Introduction

Notes

Introduction

1. The project was initiated in 2005 by pupils of the Rudolf-Virchow High School in Berlin-Marzahn, based on the information given by the teacher of the project, Regina Kittler, and one of the participants, Anne Leutzsch. See also the article “Spurensuche zu jüdischen Schicksalen,” in Berliner Zeitung (January 21, 2007). 2. Quoted from the documentary 30 Monuments to Raoul Wallenberg by Peter R. Meyer (Sweden, 2001). Frank Vajda became an important figure in keep- ing the Wallenberg memory alive. For more information on Vajda, see the article “Han räddades av Raoul Wallenberg” by Mats Carlbom, DN (July 22, 2007), 22–3. 3. Within the title of this study, the term “contemporary” refers only to the time period the monuments came by. I am aware of the term’s weakness. However, the term is suitable to encompass all monuments created after World War II, including those in 1949. 4. See Tim Cole’s article “Turning the Places of Holocaust History into Places of Holocaust Memory: Holocaust Memorials in Budapest, Hungary, 1945–95,” in Shelley Hornstein and Florence Jacobowitz (eds), Image and Remembrance: Representation and the Holocaust (Bloomington, 2003), 272–87. 5. See Paul Levine’s article, “Whither Holocaust Studies in Sweden? Some Thoughts on Levande Historia and Other Matters Swedish,” in Holocaust Studies: A Journal of Culture and History 11 (1) (2005), 75–98, here 76. 6. See, for example, Janet Blatter, Art of the Holocaust (London, 1982). 7. In this context, I mention Art Spiegelman’s comic Maus: A Survivor’s Tale (New York, 1986), and the exhibition Mirroring Evil: Nazi Imagery/Recent Art that was shown at the Jewish Museum in New York in 2002. 8. See Thomas Lutz, “Einleitung,” in Wulff E. Brebeck (ed.), Über-Lebens- Mittel. Kunst aus Konzentrationslagern und in Gedenkstätten für Opfer des Nationalsozialismus (Marburg, 1992), 7–11. 9. Quoted from Tom Rogers, “An Architecture of Sanctuary,” in Michigan Alumnus (Early Spring 1996), 34–6, here 34. 10. In addition, Eva Palmqvist wrote about Ortwed’s monument in her university major’s thesis (32 pages) I offentlighetens tjänst: En studie av Raoul Wallenbergs Torg och tre hjältars monument vid Nybroviken (Stockholm, 2002). 11. The address of the IRWF is [reaccessed July 21, 2008]. The address of the Raoul Wallenberg föreningen (updated in the meantime) is, www.raoulwallenberg.se> [reaccessed July 21, 2008]. 12. This is, for example, the case for the unburned bust created by Tove Hansen and Tani Abdulkader in 1999, stored in a repository of the Besættelsemuseet (The Museum of Occupation) in Århus, Denmark, or

364364

PPL-UK_HMF-Schult_Notes.indd 364 12/13/2011 11:43:53 AM Notes 365

for the small-scale marble sculpture showing Wallenberg at 77, created by US artist Hal Goldberg, which seems to be in private property in Irvine, California. For basic information and an image of the sculpture, see the homepage of The International Raoul Wallenberg Foundation (= IRWF) [reaccessed July 21, 2008]. 13. As it is, for example, in the case with the St John Ambulance Annual Raoul Wallenberg Award of Brighton, a presentation of a Raoul Wallenberg trophy linking Wallenberg with the life-saving work of the St John Ambulance service. See the articles “Remembering Wallenberg,” in Jewish Chronicle (August 18, 1989) or “Wallenberg’s 80th birthday celebrated with care award” by Cecily Woolf in Jewish Chronicle (August 14, 1992). The same applies also for the Ottawa Raoul Wallenberg Award Lending Hand, shown on the homepage of David Kilgour, member of the Canadian parliament: [reaccessed July 21, 2008], or the small-scale bronze sculpture Homage to Raoul Wallenberg, created at the request of the IRWF by Argentine artist Norma D’Ippólito. See the homepage of IRWF: and of the artist [both reaccessed July 21, 2008]. 14. See Gundolf Winter, Zwischen Individualität und Idealität: Die Bildnisbüste. Studien zu Thema, Medium, Form und Entwicklungsgeschichte (Stuttgart, 1985), 17. 15. Unfortunately, I learned about Károly Veress’s Freedom in Rock Island, Illinois, only long after my study trip to the US. Therefore I did not have the chance to see the sculpture on the spot. 16. In the following, I mainly refer to Maria Zimmermann, Denkmalstudien: Ein Beitrag zum Verständnis des Persönlichkeitsdenkmals in der Bundesrepublik Deutschland und West-Berlin seit dem Zweiten Weltkrieg (Münster, 1982), especially “Zur Geschichte des Individualdenkmals bis 1945,” 11–41. My predominant use of German literature seems “justified by that country’s contribution to the developments of the 1980s and 1990s. Since the mid- 1980s, German artists and critics have been at the forefront of the debate about public monuments.” See Sergiusz Michalski, Public Monuments: Art in Political Bondage 1870–1997 (London, 1998), 203–4. 17. See Zimmermann, Denkmalstudien, 13. 18. Ibid., 16. 19. See Peter Bloch, “Heroen der Kunst, Wissenschaft und Wirtschaft: Zierbrunnen und ‘freie’ Kunst,” in Eduard Trier and Willy Weyres (eds), Kunst des 19. Jahrhunderts im Rheinland, vol. 4 (Düsseldorf, 1980), 281–348, here 281. 20. Zimmermann, Denkmalstudien, 84. 21. Felix Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit (Stuttgart, 1995), 123. 22. Peter Springer, “Rhetorik der Standhaftigkeit: Monument und Sockel nach dem Ende des traditionellen Denkmals,” in Wallraf-Richartz-Jb. (48/49) (1987/88), 365–408, here 373–4. 23. See Werner Hofmann, Die Plastik des 20. Jahrhunderts (Frankfurt/Main, 1958), 16.

PPL-UK_HMF-Schult_Notes.indd 365 12/13/2011 11:43:53 AM 366 Notes

24. Wolfgang Eberl, “Sind Denkmäler heute möglich?,” in Ekkehard Mai and Gisela Schmirber (eds), Denkmal—Zeichen—Monument: Skulptur und öffentli- cher Raum heute (Munich, 1989), 35–7, here 36. 25. See Peter Bloch, “Denkmal und Denkmalkult,” in Peter Bloch, Sibylle Einholz and Jutta von Simson (eds), Ethos und Pathos: Die Berliner Bildhauerschule 1786–1914 (Berlin, 1990), 191–205, here 193–4. 26. See Hans-Ernst Mittig, “Die Entstehung des ungegenständlichen Denkmals,” in Evolution générale et développements regionaux en histoire de l’art 2 (1972), 469–74, here 471 (Actes du XXII: Congrès international d’histoire de l’art, Budapest 1969). 27. Unfortunately, there exists no extensive, general study on the genre of non- representational personal monuments. I will predominately refer to the dissertations of Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, and Zimmermann, Denkmalstudien. 28. Hofmann, Plastik des 20. Jahrhunderts, 83. All original German and Swedish quotations within this study were translated by the author. 29. Johannes Langner, “Denkmal und Abstraktion: Sprachregelungen der monumentalen Symbolik im 20. Jahrhundert,” in Mai and Schmirber (eds), Denkmal—Zeichen—Monument, 58–68, here 59. 30. Zimmermann, Denkmalstudien, 40. 31. Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 132. 32. Zimmermann, Denkmalstudien, 38. 33. Le Normand-Romain, Antoinette, Sculpture. The Adventure of Modern Sculpture in the Nineteenth and Twentieth Centuries (New York, 1986). See also Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 137–58. Tatlin’s model will be taken up again in Chapter 7, the section on Ernst Neizvestny’s monument. 34. According to Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 285ff. 35. See Jack Burnham, Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (London, 1968), 44. 36. Zimmermann, Denkmalstudien, 31. 37. See Hans-Ernst Mittig, “Das Denkmal,” in Werner Busch (ed.), Funkkolleg Kunst. Eine Geschichte der Kunst im Wandel ihrer Funktionen (Munich, 1987), 532–58, here 549. 38. See Ekkehard Mai and Gisela Schmirber, “Mo(nu)ment mal: Denkmal?,” in Mai and Schmirber (eds.), Denkmal—Zeichen—Monument, 7–12, here 7. 39. See Martin Damus, Kunst im 20. Jahrhundert: Von der transzendierenden zur affirmativen Moderne (Reinbek/Hamburg, 2000), 235. 40. Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 291. 41. Langner, “Denkmal und Abstraktion,” 60. 42. Michalski, Public Monuments, 156. Some feared that also non-representational monuments could be used ideologically in connection with the Cold War. However, according to Reuße, non-representational monuments were hardly suitable to be appropriated by any political ideology because of the art form’s inherent fundamental “tenet of liberal ideology.” 43. Based on Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 287. 44. Christoph Heinrich, Strategien des Erinnern: Der veränderte Denkmalbegriff in der Kunst der achtziger Jahre (Munich, 1993), 19. 45. Ibid., 20ff. 46. Zimmermann, Denkmalstudien, 51.

