In lieu of an abstract, here is a brief excerpt of the content:IntroductionSpatial, Environmental, and Ecocritical Approaches to Holocaust MemoryEmily-Rose Baker (bio), Michael Holden (bio), Diane Otosaka (bio), Sue Vice (bio), and Dominic Williams (bio)The successful implementation of genocide during the Holocaust depended on the spatial organisation of mass murder. From the concentrated ghettos and camps delimited by walls and barbed wire to the open fields and camouflaged forests where victims were shot en masse, Anne Kelly Knowles et al. argue, (...) specific locations, patterns of migration, deportation and evacuation, and other spatial elements such as scale, were all central to the Nazi regime's creation of a "comprehensive geography of oppression."1 This is hardly surprising given the biopolitical logics and colonial fantasies underpinning Lebensraum ('living space'), the territorial concept guiding the genocidal aims of the Third Reich, which designated zones of life as well as the inverse on the European continent. The Holocaust was also experienced spatially by its victims, who were forced to navigate new (and at times familiar) sites and landscapes as those of genocide, and whose testimonies in the aftermath of the event conjured these very places in detail.In recent years, the spaces of the Holocaust have been variously revisited, reconstructed, and reimagined within Holocaust studies scholarship. As a broader part of the 'spatial turn' in the humanities, Holocaust scholars have increasingly employed spatial perspectives of the event to deepen our understanding of the environments in which the Holocaust took place and the transformation of these spaces over time—particularly in the fields of history and social science.2 While drawing on diverse modes of spatialisation from interdisciplinary perspectives, contributions from these fields have tended to privilege methods we might describe as variously 'forensic,' including mapping, model-making, and investigations of material traces of the past.3 This work has resulted in many significant insights, not only into the [End Page 1] contexts and structures of Nazi genocide and the perpetrator imaginings of space, but also the experiences of victims and survivors.4Another significant body of work has attended to space and culture within Holocaust contexts. From early on in the postwar period, particular locations and buildings became identified with the Holocaust, such as the notorious entrance guard house at Auschwitz-Birkenau, which appears on countless book covers as well as within films and artworks. Engaging with spatial insights and methodologies from the perspective of cultural and memory studies, scholars have attested to the production and mnemonic significance of these and less well-known sites, as well as the symbolic spatial worlds and experiences to which they give rise. These include Paul Jaskot and Gavriel Rosenfeld, who have turned respectively to Holocaust and post-Holocaust architectures as commonly overlooked sites of history and memory. Drawing attention to the construction of Holocaust space, Jaskot shows how reading architecture 'as process' rather than static structures laden with symbolic meaning reveals unique histories of forced labor in which "the goals of the SS intersected with victims' experience."5 Rosenfeld demonstrates the ways in which spaces built in response to Nazi genocide after 1945 have been variously "imbued with Jewish significance" by their users and creators, resulting in the rise to prominence of Jewish-identified architects.6 Along similar lines, Michael Meng's work has explored the ways in which Jews and gentiles interact with ruined synagogues, cemeteries and Jewish districts as important remnants of pre-war Jewish life in the post-war period in German and Polish cities.7Studies such as those noted above have tended to focus on cities and public buildings, as well as state and civic policy. But as the spatial histories and geographies of the Holocaust have helped to show, extermination often took place in rural settings (mostly located in Central and Eastern Europe), such as the killing fields where Jews were shot en masse; the forests where victims hid and were hunted by Germans and local collaborators; or the open spaces of the dissolving Reich through which former concentration camp inmates were forced to march during the final year of the war—sites in which, owing to less contained spatial dynamics, violence played out differently.8These kinds of sites, which are sparsely documented and often simply thought of... (shrink)

This essay offers a critical examination of two recent Holocaust films that exemplify contrasting approaches to Holocaust representation: Peter Forgacs’s 1997 The maelstrom: A family chronicle and Quentin tarantino’s 2009 Inglourious basterds. One film is historical; the other translates history to figurative exaggeration. The essay explores how The maelstrom positions viewers within the constructed subjunctive spaces of the film, while Inglourious basterds positions viewers as spectators of history as comic book. Looking at these films together illuminates competing rhetorical claims to (...) expertise in film production and reception, and, in the context of Holocaust memory, the levels of expertise required of viewing audiences. Moreover, the analysis reveals that rhetorical aporia no longer dominates inventional possibilities for cinematic memory construction of the Holocaust. (shrink)

How will the Holocaust be remembered as its survivors disappear? In this article Janina Bauman reflects upon her own work on the Holocaust in the context of the Holocaust's broader reception. She offers her own views about the genre with reference to contemporary documents and testimonials, secondary work, scholarly work, fiction and film. These observations and stories all circulate around her own 1986 landmark text, Winter in the Morning.

