIRTH March 21, 1875
PLACE OF BIRTH Strasburg , West Prussia
DATE OF DEATH March 6, 1952
Place of death Tel Aviv