PPL-UK_HMF-Schult_Notes.indd 366 12/13/2011 11:43:53 AM Notes 367

47. See Heinrich, Strategien des Erinnern, 162. 48. See Stefanie Endlich and Thomas Lutz, Gedenken und Lernen an historischen Orten: Ein Wegweiser zu Gedenkstätten für die Opfer des Nationalsozialismus in Berlin (Berlin, 1995), 105. 49. Heinrich, Strategien des Erinnern, 162. 50. Lars Berggren, Giordano Bruno på Campo die Fiori: Ett monumentprojekt i Rom 1876–1889 (Lund, 1991), 255. 51. Heinrich, Strategien des Erinnern, 162. 52. Ibid., 163. 53. Lisa R. Saltzman, Art after Auschwitz: Anselm Kiefer and the Possibilities of Representation (Cambridge, 1994), 252. 54. See, for example, James E. Young, At Memory’s Edge: After-images of the Holocaust in Contemporary Art and Architecture (New Haven/London, 2000); Young, The Changing Shape of Holocaust Memory (New York, 1995); Young, The Art of Memory: Holocaust Memorials in History (New York, 1994). 55. See Hans-Georg Gadamer, “Wort und Bild—‘so wahr, so seiend,’” in Jean Grondin (ed.), Gadamer Lesebuch (Tübingen, 1997), 172–98, here 195. Gadamer refers to architecture, which shares with monuments the charac- teristic of having a purpose, a function, in contrast to the other arts. See also Gadamer, “Zur Fragwürdigkeit des ästhetischen Bewußtseins,” in Gadamer, Gesammelte Werke, vol. 8 (Ästhetik und Poetik: Kunst als Aussage) (Tübingen, 1993), 9–17, here 12. 56. See Hans-Georg Gadamer, “Ästhetik und Hermeneutik,” in Grondin (ed.), Gadamer Lesebuch, 112–19. 57. Of course, many doubt the power of monuments and would consequently disagree with me, as certainly Jochen Spielmann, “Steine des Anstoßes— Denkmale in Erinnerung an den Nationalsozialismus in der Bundesrepublik Deutschland,” in kritische berichte (3) (1988), 5–16, here 16. 58. See Hubertus Adam, “Bestimmtheit, Unbestimmheit, Unsichtbarkeit: Wirkungen und Wirkungsbedingungen neuester NS-Mahnmäler,” in Eberhard Grillparzer (ed.) Denkmäler—ein Reader für Unterricht und Studium (Hanover, 1994), 26–39, here 26. 59. See Hans-Georg Gadamer, “Aesthetics and Hermeneutics,” in Gadamer, Philosophical Hermeneutics (Berkeley, 1976), 95–104, here 100. 60. James E. Young, The Texture of Memory: Holocaust Memorials and Meaning (New Haven/London, 1993), 12. Young’s emphasis. 61. See Jean Grondin, Einführung zu Gadamer (Tübingen, 2000), 77. 62. See Hans-Georg Gadamer, “Bildkunst und Wortkunst,” in Gottfried Boehm, Was ist ein Bild? (Munich, 1994), 90–104, here 94. 63. See Peter Bloch, “Vom Ende des Denkmals,” in Friedrich Piel and Jörg Traeger (eds), Festschrift Wolfgang Braunfels (Tübingen, 1977), 25–30, here 25. 64. See Oskar Bätschmann, “Anleitung zur Interpretation: Kunstgeschichtliche Hermeneutik,” in Hans Belting, Heinrich Dilly, Wolfgang Kemp et al. (eds), Kunstgeschichte: Eine Einführung (Berlin, 1996), 5th rev. edn, 192–222, in particular 219. 65. My approach is based on Hans-Georg Gadamer’s hermeneutics as developed in Wahrheit und Methode (Truth and Method, first published in 1960) as well as in his other essays on art and aesthetics. Hans-Georg Gadamer, Truth and Method (London, 1989), 2nd rev. edn, xxii.

PPL-UK_HMF-Schult_Notes.indd 367 12/13/2011 11:43:53 AM 368 Notes

66. Gadamer, Philosophical Hermeneutics, 98. 67. Hans-Georg Gadamer, “On the Circle of Understanding,” in John M. Connolly and Thomas Keutner (eds), Hermeneutics Versus Science? Three German Views: Essays by H.G. Gadamer, E.K. Specht, W. Stegmüller (Notre Dame, IN, 1988), 68–78, here 69. 68. See Hans-Georg Gadamer, “Wort und Bild—‘so wahr, so seiend,’” in Grondin, Gadamer Lesebuch, 172–98, here 172. 69. See Hans-Georg Gadamer, “Aesthetics and Hermeneutics,” in Gadamer, Philosophical Hermeneutics, 95–104, here 98. 70. Gadamer, “On the Circle of Understanding,” 68. 71. Ibid. 72. Hans-Georg Gadamer, “Was ist Wahrheit,” in Gesammelte Werke, vol. 2: Hermeneutik: Wahrheit und Methode. Ergänzungen; Register (Tübingen, 1999), paperback of the 6th rev. edn of 1990, 44–56, here 47, quotation 48. 73. Here I borrow from Emil Staiger (who in his turn followed Heidegger, not Gadamer) and adopt his use of the hermeneutic circle, but I modify the approach, of course, by applying it to art history instead of literature. Staiger, “Die Kunst der Interpretation,” in idem, Die Kunst der Interpretation: Studien zur deutschen Literaturgeschichte (Zurich, 1967), 5th unchanged edn, 9–33, 11, 12ff. 74. See Hans-Georg Gadamer, “Lesen ist wie Übersetzen,” in Gadamer, Gesammelte Werke, 279–85, here 280. 75. See Gadamer, “Wort und Bild—‘so wahr, so seiend,’” in Grondin, Gadamer Lesebuch, 186. 76. See Staiger, Die Kunst der Interpretation, 19. 77. These definitions correspond to those presented in academic studies on this field, for example, in the various articles in the publication Denkmal— Zeichen—Monument by Mai and Schmirber; see also Stefanie Endlich, “The Monument as a Work of Art and Sign of Remembrance,” in Daidalos (49) (1993), 90–9, here 92. I follow particularly Kluxen, “Denkmäler setzen— Identität stiften,” 30–2, and Bloch, “Vom Ende des Denkmals,” 25–30, here 25. For a more extensive study of the use of the term see Helmut Scharf, “Denkmalbegriff,” in Kleine Kunstgeschichte des deutschen Denkmals (Darmstadt, 1984), 5–19. 78. See Berggren, Giordano Bruno på Campo die Fiori, 22. 79. See Winter, Zwischen Individualität und Idealität, 43. 80. The following is mainly based on ibid., and especially the introduction, 7–19. 81. See Gottfried Boehm, Bildnis und Individuum: Über den Ursprung der Porträtmalerei in der italienischen Renaissance (Munich, 1985), 34. 82. See Ursula Merkel, Das plastische Porträt im 19. und frühen 20. Jahrhundert. Ein Beitrag zur Geschichte der Bildhauerei in Frankreich und Deutschland (Heidelberg, 1992), 13. 83. Rudolf Preimesberger, Hannah Baader, and Nicola Suthor (eds), Porträt (Berlin, 1999), (Geschichte der klassischen Bildgattungen in Quellentexten und Kommentaren; 2nd vol.), 17. 84. The phenomenon that those represented are recognized as the historical persons without having seen them or any other image of them is described by Boehm, Bildnis und Individuum, 28, 30. 85. Christa Nickel, Imre Varga im Gespräch (Bonn/Budapest/Monte Pitoro, 1995), 49.