In this essay, I discuss in detail two of the earliest such documentaries: Death Mills (1945), directed by Billy Wilder; and Nazi Concentration Camps (1945), directed by George Stevens. Both film-makers were able to get direct footage of the newly-liberated concentration camps from the U.S. Army. Wilder served as a Colonel in the U.S. Army’s Psychological Warfare department in 1945 and was tasked with producing a documentary on the death camps as well as helping to restart Germany’s film industry. I (...) next review the great French Holocaust documentary Night and Fog (1955), directed by Alain Resnais. This was a widely acclaimed film, winning the Prix Jean Vigo in 1956. Resnais employed a camp survivor (Jean Cayrol) to write the dialogue, and it is powerful, indeed, truly lyrical in places. The last film I review in the essay is a generally overlooked British Thames Television documentary, Genocide: 1941-1945 (1974), directed by Michael Darlow (and narrated by Sir Laurence Oliver). It was the first of the major Holocaust documentaries to focus on the point that the Nazi genocide targeted first and foremost the Jewish people, and to explore the development of Nazi racial theory, and the rise of the SS. (shrink)

Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and (...) using a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology. (shrink)

The aim of this paper is to map the reconfiguration and displacement of the emerging trauma of the Holocaust in the cinematic narratives of SFR Yugoslavia. The analysis of three nearly forgotten Yugoslav films of the 1960s - Killer on Leave, Witness Out of Hell and Smoke - follows Kansteiner?s thesis about the changes of Holocaust memorial narratives in the films shown on German television in the 1970s. Accordingly, I claim that the analyzed films position the trauma of the Holocaust (...) as a crime committed by others, over there, and then in the past. Further, they broaden the trauma to accommodate the diversified roles of victims, perpetrators, witnesses and bystanders, and help the Germans come to terms with the Nazi criminal legacy and their own role. The co-productional terms allow the films to balance the memory of the Holocaust as both anti-fascist and cosmopolitan, multidirectional within the real Yugoslav/German symbolic narrative space and its intrinsic poetics. (shrink)

What is the nature of the compulsion to life writing? How does the elongated project of writing a life change as it shifts moments and locales, and why do others respond so directly as readers of stories that are so specific and particular? Janina Bauman is known in English-speaking cultures for two books, Winter in the Morning and A Dream of Belonging. The first covers her girlhood in the Warsaw ghetto, and escape; the second, more fictionalized, deals with the period (...) leading up to exile from Poland after 1968. Janina Bauman spent 20 years of her life working in Polish film. This article reflects on the process of coming to autobiography, and making sense of the writing process and the reception process. (shrink)

Cinema has long played a crucial role in the way that societies remember and represent themselves. In the last quarter century, film has been an important medium in the public debate around the memory of the Holocaust and of Hiroshima; of the Algerian war for independence and of the Spanish Civil War; of the Allende legacy in Chile, the utopian dreams of 1968, and the aborted project of the German Democratic Republic; in identity formation in Palestine and in the (...) African diaspora. Hedges discusses the role of cinema within a global perspective that spans five continents, and proposes an original typology of cultural memory. In the process, she re-evaluates the contributions of major directors and uncovers hitherto neglected yet important works. The author develops her arguments in an approachable style that will encourage readers to rethink their own memories of films and to reflect on the way that cinema contributes to collective and cultural memory. The book's innovative approach should transform the way that we think of film and its social effects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Crises of Memory and the Second World WarPatrick HenryCrises of Memory and the Second World War, by Susan Rubin Suleiman; x & 286 pp. Cambridge: Harvard University Press, 2006. $29.95.This excellent study deals widely and deeply with the crises of memory and World War II but generally focuses on France, Vichy and the Holocaust. The author defines a crisis of memory as "a moment (...) of choice and sometimes of predicament or conflict, about remembrance of the past, whether by individuals or by groups" (p. 1). In the crises of memory she examines, "individual self-representation overlaps with... collective self-representation" in such a way that individual remembrance takes on collective significance. In nine rich chapters of textual analysis of mostly self-consciously literary texts, Suleiman deftly analyzes writers from the left and the right, two films of tremendous import, the nature of Holocaust memoirs, experimental writing and the concepts of trauma, amnesia, amnesty, testimony and forgiveness.In the first three chapters, Suleiman studies French memories of the Occupation, the collaborationist Vichy regime and the Resistance from 1945 to the present. These chapters depict the relations between history and memory and highlight the intriguing process of the evolution of public remembrance. Chapter one, "Choosing Our Past," surprises even the most careful reader of Jean-Paul Sartre's plays and novels, for it demonstrates brilliantly that, in several of his very early post-Vichy essays where he conveniently passes over in silence France's collaborationist past—even the major role played by Vichy police in the roundup and deportation of Jews—he helped create, along with de Gaulle and others, the myth of "Resistancialism," the founding myth of the post-Vichy [End Page 204] Period, the idea that all Frenchmen resisted the Nazis. In the words of Pierre Nora, Sartre and de Gaulle were "writing history from the point of view of the future" (p. 17).In chapter two, the author analyzes the 1997 "Aubrac Affair," exposing the problems that the Resistance heroes, Lucie and Raymond Aubrac, encountered when they were suddenly suspected of having betrayed Jean Moulin, whose 1964 enshrinement in the Pantheon is examined in chapter three within the context of the politics of national memory in France. Whereas Moulin's enshrinement marked the apex of the myth of "Resistancialism" in France, the "Aubrac Affair" comes fifty-four years after the betrayal of Jean Moulin and twenty-five years after the myth of "Resistancialism" began to fade. In treating the charges and countercharges in the "Aubrac Affair," which continues to fascinate because it illustrates "the problematic relation between public and private memory, and between history and fantasy in the construction of both an individual and a collective past" (p. 61), Suleiman highlights the problems of narrative verisimilitude and the narrative tendency toward heroic aggrandizement as well as its opposite, the desire to topple heroes.In chapter four, Suleiman studies Marcel Orphuls's Hotel Terminus: The Life and Times of Klaus Barbie, a four-hour documentary of great significance that remains relatively unknown when compared with his earlier film, The Sorrow and the Pity. Barbie was the infamous Nazi war criminal, known as "the Butcher of Lyon," who tortured and deported hundreds of Jews and tortured to death the great French Resistance hero, Jean Moulin. He was extradited from Bolivia to France in 1983 where he was tried for crimes against humanity in 1987. Orphuls's film exposes the conflicted memories and partisanships produced by WWII and the Holocaust in public and private spaces throughout Europe and the Americas. This chapter will undoubtedly convince others of the film's importance. It will certainly convince the reader of Suleiman's ability to read film. She explains in detail Orphuls's method of "dialectical montage" (already evident in The Sorrow and the Pity) whereby he cuts up individual interviews and juxtaposes them with parts of others that often qualify or simply contradict what has been stated. This is why his films are "interactive documentaries" that "force the viewer into uncomfortable subject positions in relation to the material" (p. 87). No voice-over or "voice of God" commentary comes to aid the viewer who is forced to evaluate critically... (shrink)