PPL-UK_HMF-Schult_Notes.indd 368 12/13/2011 11:43:53 AM Notes 369

86. See Wolfgang Müller-Funk, “Anatomie des Helden,” in Wolfgang Müller-Funk and Georg Kugler (eds), Zeitreise Heldenberg: Lauter Helden, Catalog of the Niederösterreichische Landesausstellung (Horn/Vienna, 2005), 3–13, here 11. 87. See Winter, Zwischen Individualität und Idealität, 13. 88. See Gadamer, “On the Circle of Understanding,” especially 75.

1 The Monuments’ Protagonist

1. Raoul Wallenberg (about architecture) in a letter to his grandfather dated April 9, 1932, in Gustaf Söderlund and Gitte Wallenberg (eds), Älskade farfar: Brevväxling mellan Gustaf och Raoul Wallenberg 1924–1936 (Stockholm, 1987), 55. All quotations used in this text are taken from the English translation published as Letters and Dispatches 1924–1944, trans. by Kjersti Board (New York, 1995), here 48. 2. Miksa Domonkos recalls Wallenberg with these words as early as June 21, 1945. Domonkos was Executive Chief Secretary of the Budapest Jewish Community, which arranged a ceremonial meeting, whose only subject was a tribute to Wallenberg. Quoted from Jenö Lévai, Raoul Wallenberg: His Remarkable Life, Heroic Battles and the Secret of his Mysterious Disappearance, trans. Frank Vajda (Melbourne, 1989) [Hungarian original 1948], 237. 3. Tanja Schult, “Review of Levine, Raoul Wallenberg in Budapest: Myth, History and Holocaust,” H-Soz-u-Kult, H-Net Reviews. May, 2010. www.h-net.org/ reviews/showrev.php?id=30372: cp. also Ingrid Carlberg’s review in Dagens Nyheter (April 4, 2010). 4. See Krister Wahlbäck, “Allt förr ivrig nedskrivning av en hjälte,” in SvD (April 25, 2004), 5. See further Ulf Zander’s review of Lajos’s dissertation in Scandinavian Journal of History 30 (3/4) (2005), 350–3. 5. The author’s name appears in different spellings: Jenö or Jeno, sometimes even Eugene, and Lévai or Levai. Jenö Lévai also collected and published material concerning the fate of Hungarian Jewry. According to Braham, Lévai is “a prolific Hungarian-Jewish journalist,” and one of the most important early authors, not only for Wallenberg but also for the Hungarian Holocaust. Note the numerous entries of works by Lévai in Randolph L. Braham, The Hungarian Jewish Catastrophe: A Selected and Annotated Bibliography, 2nd rev. and enlarged edn (Boulder, 1984), 451, quotation 85. 6. The Swedish version is not an exact translation of the Hungarian original. See Jenö Lévai, Raoul Wallenberg: Hjälten i Budapest (Stockholm, 1948). The slightly different versions are, however, not of interest here. According to the translator of the Hungarian version into English, Professor Dr Frank Vajda (Melbourne, Australia), the English version is “verbatim to the original,” plus extra notes and an index. Email from Frank Vajda to the author (November 26, 2002). 7. See Lévai, Wallenberg, (Melbourne, 1989), 259ff. 8. Per Anger in his foreword to Lévai, Wallenberg. See also William D. Rubinstein, The Myth of Rescue: Why the Democracies Could Not Have Saved More Jews from the Nazis (London, 2000). Rubinstein, too, regards Lévai’s book as “unques- tionably the most comprehensive account” in terms of Wallenberg, 252 (note 40).

PPL-UK_HMF-Schult_Notes.indd 369 12/13/2011 11:43:53 AM 370 Notes

2 Raoul Wallenberg’s Life, Mission, and Fate

1. See Lauer’s letters to Marcus Wallenberg, April 20, 1945, and to Jacob Wallenberg, September 29, 1944, in Gert Nylander and Anders Perlinge, Raoul Wallenberg in Documents, 1927–1947 (Stockholm, 2000), 100, 101, 106, 107. 2. Elenore Lester, Wallenberg: The Man in the Iron Web (Englewood Cliffs, NJ, 1982), 62. See also Lena Einhorn, Handelsresande i liv: Om vilja och vankelmod i krigets skugga (Stockholm, 1999), 173. 3. See Christoph Gann, Raoul Wallenberg: So viele Menschen retten wie möglich (Munich, 1999), 19. 4. The Nazis’ will for a “Final solution” of the “Judenfrage” was not the only reason for the occupation of Hungary, as is often stated; see Jenö Lévai, “The Hungarian Deportations in the Light of the Eichmann Trial,” in Nathan Eck and Arieh Leon Kubovy, Yad Vashem Studies, vol. V (Jerusalem, 1963), 69–103, here 72ff. and 88. 5. According to Per Anger, Med Raoul Wallenberg i Budapest: Minnen från krig- såren i Ungern (Stockholm, 1985), 84, deportations on a smaller scale contin- ued; see also Jenö Lévai, The Black Book on the Martyrdom of Hungarian Jewry, ed. by Lawrence P. Davis (Zurich, 1948), 249, 254ff., 302. See also Gann, Wallenberg, 37, 43, 48. 6. For the early phase of the rescue attempts, see Paul A. Levine, From Indifference to Activism: Swedish Diplomacy and the Holocaust 1938–44, 2nd rev. and enlarged edn (Uppsala, 1998), chapter 12, 246ff., 258, 264; see further Lévai, Wallenberg, (Melbourne, 1989), 46ff., or idem, The Black Book, 227ff., 274ff. 7. Randolph L. Braham, The Politics of Genocide: The Holocaust in Hungary, 2 vols (New York, 1981), here vol. 2, 1085. 8. See Gann, Raoul Wallenberg, 19. 9. Harvey Rosenfeld, Raoul Wallenberg, rev. edn (New York, 1995), 66. 10. See Anger, Med Wallenberg i Budapest, 62. 11. For the outcome of the Swedish part, see Raoul Wallenberg: Report of the Swedish–Russian Working Group (Stockholm, 2000). 12. The following is based on Ett diplomatiskt misslyckande: Fallet Raoul Wallenberg och den svenska utrikesledningen. Kommissionen om den svenska utrikesledningens agerande i fallet Raoul Wallenberg (SOU 2003: 18) (Stockholm, 2003). Jan Lundvik, Swedish Ambassador to Hungary from 1994 to 1998, helped elucidate this complicated matter. Even as early as 1946, in his book Raoul Wallenberg, the Austrian-Jewish journalist Rudolph Philipp, who had immi- grated to Sweden, had criticized the Swedish government for negligence.