A significant portion of philosophical questions concerning the Holocaust revolve around the problem of representation, that is, how the event can be represented in a concept or in an image, if at all. This article argues that Nuit et brouillard (Night and Fog, 1956) by Alain Resnais and Inglourious Basterds by Quentin Tarantino (2009) respond to the problem of representation in an original way by challenging the conventions of their respective genre. The juxtaposition of past and present images in Nuit (...) et brouillard proposes a new form of remembering that liberates memory from the confines of the past in order not to lose sight of what is happening now. Inglourious Basterds, similarly, circumvents the problem of realistic representation by means of a counter-historical story in which Hitler is brutally killed in Paris. Pushing to the extreme the Americanisation that is typical of the Hollywood treatments of World War II, Tarantino offers a multi-layered spectacle of violence that culminates in the burning down of a film theatre as a symbol of Tarantino’s having done with representation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 3-6MuseSearchJournalsThis JournalContents[Access article in PDF]Whispers of the Flesh Essays in Memory of Pierre KlossowskiIan JamesRussell Ford Pierre Klossowski—novelist, essayist, painter, and translator—was one of the most startling, original, and influential figures in twentieth-century French intellectual culture. The older brother of the well-known painter Balthus and a close associate of Georges Bataille, Klossowski's diverse oeuvre includes novels, philosophical essays, and translations, as well as paintings and (...) films. Confined thus far to an undeserved but somehow fitting shadow existence in the margins and notes of theorists who have become mainstays of Anglo-American criticism, Klossowski's own work has increasingly become a focus of critical interest for its decisive contribution to the development of thought and aesthetics in France from the 1950s onward. Born in 1905, the eldest son of Polish émigrés, Klossowski spent his first ten years in Paris in an artistic milieu, heavily influenced by the neoimpressionism of figures such as Bonnard and Derain. His father, Erich Klossowski de Rola, was a painter and art historian, the author of an important monograph on Daumier. His mother, Baladine, was also a painter and trained under Bonnard. While still a teenager Klossowski was introduced to the German poet Rainer Maria Rilke, with whom he became close and who in turn introduced him to the novelist André Gide. At eighteen he became Gide's secretary and assisted him with the drafts of his famous novel Les faux-monnayeurs.Not until 1930, however, did Klossowski's own career properly begin, when he translated with Jean-Pierre Jouve a collection of poems by Friedrich Hölderlin. Throughout his life Klossowski was a prolific and influential translator from both German and Latin into French, translating amongst others Nietzsche, Kafka, Heidegger, and Wittgenstein from the German, and Suetonius, Virgil, Augustine, and Tertullian from the Latin. While working for the prominent Parisian psychoanalyst René Laforgue, Klossowski published his first philosophical essay on the Marquis de Sade in 1933 in the Revue française de la psychanalyse. Scandalized by Klossowski's Nietzschean-inflected psychoanalytic interpretation of Sade's writing, Laforgue dismissed Klossowski immediately. Throughout the 1930s Klossowski made a number of key friendships and acquaintances, most importantly with Georges Bataille, but also many others, including Walter Benjamin, André Masson, Jean Wahl, and Maurice Heine. During this period he published several articles and collaborated with Bataille on the review Acéphale and in the avant-garde experiment of the Collège de Sociologie (where, it is said, he would attend meetings dressed in a soutane). During the war years Klossowski trained in a number of Catholic seminaries, a vocation which ultimately failed and led to the writing of his first novel, La vocation suspendue. In the postwar period he married [End Page 3] a war widow, Denise Morin Sinclair, who had been interned in Ravensbrück for her activities in the Resistance and who became the model for Roberte, a key figure in much of Klossowski's fiction and painting. After the war Klossowski began to publish the influential works for which he will chiefly be remembered: literary-philosophical essays on Sade and Nietzsche (among others), as well as six important novels written between 1950 and 1965, La vocation suspendue (1950), the three works, originally published separately, which went on to form the Lois de l'hospitalité trilogy—Roberte ce soir (1954), La révocation de l'Édit de Nantes (1959) and Le souffleur ou le théâtre de société (1960)‚—and, finally, Le Baphomet (1965).Klossowski's seminal 1947 work, Sade mon prochain, was one of the first full-length literary and philosophical studies of Sade's work to be published in France and marked a decisive break from earlier accounts. Whereas earlier treatments of Sade had focused either on biographical detail or on the medical and psychosexual import of his life and writing, Klossowski's reading was concerned with the intertwined figures of law and transgression in Sade's work. After Sade mon prochain French intellectuals and writers... (shrink)