3 Raoul Wallenberg in Historiography and Popular Imagination

1. Rudolph Philipp, Raoul Wallenberg: Diplomat, kämpe, samarit (Stockholm, 1946); John Bierman, Rigtheous Gentile: The Story of Raoul Wallenberg, Missing Hero of the Holocaust (London, 1981); Rosenfeld, Raoul Wallenberg [1982]; Lester, Wallenberg. In this context other (even earlier published) popular books should be mentioned: Hans and Elsa Villius, Fallet Raoul Wallenberg (Stockholm, 1966); Eric Sjöquist, Affären Raoul Wallenberg (Stockholm,

PPL-UK_HMF-Schult_Notes.indd 370 12/13/2011 11:43:53 AM Notes 371

1974); idem, Raoul Wallenberg: Diplomaten som försvann (Stockholm, 1981); Frederick E. Werbell and Thurston Clarke, Lost Hero: The Mystery of Raoul Wallenberg (New York, 1982); Andres Küng, Raoul Wallenberg: Igår, idag (Stockholm, 1985); Eric Sjöquist, Raoul Wallenberg (Stockholm, 1985); Danny Smith, Wallenberg: Lost Hero (Basingstoke, 1986); Jacques Derogy, Raoul Wallenberg: Le juste de Budapest (Paris, 1994); Eric Sjöquist, Dramat Raoul Wallenberg (Stockholm, 2001). 2. Anger, Med Wallenberg i Budapest; Lars G. Berg, Vad hände i Budapest (Stockholm, 1946, republished in 1983). 3. As Wilhelm Agrell, however, demonstrates, it is most unlikely that Wallenberg had been a spy. See his Skuggor runt Wallenberg: Uppdrag i Ungern 1943–1945 (Lund, 2006), 19ff. and 270ff. 4. The quotation is taken from Letters and Dispatches, 273–4. The original letter of August 6, 1944 was written in German. 5. See, for example, Rubinstein, The Myth of Rescue, 191ff., or Levine, From Indifference to Activism, 248, 277, or Andrew Handler, A Man for All Connections: Raoul Wallenberg and the Hungarian State Apparatus, 1944–45 (Westport, CT, 1996). 6. Peter H. Gibbon, A Call to Heroism: Renewing America’s Vision of Greatness (New York, 2002), 9. 7. Ulf Zander in his review of Lajos’s dissertation in the Scandinavian Journal of History. However, of course, this judgment is, of course, not valid for all historians. See e.g. Zander’s text “Heroic Images: Raoul Wallenberg as a History- Cultural Symbol,” in Martin L. Davies and Claus-Christian W. Szejnmann (eds), How the Holocaust Looks Now: International Perspectives (Basingstoke, 2007), 126–35. In the text, he also refers to other historians who share this broader approach towards history and historic figures. 8. However, this is what at least Levine does in his recent publication from 2010, cp. p. 32. See also Tanja Schult, “Whose Raoul Wallenberg is it? The Man and the Myth: Between Memory, History and Popularity,” in Culture Unbound 2 (2010), 669–797. 9. See introduction by Peter J. Gomes to Gibbon, A Call to Heroism, 2. 10. Levine, “The Unfinished Story of a Swedish Hero,” in the catalog of the exhibition Raoul Wallenberg: One Man Can Make a Difference, Jewish Museum in Stockholm (Stockholm, 2004), 57. 11. Levine,“Raoul Wallenberg was a Real Life Hero,” in One Man Can Make a Difference, 33–5. 12. Levine, “The Unfinished Story of a Swedish Hero,” 52. 13. Rubinstein, The Myth of Rescue, 193. 14. Levine, “The Unfinished Story of a Swedish Hero,” 56. 15. The last quotation was taken from Levine’s article “One Day during the Holocaust: An Analysis of Raoul Wallenberg’s Budapest Report of 12 September, 1944,” in Samtidshistoria och politik: Vänbok till Karl Molin (Stockholm, 2004), 235–57, here 253. 16. First quotation from Levine, “The Unfinished Story of a Swedish Hero,” 48, the second from Levine, “Raoul Wallenberg was a Real Life Hero,” 34. 17. See my review of the exhibition. It can be found on the homepage of H-Net (Humanities and Social Science Online): www.h-net.org/mmreviews/showrev. cgi?path=735 [reaccessed July 22, 2008], or, in an altered version, Schult,

PPL-UK_HMF-Schult_Notes.indd 371 12/13/2011 11:43:54 AM 372 Notes

“Raoul Wallenberg—One Man Can Make a Difference: Utställning: Judiska Museet i Stockholm 2004,” in Scandia 72 (1) (2006), 142–4. 18. Svante Beckman, Utvecklingens hjältar: Om den innovativa individen i sam- hällstänkandet (Stockholm, 1990), 136–7. Beckman analyzed the gap, and the reasons for it, between the lack of interest of historians and social scientists in the hero theme since the late 1940s and the strong interest of public opinion in exemplary hero figures. See his chapters “Hjälten och sam- hällsvetenskapen” and “Hjälten, historikern och sociologin,” as well as 11ff. 19. Marshall W. Fishwick, American Heroes: Myth and Reality (Washington, DC, 1954), 229. 20. For an elaboration of different theories of hero myths, see Robert A. Segal (ed.), Hero Myths: A Reader (Oxford, 2000). 21. See Morton W. Bloomfield, “The Problem of the Hero in the Later Medieval Period,” in Norman T. Burns and Christopher J. Reagan (eds), Concepts of the Hero in the Middle Ages and the Renaissance (Albany, NY, 1975), 27–48, here 27. 22. Wolfgang Schmidbauer, “Helden und Superhelden,” in Psychosozial 10 (31) (1987) (Schwerpunktthema: Helden), 85–95, here 93. 23. See Lucy Hughes-Hallett, Heroes: Saviours, Traitors and Supermen (London, 2005), 3. 24. See the article by György Konrad, “Der rätselhafte noble Retter,” in Berliner Zeitung (November 7, 1998), m4. 25. Sidney Hook, The Hero in History: A Study in Limitation and Possibility (London, 1945), 17. Hook’s emphasis. 26. Ibid., 108; see also 157. 27. For the history of the term “myth” and its changing meanings, see Ernst Müller, “Mythos/mythisch/Mythologie,” in Ästhetische Grundbegriffe: Historisches Wörterbuch in sieben Bänden, vol. 4 (Medien-Populär) (Stuttgart, 2002), 309–46. 28. See Müller-Funk, “Anatomie des Helden,” 3. 29. Geoffrey Cubitt, “Introduction,” in Cubitt and Allen Warren (eds), Heroic Reputations and Exemplary Lives (Manchester, 2000), 1–26, here 3. 30. See Nicole Ferrier-Caverivière, “Historical Figures and Mythical Figures,” in Pierre Brunel (ed.), Companion to Literary Myths, Heroes and Archetypes (London, 1992), 578–85, here 580; and Müller-Funk, “Anatomie des Helden,” 11. 31. Eva-Carin Gerö, “Winterson gör inget storverk med Herakles,” in SvD (November 21, 2006), 6. 32. See Samo Kobenter, “Die triumphale Niederlage, mit einem Wort Österreich,” in Müller-Funk and Kugler, Zeitreise Heldenberg, 139–43, here 139. 33. See Ferrier-Caverivière, “Historical Figures and Mythical Figures,” 582. 34. Jan de Vries, Heroic Song and Heroic Legend (Oxford, 1963), 209. 35. Joseph Campbell, The Power of Myth (New York, 1991), 206. 36. See letter by Ehrenpreis for a ceremony in Stockholm’s concert hall on January 11, 1949, where he was not able to participate, but about 1000 people were present. The letter was published in Judisk Tidskrift 21 (1) (1948), 1–2. 37. See Hughes-Hallett, Heroes, 9–10. 38. Bloomfield, “The Problem of the Hero in the Later Medieval Period,” 30. 39. Ibid. 40. See the homepages www.raoulwallenberg.org/heroes/rwcsite/heroes.html and www.rwa.se [both reaccessed July 22, 2008].