This article reads Jean-Luc Godard’s film essay Histoire du cinéma as a contemporary artistic endeavour to resist the synchronising, standardising time of global capital, the pervasive uniformity of the global super-present, brought about by today’s televisual and digital communications, which threatens to trivialise the different processes of memory and history, as well as art and culture in general. Taking its point of departure in Bernard Stiegler’s observation that the final stage of capitalism is the control and synchronisation of “available (...) brain time,” the article argues that Godard’s work opposes this control and synchronisation of our minds through an aesthetics of contemporaneity. The argument is based on the development of a theoretical framework that combines recent theories of contemporaneity with reflections on the politics of images. Focusing on the ways in which the Holocaust is remembered in Histoire du cinéma, the article deals with Godard’s image-political creation of temporal contemporaneity through a montage of clips of old films and newsreels, photographs, stills, images of paintings, new footage, advertisements, music, sound and voice recordings, textual citation, narration and commentary. (shrink)

With great sympathy for Roman Ingarden and his work, Edith Stein edited his book project The Literary Work Of Art. In the letters she exchanges with him shereflects on relationship between reality and ideality: she writes that those who do not see the world as a reality must be fools. The political events in the 1930s had an impact on phenomenology. While Edmund Husserl dissociates himself from his protégé Martin Heidegger with regard to the content of his philosophy as well (...) as with regard to his ideology, Edith Stein distances herself more and more from the phenomenological method, seeing it as removed from reality, and she eventually become a Carmelite nun. Roman Ingarden, on the other hand, reconsiders interpreting phenomenology as aesthetic theory. Literature and film are being re-analysed in terms of phenomenological mediality and as factors of human communication. (shrink)

This review studies the representation of director Louis Malle's experiences as a child in the Holocaust in the film Au Revoir les enfants. The film blurs the lines between the controversial categories of Holocaust participants as victims, bystanders, and perpetrators. This ambiguity and overlapping of roles in the film presents the question of treatment of Holocaust memory.

Without the support of imagination, one would not have the slightest idea of the cruel ‘real’ that has occurred in the Nazi extermination camps. Yet, in documentaries imaging the events of the Shoah, one runs the risk of missing their most basic property, namely their unimaginability. The mere idea that one is able to imagine the unimaginable comes down to a denial of the Shoah’s status as an event that defies our understanding. The unimaginable ‘real’ of the Shoah, however, is (...) not simply located in its object, in the cruelty of what happened in the camp. The Shoah makes us at the same time facing the unimaginable ‘real’ of the modern subject—the blind spot in our own identity. If we need imagination to deal with the Shoah, it is also because of an ungraspable ‘real’ in ourselves. This is why adequate Shoah representations, acknowledging their object as being beyond representation, include the same ‘beyond’ concerning the subject of the Holocaust memory. The essay makes this clear in an elaborated comparison of Claude Lanzmann’s 1985 film, Shoah, with some conceptual works of art from the late nineties—all of this ‘fine-tuned’ in a reflection upon Ingmar Bergman’s Persona. (shrink)

Without the support of imagination, one would not have the slightest idea of the cruel ‘real’ that has occurred in the Nazi extermination camps. Yet, in documentaries imaging the events of the Shoah, one runs the risk of missing their most basic property, namely their unimaginability. The mere idea that one is able to imagine the unimaginable comes down to a denial of the Shoah’s status as an event that defies our understanding. The unimaginable ‘real’ of the Shoah, however, is (...) not simply located in its object, in the cruelty of what happened in the camp. The Shoah makes us at the same time facing the unimaginable ‘real’ of the modern subject—the blind spot in our own identity. If we need imagination to deal with the Shoah, it is also because of an ungraspable ‘real’ in ourselves. This is why adequate Shoah representations, acknowledging their object as being beyond representation, include the same ‘beyond’ concerning the subject of the Holocaust memory. The essay makes this clear in an elaborated comparison of Claude Lanzmann’s 1985 film, Shoah, with some conceptual works of art from the late nineties—all of this ‘fine-tuned’ in a reflection upon Ingmar Bergman’s Persona. (shrink)

Editorial for issue 28 of Scandinavian Jewish Studies, 'Ethics and Aesthetics of Holocaust Memory'.

_Memory and Popular Film_ Edited by Paul Grainge Manchester, England: Manchester University Press, 2003 ISBN 071963744 hb 0719063752 pb 261 pp.

Shutter Island is a much-criticized and highly debated film. Scorsese, in fact, has been accused of distorting the facts and altering his historical sources. The depictions we see of the Holocaust are false, not based on visual documents, a mix of incompatible evidences and iconographies, an amalgam of irreconcilable informations and representations. The director has created a visual style and a sound design that vacillate between thriller and horror, drama and fantasy, while betraying the medial transparency of the reconstruction and (...) the ethical responsibility of interpretation. The viewer sees and believes in the images of the concentration camp of Dachau which are, in reality, dialectical imaginings of another scene: in these images, constructed according to the clinical and critical vision of Scorsese as cinephile, the past and the repressed return in the present. In our present too. On the one hand, in fact, the viewer participates empathically in the mental images relived and suffered by the protagonist in his post-traumatic hallucinations; on the other hand, the viewer is prompted to recall the pictures quoted or paraphrased from the archives of the imagery of cinema and of the photojournalism of war–in which Pontecorvo, Resnais, Fuller, George Stevens and John Huston live side by side with the RKO horror films of Jacques Tourneur and Mark Robson. For Scorsese, the images of the violence of war and of the horror of extermination cannot be linked to an origin or past that have definitively been concluded. They are more than recorded pictures or concrete evidences: they are clues and symptoms. They come from a conflictual and endless descent of which cinema is the living and ambiguous memory; they are the open wounds of an original struggle between human and inhuman and of man–they still survive, here and now. (shrink)

This article explores the rhetoric, and mass mediation, of the national Holocaust Memorial Day commemoration ceremony, as broadcast on British television. I argue that the televised national ceremonies should be approached as an example of multi-genre epideictic rhetoric, working up meanings through a hybrid combination of genres, author/animators and modes. Epideictic rhetoric has often been depreciated as simply ceremonial ‘praise or blame’ speeches. However, given that the topics of praise/blame assume the existence of social norms, epideictic also acts to presuppose (...) and evoke common values, in general, and a collective recognition of shared social responsibilities, in particular. My methodology draws on the Discourse-Historical Approach to Critical Discourse Analysis, given, first, its central prominence in analysing argumentative strategies in discourse and, second, the ways it facilitates a reflexive ‘shuttling’ between text-discursive features, intertextual relations and wider contexts of society and history. Here, I examine how a catastrophic past is invoked in speech and evoked through image and music, in response to the demands that uncertainty of the future ‘places upon one’s conscience’. (shrink)

This article considers why institutionalized commemoration of the Holocaust in the United Kingdom developed in the 1990s. It finds that the answer may have less to do with Jewish lobbies, or the influence of a “Holocaust Industry” and much, more to do with state political objectives in the ebb of the Cold War. It argues that by repackaging and ritualizing the Holocaust into a “sacred” event in which Western states themselves were absolved of responsibility but also sought to come to (...) Jewish rescue, it became an invaluable prop with which to promulgate Western values while at the same time acting as a moral alibi for interventions against anti-Western regimes. By focusing on the example of specifically British relations with Iraq, it is demonstrated that the moral high ground which Western states have attempted to milk from a Holocaust association is meretricious cant.Appalling and inhuman acts of genocide changed the course of history in the twentieth century. Millions of people perished or had their lives hideously damaged. This is an opportunity for us to recognize and act upon the lessons of the past. Our aim in the twenty-first century must be to work towards a tolerant and diverse, society which is based upon the notions of universal dignity and equal rights and responsibilities for all citizens. The Holocaust Memorial Day is a symbol of this. (shrink)

This paper examines how the production, content and reception of the film Antony van Leeuwenhoek (1924) influenced the historical framing of science. The film features microcinematography by the pioneering Dutch filmmaker Jan Cornelis Mol (1891–1954), and was part of a dynamic process of commemorating seventeenth-century microscopy and bacteriology through an early instance of visual re-creation – a new way of using scientific material heritage, and of enabling audiences to supposedly observe the world of microscopic organisms in just the same way (...) as the Dutch scientist Antoni van Leeuwenhoek (1632–1723) had observed them for himself. Knowledge transfer concerning material culture, around both historical and contemporary instruments, was the determining factor in the microcinematography practices applied in this film. The production and experience of the film also mirrored the seventeenth-century process of experimentation, playing with optics, and visualizing an entirely new and unknown world. Unlike other biographical science films of the 1920s, Antony van Leeuwenhoek featured abstract depictions of time and movement that allowed the audience to connect the history of science with microcinematography, contributing to the memory of Van Leeuwenhoek's work as the origins of bacteriology in the process. (shrink)