PPL-UK_HMF-Schult_Notes.indd 372 12/13/2011 11:43:54 AM Notes 373

41. See Georg Seeßlen, “Held,” in Wolfgang R. Langenbucher, Ralf Rytlewski and Bernd Woyergraf (eds), Handbuch zur deutsch-deutschen Wirklichkeit: Bundesrepublik Deutschland—Deutsche Demokratische Republik im Kulturvergleich (Stuttgart, 1988), 258–60, here 258; and especially Ute Frevert, “Herren und Helden: Vom Aufstieg und Niedergang des Heroismus im 19. und 20. Jahrhundert,” in Erfindung des Menschen: Schöpfungsträume und Körperbilder 1500–2000 (Vienna, 1998), 323–44. 42. Frevert, “Herren und Helden,” 342. 43. Ibid., 344. 44. Joseph Epstein, “Knocking on Three, Winston,” in idem, With My Trousers Rolled (New York/London, 1995), 70–88, here 85. 45. See Gibbon, A Call to Heroism, 6–7. 46. See Alan Edelstein, Everybody is Sitting on the Curb: How and Why America’s Heroes Disappeared (Westport, CT, 1996), 213. 47. See Wolfgang Müller-Funk and Georg Kugler, “Lauter Helden: Eine Einleitung,” in idem, Zeitreise Heldenberg, XI–XIV, here XIII. 48. Stuart Hall (ed.), Soundings: Heroes & Heroines (3) (Summer 1996), 116–18, here 116. 49. See Hook, The Hero in History, 158. 50. Daniel J. Boorstin, “From Hero to Celebrity: The Human Pseudo-Event,” in idem, The Image: A Guide to Pseudo-Events in America (New York, 1985), 45–76, here 46 and 47, last quotation 63. Boorstin believes that we live in an age without heroes, but celebrities instead. Time will tell if this perception stems from a comparable skepticism towards possible heroes of today. 51. See also Beckman, Utvecklingens hjältar, 126, 131. 52. Hook, The Hero in History, 162 (as also for the following quotation). 53. Gibbon, A Call to Heroism, 9. However, even if the terms “hero” and “role model” are often used synonymously, the term “role model” seems to mean something slightly different than hero. While the hero tries to answer universal questions about life, and provide ideals to strive after, role models are people who inspire us in our daily life. Therefore, I try not to use the terms synonymously. 54. Boorstin, “From Hero to Celebrity,” 48. 55. Joseph Campbell, The Hero with a Thousand Faces, Commemorative edn (Princeton, 2004), 230. 56. See Karl Heinz Bohrer, “Die Kunst des Rühmens,” in Merkur 58 (665/666) (2004), 808–17.

4 Raoul Wallenberg—A Hero’s Tale

1. I was much inspired by Wolfgang Müller-Funk, “Anatomie des Helden.” 2. Otto Rank, Der Mythus von der Geburt des Helden (Leipzig, 1909), remains the classic Freudian analysis of the hero’s origin, which has inspired many scholars, such as Joseph Campbell, to whom I frequently refer. However, to use Rank’s terminology when describing Wallenberg’s origin would only lead to over- analysis, and it would not help in understanding the monuments any better. 3. See, for example, Rosenfeld, Raoul Wallenberg, 17ff. 4. However, being the son of one divine and one mortal parent often caused personal disorders. See Gomes, “Introduction,” 4.

PPL-UK_HMF-Schult_Notes.indd 373 12/13/2011 11:43:54 AM 374 Notes

5. Campbell, The Hero with a Thousand Faces, 294. 6. Hughes-Hallett, Heroes, 10. 7. See the letter by Raoul’s maternal grandmother, Sophie Wising, dated August 9, 1912, to his paternal grandmother Annie Wallenberg, in Maj von Dardel, Raoul (Stockholm, 1984), 30. The book contains correspondence largely concerning Wallenberg’s childhood. For Wallenberg’s childhood, see also the unpublished manuscript Raoul Wallenberg—en karaktär, en livsinriktning compiled by Louise Schlyter, Curator of Culture at the Cultural Activities and Recreation Department at the City of Lidingö, in 2002. 8. For example, Rosenfeld, Raoul Wallenberg, writes frequently that Wallenberg came from an aristocratic family (see for example 19), although he himself, later on in the text, quotes Wallenberg’s brother, who points out that this is not the case (see 24). Also Gibbon mistakes Wallenberg for being a Swedish aristocrat, in idem, A Call to Heroism, 168, as does Britain’s Prime Minister Gordon Brown in his book Courage: Eight Portraits (London, 2007): see the chapter on Raoul Wallenberg, 65–87, especially 80, 83, 86. 9. See, for example, Leni Yahil, “Raoul Wallenberg—His Mission and His Activities in Hungary,” in Livia Rothkirchen, Yad Vashem Studies, vol. XV (Jerusalem 1983), 7–53, here 24. 10. See Müller-Funk, “Anatomie des Helden,” 5. 11. See the two short articles of the psychoanalyst and author, and also member of the exhibition team, Thomas Böhm, “Getting my Bearings on Raoul Wallenberg,” and “Raoul’s Childhood and Youth—a Psychological Reflection,” in One Man Can Make a Difference, 19–20 and 30–2. 12. Von Dardel, Raoul, 107. 13. See, for example, Raoul’s letter to his grandfather in June 1935, in Älskade farfar, 146. 14. Ibid., 206. 15. However, during recent years some scholars have shed new light on Wallenberg family affairs that seem to revise the former picture, at least about Jacob Wallenberg. As it seems, Jacob supported resistance fighters both in Norway and in Germany. See Anders Johansson, “Jacob hemlig agent för Hjemmefronten?,” in SvD (January 5, 2007). See also the second part of the documentary series by Gregor Nowinski on the Wallenberg family, broadcast on Swedish television in January 2007, and Håkan Lindgren, Jacob Wallenberg 1892–1980 (Stockholm 2007). 16. Lenke Rothman, “Att minnas—den goda gärningen,” in idem, Hågkomsten, hyllningen och respekten för Raoul Wallenbergs gärning i Budapest 1944 (Stockholm, 1998), 6. 17. According to an interview with Nina Lagergren. For the following, see also the interview with her recorded by Jan Levy for the Survivors of the Shoah Visual History Foundation (Interview 51634 from May 5, 2001). Mrs Lagergren was so kind to lend me a copy of the interview. See also the 27-minute interview “Ansikte mot ansikte” with her on the Internet portal AXESS [reaccessed July 27, 2008]. 18. All quotations are from the English movie Pimpernel Smith, 1941, directed by Leslie Howard, which I saw at the Statens ljud- och bildarkiv (= SLBA, The Swedish National Archive of Recorded Sound and Moving Images).