In response to the need for Holocaust curricula in Latvia, Latvians and Americans worked collaboratively to overcome the historical silence surrounding this event. During their project, Latvian curriculum writers worked with teachers and scholars at the United States Holocaust Memorial Museum. This descriptive analysis of the Latvians' experience with Museum Fellows revealed opportunities to learn from each other the complexities of teaching the Holocaust in a country viewed by some as collaborators and still somewhat anti-Semitic. Findings included depth of guidance, (...) values, and limits of innovative teaching methods, cross-cultural benefits, and continued collaboration. Recommendations for future efforts by post-Communist countries and American partners to develop curriculum on teaching a most complex and contentious aspect of history such as the Holocaust conclude the study. (shrink)

This article juxtaposes Anna Pawełczyńska’s writings with the works of Meir Dworzecki and Dov Levin. It will adopt a threefold analytical lens: first, using Pawełczyńska’s writings to reassess the conception of the early resistance that Dworzecki elaborated, second utilising Dworzecki’s viewpoint as a means to articulate Pawełczyńska’s perspective of Amidah, and then looking at Levin’s perspective on Pawełczyńska’s use of partisan testimony as a historical source. The main aims are to contribute to today’s debates on the Jewish resistance and the (...) relevance of partisanship in Holocaust historiography. The article also highlights some debates on the relationship between history and memory, as well as the necessity of rethinking Catholic-Jewish relations in Poland before and after the war. It presses for a new discussion of Dan Michman’s discourse of Jewish resistance, or Yehuda Bauer’s conceptualisation of it, and underscores the originality of Levin’s thought on memory as an essential tool for history. By way of a conclusion, the reader is invited to rethink the Polish World War II historiography and to read Rabbi Joseph Soloveitchik’s contribution about the blessings of the Amidah. (shrink)

This article focuses on analysis of the international controversy provoked by the posthumous awarding of the 1972 Peace Prize of the German Book Trade to the Jewish-Polish physician, pedagogue and writer Janusz Korczak (1878/79–1942). The controversy, which centred around the recipient of the prize money, can be identified as an important catalyst both for the popularisation of the Korczak movement and for the institutionalisation of Korczak research in Germany, particularly in the field of pedagogical research. The article investigates the (...) various interests and goals of memory policy actors in academia, business, politics and the media, and emphasizes the very strong link between Korczak's oeuvre and Holocaust remembrance, in the light of correspondences, manuscripts and press reports about this award ceremony. The mechanisms of the reciprocal transfer of attention between scholars and the public are examined from the perspective of memory studies and the history of science, particularly with regard to their specific influence on the establishment of German-language Korczak research. (shrink)

Future prize-winning writer Chava Rosenfarb was seventeen years old when she was incarcerated in the Łódź ghetto. In 1972, she published The Tree of Life [Der boym fun lebn] (1972), a fictional chronicle of that experience of the Holocaust. In this three-volume epic novel, Rosenfarb narrates and interlaces the fates of ten Jewish families from pre-war Poland in 1939 to the liquidation of the ghetto in 1944. The "Tree of Life" is revealed to be the name given by the "ghettoniks" (...) to an iconic cherry tree that stands in the shared backyard of a group of apartment complexes inhabited by many of the protagonists in the ghetto. Far from being an anecdotal presence, the cherry tree becomes the center of Rosenfarb's reflections on the impacts of the environment on one's physical and mental health. In this article, The Tree of Life is analyzed from an ecocritical perspective to examine the interconnections between genocidal intent and environmental precariousness. The first part considers the perpetration angle of the Łódź ghetto establishment as a Nazi tool of ecological violence through its excessive economic program of forced labour and its structural health determinants leading to epidemics. We will then investigate the characters' attempts to reconnect to nature through tangible acts of agency (the development of small gardens to grow one's own food) and symbolism (the cherry tree evoking the freedom of the outside world). The purpose of this article is to explore the links between genocide and ecocide within the framework of literary memory, while appreciating the relevance of Chava Rosenfarb's representations of the Holocaust to our era of renewed ecological awareness. (shrink)

La curiosité persistante des lecteurs de Primo Levi a pris souvent une forme interrogative et a suscité son engagement. Sa réponse à la question « êtes-vous retourné à Auschwitz ? » se trouve dans un appendice joint à l’édition scolaire de Se questo è un uomo longtemps après sa première parution1.La réponse est oui. Levi est retourné..

La curiosité persistante des lecteurs de Primo Levi a pris souvent une forme interrogative et a suscité son engagement. Sa réponse à la question « êtes-vous retourné à Auschwitz ? » se trouve dans un appendice joint à l’édition scolaire de Se questo è un uomo longtemps après sa première parution1.La réponse est oui. Levi est retourné..

The issue of Holocaust tourism might be a quite sensitive, but nevertheless very important topic in the domain of the Holocaust remembrance. As tourism is often associated with leisure activities, it is quite challenging to put tourism into darker contexts of history and death. Also, different people coming to the Holocaust-related places with different motives make the issue of designing educational tours even more complex. This paper will try to expose questions related to dark tourism, Holocaust tourism, auratic memorial places, (...) and to discuss ethical approaches to the Holocaust memory in the beginning of the 21st century. The text argues for the tourist experience as a memorable and educational tool with an active transformational potential, which will turn the visitor into a witness who further contributes to survival of the legacy of the Holocaust in the future. (shrink)

At the heart of the Israeli-Palestinian conflict rages a struggle between two foundational tragedies: the Jewish Holocaust and the Palestinian Nakba. The contending ways in which both events are commemorated is a known feature of the conflict. Less known are marginal attempts to jointly deliberate on them. This article draws on such attempts to theorize a postnational conception of memory. Deliberating on the Holocaust and the Nakba, it argues, challenges the way nationalism structures ‘our’ and ‘their’ relationship to the (...) past. While nationalism seeks the congruence of memory and territory, postnationalism challenges this congruence. Doing so entails extending the communicative bounds of memory beyond national members, disrupting the territorialization of memory along national lines, and critically revising national narratives in light of a cosmopolitan memory. The article explores these three dimensions and offers a typology that differentiates the way nationalism and postnationalism mediate our relationship to the past. (shrink)

This article analyzes the distinctive forms that collective memories take in the age of globalization. It studies the transition from national to cosmopolitan memory cultures. Cosmopolitanism refers to a process of `internal globalization' through which global concerns become part of local experiences of an increasing number of people. Global media representations, among others, create new cosmopolitan memories, providing new epistemological vantage points and emerging moral-political interdependencies. The article traces the historical roots of this transformation and outlines the theoretical foundations (...) for the emergence of cosmopolitan memories through an examination of how the Holocaust has been remembered in Germany, Israel and the USA in the course of the last fifty years. It is precisely the abstract nature of `good and evil' that symbolizes the Holocaust, which contributes to the extra-territorial quality of cosmopolitan memory. As such, memories of the Holocaust contribute to the creation of a common European cultural memory. (shrink)

Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational (...) cinema : globalized identity and narrative recursivity in City of God -- Conclusion: remembering to forget: the catachreses of modernity. (shrink)

Viewed through the prism of gender, race and generational change, memories of the Holocaust acquire a dynamic and a salience that differ substantially from one group to the next. This article examines the role of gender in sustaining and reconfiguring such memories in Germany; it argues that female victims and perpetrators are moving towards common ground in processing Second World War experiences as they anticipate their own deaths. Ranging from active collaborators to bold resistance fighters, some women proved both deeply (...) reflective, others almost oblivious to the horrors occurring around them, as revealed by (auto)biographical texts. ‘Women under the Nazis’ were not a subordinate, uninformed mass, easily exploited by a megalomaniacal patriarchal establishment; still, their many roles were rated as ‘insignificant’ in configuring the master narrative. The unequal treatment accorded women in the 1940s still shapes the unequal slave-labor compensation accorded women half a century later. This raises new questions about the need to re-establish communication between the generations for the purpose of transmitting lessons of world-historical magnitude linked to the Holocaust. (shrink)

Post-communist East-Central Europe is witnessing a clash of memories focused on its recent past. Whereas Western memory is constructed around the “politics of regret” and responsibility-assumption vis-à-vis the Holocaust, Eastern memory focuses to a large extent on responsibility-attribution for the trauma of communist rule. These are comparable traumatic experiences, but due to different “cognitive mapping” and different mnemonic social frameworks, Eastern memory has produced a post-mnemonic framework that allows for a creeping justification of interwar Radical Right ideologies; (...) for the transmogrification some of their standard-bearers into anti-communist heroes and martyrs; and the obfuscation World War II history. In some countries, religion and its past representatives are used for the same purpose. (shrink)

The present paper challenges the view, rooted in the argument that groups lack a mind in the Davidsonian sense, that collective responsibility may be assessed mainly according to pragmatic criteria. I argue in favour of a kind of mental web of holistic collective attitudes and mindsets in the weak sense. I further connect this mental web to the dimension of collective responsibility via a reflection involving the existentialist dimension of Jaspers’ dilemma of seeing individuals in the position of having to (...) embrace not only those aspects of the collective identity that make them proud, but also those for which they feel guilt. My argument is also inspired by Sartre’s view of a task reflected in the individual mind by the group as a special kind of subjectivity living ‘for’ and ‘through’ individuals. I illustrate my argument with the 2018 controversies surrounding the approach of Poland’s political leaders to the Polish continuity of collective identity and collective responsibility. (shrink)