PPL-UK_HMF-Schult_Notes.indd 374 12/13/2011 11:43:54 AM Notes 375

19. See the letter to his grandfather, dated 1936, in Älskade farfar, 204. 20. See, for example, the letter to his boss, Kálmán Lauer, dated December 8, 1944, which can be found in the Raoul Wallenberg föreningens arkiv in Riksarkivet (1,6 correspondence with Koloman [= Kálmán] Lauer), Stockholm. 21. According to his sister Nina Lagergren. See the interview with her recorded by Levy for the Survivors of the Shoah Visual History Foundation. 22. See Jiri Grusa, “Helden,” in Müller-Funk and Kugler, Zeitreise Heldenberg, 15–20, here 15. See also Hook, The Hero in History, 16. 23. Hook, The Hero in History, 157. 24. Filadelfo Linares, Der Held: Versuch einer Wesensbestimmung (Bonn, 1967), 15–17. 25. See Lars G. Berg, The Book that Disappeared: What Happened in Budapest (New York, 1990), 13–16. Historian David Cesarani refers twice to Wallenberg in his book on Eichmann. However, he only mentions that Eichmann “com- menced a bitter duel with Raoul Wallenberg and other diplomats” in Budapest; see idem, Eichmann: His Life and Crimes (London, 2004), 13 and 192. 26. Lévai, Raoul Wallenberg, (Melbourne, 1989), 96. The quotation should not give a wrong impression: Lévai notes Ambassador Danielsson’s important role in the rescue process. 27. Levine, “Raoul Wallenberg in Budapest: Modern Jewry’s Ultimate Hero?,” in M. Mor, Crisis and Reaction: The Hero in Jewish History (Omaha, 1995), 251–68, here 260. 28. The translation of the text in German and English can be found at the Raoul Wallenberg-föreningens arkiv (F 4:3) in Riksarkivet, Stockholm. 29. Yahil, “Raoul Wallenberg—His Mission and His Activities in Hungary,” 36. 30. Sol King, “In Tribute to Raoul Gustaf Wallenberg,” in Sir Nikolaus Pevsner: Architecture as a Humane Art (Ann Arbor, 1973), 5–12, here 6. 31. Statement by Guy von Dardel, Wallenberg’s brother, in a lecture given in Toledo. OH (apparently in the 1980s). Quoted in Rosenfeld, Raoul Wallenberg, xiii. 32. De Vries, Heroic Song and Heroic Legend, 183. 33. See Linares, Der Held, 19. 34. However, returning from Budapest would not necessarily guarantee that the rescuer’s deeds were appreciated, as the example of Carl Lutz, Swiss Consul in Budapest, 1942–5, demonstrates. Lutz’s humanitarian efforts were for a long time unacknowledged by his government. See Theo Tschuy, Dangerous Diplomacy: The Story of Carl Lutz, Rescuer of 62,000 Hungarian Jews (Grand Rapids, 2000). In fact, many rescuers’ efforts during World War II were not praised until late in life or after their deaths. 35. Wallenberg’s rescue mission was already considered to be outstanding both during and directly after the war. Note the plans of his former boss to start a Raoul Wallenberg’s Aid Committee for Hungarian Deportees as early as May 1945, “to continue Raoul Wallenberg’s work!” See Lauer’s letter to Marcus Wallenberg dated May 16, 1945, in Nylander and Perlinge, Wallenberg in Documents, 114ff. (English 115ff., quotation 117). 36. Just to cite a few examples, I refer to the public appeal organized by the Israeli Raoul Wallenberg Honorary Citizen Committee headed by Max Grunberg in the summer of 2005, and the still ongoing worldwide signatures campaign, launched by The International Raoul Wallenberg Foundation

PPL-UK_HMF-Schult_Notes.indd 375 12/13/2011 11:43:54 AM 376 Notes

(IRWF), “100,000 names for 100,000 lives saved by Wallenberg.” See the IRWF’s homepage [reaccessed July 22, 2008]. 37. Philippe Sellier, “Heroism,” in Brunel, Companion to Literary Myths, Heroes and Archetypes, 557–65, here 559. 38. See Müller-Funk, “Anatomie des Helden,” 7. 39. Campbell, The Hero with a Thousand Faces, 362. 40. See the artist’s homepage [reaccessed July 22, 2008]. 41. See Boorstin, “From Hero to Celebrity,” 48. 42. See, for example, Jack Kemp’s foreword in Rosenfeld, Raoul Wallenberg, vii, or the article “Ge Wallenberg egen dag,” in SvD (January 28, 2004), Nyheter, 13, in which Canada’s Minister of Justice, Irwin Cotler, states that Wallenberg saved more lives than any single government. See also Zander, “Heroic Images,” 129. Ulf Zander notes that The Guinness Book of Records (1996), in the entry “Saving Life,” praises Wallenberg as the man who managed to save the greatest number of people from extinction. 43. For the value of the Schutzpässe see Chapter 6, in the section on Willy Gordon’s monument. 44. Strictly speaking, Perlasca was not an officially appointed attaché and only pretended to have this position. So in contrast to Wallenberg, who was officially appointed, Perlasca lacked any official position and was consequently not protected by diplomatic immunity. Like Lutz, Perlasca received recognition only many years later. See the Italian movie Giorgio Perlasca: An Italian Hero, released in 2002, directed by Alberto Negrin. 45. According to Levine, the number of people who received some kind of Swedish protection was between 20,000 and 30,000. See Levine, From Indifference to Activism, 247. 46. See Lévai, Raoul Wallenberg, (Melbourne, 1989), 230ff, or Anger, Med Wallenberg i Budapest, 86–8, and Fredrik von Dardel, Raoul Wallenberg: Fakta kring ett öde. En sammanfattning (Stockholm, 1970), 28. 47. Hughes-Hallett, Heroes, 12. 48. See Levine, “The Unfinished Story of a Swedish Hero,” 57. 49. Gibbon, A Call to Heroism, 8. 50. See Müller-Funk, “Anatomie des Helden,” 9. 51. Franz Schuh, “Über Helden,” in Müller-Funk and Kugler, Zeitreise Heldenberg, 23–9, here 29. 52. Prologue for the gala concert in memory of Raoul Wallenberg’s work on June 26, 1946, written by Paul Forgács. 53. See Rubinstein, The Myth of Rescue, 191. 54. See Campbell, The Hero with a Thousand Faces, 360. 55. Prologue by Paul Forgács. 56. See Älskade farfar, 35, 61, 63, 123. 57. Prologue by Paul Forgács. 58. Dudley Jones and Tony Watkins, “Introduction,” in idem (eds), A Necessary Fantasy? The Heroic Figure in Children’s Popular Culture (London/New York, 2000), 4. 59. If one follows Jerzy Topolski. His examples are Florence Nightingale, the priest Maksymilian Kolbe and Mother Theresa. See Jerzy Topolski, “Helden

PPL-UK_HMF-Schult_Notes.indd 376 12/13/2011 11:43:54 AM Notes 377

in der Geschichte und Geschichtsschreibung,” in Jerzy Strzelczyk (ed.), Vorträge einer gemeinsamen Konferenz des Instituts für Geschichte der Adam- Mickiewicz-Universität Poznan und des Historischen Seminars der Universität Hannover, Poznan, 26–27 October 1995 (Poznan, 1997), 11–19, here 18–19. 60. Walter Reich in his remarks at the unveiling of the bust; Reich’s emphasis. The speech was given to me by Kay King, Tom Lantos’s senior policy advisor, at the Capitol in Washington, DC during an interview with Annette Lantos on May 20, 2003. 61. See Congressional Record H 1199 (1981). Also the record I received from King, see previous note. 62. Kirsten Ortwed, quoted in Merete Pryds Helle and Morten Søndergaard, “Shaping Chance: A Portrait Interview with Kirsten Ortwed,” in Kirsten Ortwed: The Sculptor’s Palette (Horsen, 2000), 23–50, here 31.

5 The Monuments as Part of the Wallenberg Commemoration

1. Different sources offer different dates for when the tree was planted. Yad Vashem, however, confirmed in an email to the author that the tree was planted in 1979. The first Wallenberg monument was actually created by Pál Pátzay shortly after the war but was dismantled and removed on the day of its inauguration: see Chapter 6, in the section on Pátzay’s monument. 2. Trees in Wallenberg’s memory were planted in many countries through- out the world. Sometimes the idea was not only to plant a single tree but many, which were meant to grow into a forest, as in the case of the Raoul Wallenberg Forest in Galilee overlooking Nazareth, Israel. Here, the first tree was planted in summer 1981 and trees were added until 1991. Then again, as in the case of the Raoul Wallenberg Forest within the Riverdale Park Preserve, Bronx, New York (which was named after Wallenberg in about 1991), an already existing forest belatedly received its continuing function as a commemorative monument. 3. Among the many tree plantings one project sticks out because of its architectonical design around the tree: in June 1994, the Reflexive Seat to Commemorate the Life and Work of Raoul Wallenberg was inaugurated. It was created by Andrew Brophy on the initiative of the Raoul Wallenberg Unit of B’nai B’Brith in Melbourne. 4. Alban Levy in his inauguration speech. The information concerning the Cardiff memorial is based on an interview with Alan Schwartz, member of the Cardiff Wallenberg Committee, on March 9, 2003 in Cardiff, and the information he provided me. 5. The following is based on an interview with Annette Lantos and Kay A. King, Tom Lantos’s senior policy advisor, at the Capitol in Washington, DC on May 20, 2003, and the material they provided me. Among the material were many articles, as for example Annette Lantos, “My Fight for Raoul Wallenberg” in Moment (October 1987), 20–5 and 58; Gretchen Trees, “Tom & Anette [sic] Lantos Continue Search For Wallenberg Answers,” in San Mateo Weekly (September 19, 1990), 24 and 38; or Tom Lantos’s pref- ace to William Korey’s The Last Word on Wallenberg? New Investigations,