The book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. It is focused on interacting and engaging with remembering through different memory sites.Travelling along a timeline of memory Tanja Sakota takes us on a journey through South Africa Germany Poland and Bosnia/Herzegovina. Using a camera and short film format Sakota hosts several workshops in different countries focused on interacting and engaging with remembering through different (...) memory sites. The author sits at the core but the book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. Questions that underpin the uncovering of memories are: How does one use a camera to make the invisible visible? How does one remember events that one hasnt necessarily experienced? How does one use film to interrogate the past from the future present? As the journey evolves workshop participants and readers alike enter into a conversation around practice-based research autoethnography and film. (shrink)

As critics, a vital part of our task is to examine the ways in which language mystifies and reveals, serves and disserves human desires and aspirations. In that spirit we feel that engaging the leading Palestinian intellectual in the United States in a critical dialogue is a vital task. Although this reply takes issue with several points in Edward Said’s paper, “An Ideology of Difference” , our critique is intended as part of the struggle for increased mutual empathy. We in (...) no way wish to deny Said’s claims regarding the legitimacy of Palestinian aspirations, nor the validity of Said and other Palestinian intellectuals’ efforts to counter the destructive military, political, and ideological forces that stand in the way of the Palestinians’ achievement and self-determination. Said’s critiques of the idea that Israel is somehow above criticism, and of the elimination of the Palestinians from “Western” discourse, are both valid.2We wish to make our own perspective clear at the start. We are both Jewish nationalists. We believe that it’s a good thing to be Jewish. We believe that those of Jewish heritage who fail to explore and re-create that heritage lose something of themselves. We think that Judaism still has a role to play in the healing of the world. By making this statement, we are not claiming that our views are identical,3 nor that they are the same from day to day, nor, a fortiori, that they are identical or even similar to those of many or most other people who would define themselves in that way. This, we note, touches on one of the aspects of Said’s paper of which we are most critical: The statements that he makes at several points, which seem to reify Zionists and Zionism into one model of theory and social practice, as well as his occlusion of the fact that other options for Jewish self-renewal were obviated by genocide or Soviet repression. 2. We are hardly alone among Jewish intellectuals in concurring with this point. Compare the recent comments by the American Jewish leader Rabbi Arthur Hertzberg:In memory of the Holocaust we have been reminded by you that silence is a sin. You have spoken out against indifference and injustice. Why are you making a special exception of Israel? Do you think that our silence will help Israel? The texts that we study and restudy teach the contrary. Daniel Boyarin is associate professor of midrash at Bar-Ilan University. His articles on midrash and theory have appeared in Poetics Today and Representations, and a monograph on the subject is forthcoming this year. Jonathan Boyarin is a fellow of the Max Weinreich Center at the VIVO Institute for Jewish Research. He edited and translated, with Jack Kugelmass, From a Ruined Garden: The Memorial Books of Polish Jewry, and is currently completing an ethnography of Polish Jews in Paris. He is active in the International Jewish Peace Union. (shrink)

Under the sign of Libitina, the Roman goddess of burials and funerals invoked in Horace's Ode 3.30, this essay provides a celebratory introduction to the work of the Polish Jewish poet Zuzanna Ginczanka, situating her within the cultural history of commemoration and consecration of the dead in Poland and the painful confrontation with the unburied dead of the Holocaust, of whom Ginczanka is one. Her best-known poem, a bitter parody of Juliusz Słowacki's “My Testament,” turns the Horatian notion of (...) poetry as the most precious and enduring legacy on its head by construing the author's meager household possessions, looted after her denunciation to the Nazis in wartime, as the only offering her fellow citizens will cherish, while the text itself was actually brought as evidence in a postwar trial of the Polish woman she accuses in the poem and contributed to a conviction for collaboration. Using historian Thomas Laqueur's terms necro-sociability and necronominalism as competing impulses in a seemingly intractable struggle, this essay argues that it is possible to find in Ginczanka's joyful defiance of traditional accounts of body and spirit the point of departure for a poetics that claims a new freedom of imagination in the attempt to transcend the most stubborn of memory wars. (shrink)

ArgumentThis paper explores the relationship between the medium of motion-picture film and the representation of autobiographical memory during the middle decades of the twentieth century. The paper argues that a reciprocal relationship developed between film and memory, in which film was understood as an externalized form of memory, and memory an internalized record of personal experience similar in many respects to film. Memory was often represented as an object-like entity, preserved in stable form within the (...) body, and able to be extracted by the right stimulus or trigger. A particularly important community in which this representation was developed was psychotherapeutic practitioners with psychoanalytic orientations, particularly during and shortly after the Second World War. In special circumstances, therapists and others claimed, records of past life events could be projected, film-like, onto the screen of an individual's conscious, replaying previous experiences in real time. The paper develops a social historical account of this relationship, and reflects on its significance for the history of selfhood in the twentieth century. (shrink)