PPL-UK_HMF-Schult_Notes.indd 377 12/13/2011 11:43:54 AM 378 Notes

New Questions, published on Lantos’s government address, [still available when accessed on February 25, 2007, but no longer when reaccessed in July 2008]. See also the Oscar prize- winning documentary The Last Days, directed by James Moll (USA, 1998). 6. During that time Wallenberg was widely forgotten. As the story goes, Tom Lantos discovered a brief note in the New York Times that Wallenberg, according to Simon Wiesenthal, was still alive in a mental hospital in the Soviet Union. According to the information given by Annette Lantos, Tom had seen this note in the New York Times of November 7, 1977. See for example Alan Gersten, A Conspirancy of Indifference: The Raoul Wallenberg Story (Philadelphia, 2001, 160), for the Lantoses, especially Chapter 8 “The Lantos take up the fight,” 159–79. However, this information could not be verified; no such entry could be found in that issue of the New York Times. 7. In 1985, Wallenberg was made an honorary citizen of Canada, in 1986 of Israel and in 2003 of the city of Budapest. 8. See Rosenfeld, Raoul Wallenberg, 170. 9. To avoid confusion, this is how I use the term Holocaust: I follow Yehuda Bauer’s definition of it as the attempt to annihilate every member of European Jewry. Yehuda Bauer, Die dunkle Seite der Geschichte: Die Shoah in historischer Sicht. Interpretationen und Re-Interpretationen (Frankfurt/Main, 2001), see the Introduction and Chapter 1, “Was war die Shoah?,” especially 30. Even if some favor enlarging the term to apply to other victim groups too, in the context of this study, Bauer’s definition is fully satisfying: Raoul Wallenberg came to Budapest with the purpose of saving the remaining Hungarian Jews, even if he eventually helped other persecuted groups as well. 10. Dan Diner, Beyond the Conceivable: Studies on Germany, Nazism, and the Holocaust (Berkeley, 2000), see 1 and 3. 11. A suitable way to explain this phenomenon has been developed by the sociologists Daniel Levy and Natan Sznaider. See their book Erinnerung im globalen Zeitalter: Der Holocaust (Frankfurt/Main, 2001). The English translation, The Holocaust and Memory in the Global Age, followed in 2006. 12. See also Michael Jeismann, Auf Wiedersehen Gestern: Die deutsche Vergangenheit und die Politik von morgen (Munich, 2001). His study shows how the Holocaust became an important part of international politics. 13. The Holocaust Conference of Stockholm in January 2000 can be seen as a culmination of an earlier development. This Conference on Education, Remembrance and Research gathered more than 40 heads of state together to discuss the question of how recognition of the Holocaust can best serve democracies to become aware of intolerance and xenophobia. See the conference homepage [this site was still in use when accessed on March 6, 2007, but was no longer available when accessed in July 2008]. For the conference itself, see especially Jens Kroh, Transnationale Erinnerung: Der Holocaust im Fokus geschichtspolitischer Initiativen (Frankfurt/New York, 2006). 14. Levy and Sznaider, Erinnerung im Globalen Zeitalter, 188ff., 200ff. 15. To give just three examples, representative of the many publications and films that commemorate the unknown rescuers, see Wolfgang Benz (ed.), Überleben im Dritten Reich: Juden im Untergrund und ihre Helfer (Munich,

PPL-UK_HMF-Schult_Notes.indd 378 12/13/2011 11:43:54 AM Notes 379

2003); Bertil Neuman, En miljon bortglömda hjältar: berättelser om mod och goda gärningar under Förintelsen, 2nd, enlarged and rev. edn (Stockholm, 2000); or the homepage of research project “Silent Heroes” Memorial Center [reaccessed July 22, 2008]. 16. See the museum’s brochure The New Expanded Holocaust Memorial Center, 2002, or the museum’s homepage ; see also proj- ects as the planned Garden of Righteous Worldwide on the project’s homepage [both reaccessed July 22, 2008]. For this project, the Garden of the Righteous in Yad Vashem serves, of course, as a starting point. However, for the “Garden worldwide,” everyone who acted against crimes against humanity committed during totalitarian regimes of the twentieth century is meant to be commemorated. 17. See the homepage of the IRWF [reaccessed July 22, 2008]. See also Kroh, Transnationale Erinnerung, 152. 18. Levy and Sznaider, Erinnerung im Globalen Zeitalter, 216ff. 19. See the institute’s homepage [reaccessed July 22, 2008]. 20. Thomas Carlyle, On Heroes, Hero-Worship and the Heroic in History (Oxford, 1935), 33. 21. Paul A. Levine points out that documentary evidence exists that could shed new light on Wallenberg’s role: see his “Raoul Wallenberg in Budapest: Modern Jewry’s Ultimate Hero?,” 252, or idem, From Indifference to Activism, 248; see also idem, “The Myth has obscured the Reality of his Heroism,” in Washington Post (January 7, 2001), B3. However, so far Levine has not presented new evidence that could question Wallenberg’s role in historiography or change his position in the collective consciousness. It would, of course, be interesting to learn more about the details of Wallenberg’s mission in Budapest. We will see if Levine’s forthcoming publication succeeds in shed- ding new light on the Raoul Wallenberg narrative.

6 Raoul Wallenberg’s Deed

1. Cubitt, “Introduction,” 7. 2. According to historian János Pótó, Pátzay had originally intended to place his sculpture on Swedish granite as Pátzay describes in his notes. This is the reason that the pedestal is often described as being granite although it is really made out of limestone. It can be assumed that Pátzay had the more durable granite in mind for the Hungarian climate but that the limited resources of the committee in post-war Budapest could not extend to the more expensive material. See János Pótó, “The Wallenberg Monument,” in História (1) (1984). I received the English translation of this text from the Swedish Embassy in Budapest. 3. See the English summary in Pátzay Pál: Az ember és a mu" (Budapest, 2001), 168. 4. See Angelika Storm-Rusche, “Personendenkmäler,” in Will Cremer and Ansgar Klein (eds), Heimat. Analysen, Themen, Perspektiven (Bielefeld, 1990), 706–42, here 729–31. 5. See Martin Damus, “Die Vergegenständlichung bürgerlicher Wertvorstellungen in der Denkmalsplastik. Das Denkmal zur Erinnerung an den 20. Juli 1944

PPL-UK_HMF-Schult_Notes.indd 379 12/13/2011 11:43:54 AM 380 Notes

von Richard Scheibe in Berlin—der nackte Jüngling als Symbolfigur für den Widerstand,” in K+U (Sonderheft) (1974), 70–80, here 72. 6. Sellier, “Heroism,” 563. 7. See, for example, Bierman, Rigtheous Gentile, 203–4; Rosenfeld, Raoul Wallenberg, 121; Cole, “Turning the Places of Holocaust History into Places of Holocaust Memory,” 278; Lester, Wallenberg, 156. 8. As in the material I received from the Swedish Embassy. See further Eric Sjöquist and Rune Ström, “Expressen fann ‘Wallenberg’—en stympad staty!,” in Expressen (June 15, 1964), 10ff.; Rosenfeld, Raoul Wallenberg, 121. 9. See, for example, Lucia Impelluso, Gods and Heroes in Art (Los Angeles, 2003), 106–22. 10. My translation of Hans-Jürgen Wirth, “Die Sehnsucht nach Vollkommenheit,” in Psychosozial 10 (31) (1987), 96–113, here 109. See also Uwe Steffen, Drachen- kampf: Der Mythos vom Bösen (Stuttgart, 1984). 11. This summary is given in a much abbreviated, generalized manner. It is based on information given by the Swedish Embassy, including unofficial translations of a newspaper article in Hungarian by István Riba, “The Fate of the Wallenberg Statue of Szent István park,” in HVG (January 30, 1999), and a longer article written by the historian János Pótó, “The Wallenberg Monument,” along with Dossier No. 57 R 18 (October 30, 2000), and an interview with Attila Zsigmond, General Director of the Budapest Galéria, on February 7, 2003. Dr Anikó Serege, Stockholm, checked my first text with reference to additional Hungarian newspaper articles to corroborate the basic facts I collected and sought answers to my remaining questions concerning these articles. Furthermore, she later translated the additional inscriptions on the monument into German from which I translated them to English. I would like to express my warmest gratitude for her help. For the Wallenberg monuments in Budapest, see also the article by Gábor Murányi, “Wallenberg-emlékmuvek Budapesten,” in Mária Ember, Wallenberg Budapesten (Budapest, 2000), 185–97. 12. Based on the information given by the artist’s widow, Hertha Pátzay, whom I met on February 8, 2003, in Budapest. See also Sjöquist and Ström, “Expressen fann ‘Wallenberg’—en stympad staty!,” in Expressen (15.6.1964), 10ff. 13. See the article by Gábor Murányi, “A Wallenberg-szobor kálváriája: Az eldug- ott emlékmü,” in HVG (July 11, 1998), 79–83, here 79–80. 14. See the article by László K. Tóth, “Három szobor: Változatok egy Wallenberg emlékmüre,” in Remény 2 (3) (1999), 63–7, here 65. 15. As Vajda wrote to me on November 26, 2002 and April 19, 2005. 16. See also Bierman, Righteous Gentile, 203; Lester, Wallenberg, 156. 17. Pótó also found a price quote for the repair of damage on the sculpture in 1950. Somebody must have asked for it knowing its whereabouts. See Murányi, “Wallenberg-emlékmuvek Budapesten,” 189. 18. See Reuben Fowkes’s doctoral thesis “Monumental Sculpture in Post-War Eastern Europe, 1945–1960” (University of Essex, 2002; also available in microfilm form at the British Library, London), 40ff. 19. Ibid., 201. 20. Ibid., 24, 25. 21. See ibid., 25ff. 22. Ibid., 192. 23. Ibid., 227.

PPL-UK_HMF-Schult_Notes.indd 380 12/13/2011 11:43:55 AM Notes 381

24. See James E. Young, “The Biography of a Memorial Icon: Nathan Rapoport’s Warsaw Ghetto Monument,” in Young, Texture of Memory, 155–84, especially 165ff. 25. The Hungarian original and an image of the relief can be found in Ember, Wallenberg Budapesten, 192, 193. 26. See Henry Kamm, “Wallenberg: Statue rises in Budapest,” in New York Times (April 15, 1987), A2. 27. A picture of the plate can be found in Ember, Wallenberg Budapesten, 194. 28. Based on information given by Ferenc Orosz from copies of the correspondence in early 1989 between the Raoul Wallenberg Association and the Biogal Pharmaceutical Factory of Debrecen. János Zolnay, one of the found- ing members and executives at that time, wrote a letter on behalf of the association; this was answered by Ribor Keri, then the general director of Biogal. 29. See, for example, Sjöquist and Ström, “Expressen fann ‘Wallenberg’—en stympad staty!,” 10ff.; Pótó, “The Wallenberg Monument;” see also Rosenfeld, Raoul Wallenberg, 122. 30. According to an email dated February 5, 2007, sent to me by Lajos Hegedu" s, managing director of TEVA. 31. According to Tóth, “Három szobor: Változatok egy Wallenberg emlék- müre,” 67. 32. For a brief history of the monument, see the catalog entry. The brief history is based on an email from Vera Parnes dated April 6, 2003; she also gave me some Canadian newspaper articles. Parnes was the founder of The Canadian Friends of Raoul Wallenberg. I interviewed her in Montreal on May 10, 2003. Further information was found on the artist’s homepage [reaccessed July 28, 2008]. The information was completed by the speech of Rev. Andrew S. Hutchinson at the vigil dedicated to the 55th anniversary of Wallenberg’s disappearance. Hutchinson was then Bishop of Montreal and responsible for the Wallenberg bust finding its setting in the courtyard. His speech was published in The Raoul Wallenberg Bulletin (2000), and on the homepage of The Raoul Wallenberg International Movement for Humanity : see the section “The Raoul Wallenberg Memorial in Montréal” [reaccessed July 27, 2008]. Hutchinson gave another speech at McGill University, “An Address at the Raoul Wallenberg 60th Anniversary Memorial,” on the 60th anniversary of Wallenberg’s disappearance: see the homepage of the Anglican Church of Canada, under “Office of the Primate” [still available when accessed on January 11, 2007, but no longer in use when reaccessed in July 2008]. Additionally, I met with Paul Lancz and his son Peter in Montreal on May 11, 2003. 33. Fowkes, “Monumental Sculpture in Post-War Eastern Europe,” 48. 34. Ibid., 78. 35. Ibid., 38. 36. See also David Johnston and Basem Boshra, “Haider wraps up visit: Far-right leader met with prominent Jews: lawyer,” in Montreal Gazette (February 18, 2000), A1; Jane Davenport, “Outrage greets Haider visit: He’s not welcome—Jewish leaders,” in Montreal Gazette (February 17, 2000), A1.

PPL-UK_HMF-Schult_Notes.indd 381 12/13/2011 11:43:55 AM 382 Notes

37. Based on information given by Jacques Pri-Gal, project manager and director of Jad Bamidbar Holocaust Study and Memorial Center, Eilat, Israel. Unfortunately, it was not possible to find out more about the artist, not even his first name. 38. Based on interviews with Diane Blake from The Raoul Wallenberg Committee of the United States of America, Joel C. Feffer, Stavisky’s lawyer and administrator, and his secretary, Joy Glass, on May 13, 2003 in New York, and the information they supplied to me. For a brief history of the bust, see the catalog entry. 39. Fred Hoot, “Sculpting Raoul Wallenberg: Highlight in an Artist’s Life,” in Newsletter of The Raoul Wallenberg Committee of the United States (3) (September 1987), 4–5, here 4. 40. However, it was not, as one may assume after reading the quotation, Lester’s book that inspired Stavisky to realize her Wallenberg bust, but rather an image of Wallenberg in a bookstore display of John Bierman’s Righteous Gentile. For the quotation, see Lester, Wallenberg, 86. 41. The texts on Gordon’s monument are based upon materials available in the Raoul Wallenberg Room in Lidingö’s town hall, which include information from the minutes of the private committee and texts of the speeches at the inaugurations. See especially the CD-ROM Raoul Wallenbergs gärning—ett monument kommer till (The Deed of Raoul Wallenberg—A Monument Comes into Existence), containing interviews with Willy Gordon, Carmen Regnér, and Oscar Lindqvist, conducted by Louise Schlyter, Curator of Culture at the Cultural Activities and Recreation Department at the City of Lidingö in 2001. Furthermore, there are articles and other material about Wallenberg such as stamps, medals, videos, cassettes, and books. Biographical data about Gordon (see the entry in the catalog) is taken from Willy Gordon, Willy Gordon (Järna, 1976); and Willy Gordon and Tsila Zak, “Jerusalem of Lithuania.” Vilnius 1990. International Monument Competition (1990). 42. See Springer, “Rhetorik der Standhaftigkeit.,” 370. 43. See Babette Krimmel, “Manualità—Aspekte der Kunst- und Kulturgeschichte der Hand,” in Andreas Pfeiffer (ed.), la mano: Die Hand in der Skulptur des 20. Jahrhunderts (Heilbronner Museumskatalog No. 84) (Heilbronn, 1999), 29–43. 44. See Lidingö city’s press release (May 28, 1999) and the article in Expressen (December 4, 1998), 26, or the letters to the editor by Hans Baruch in SvD (September 21, 1998), 14, and in SvD (January 11, 1999), 10. However, according to an interview with the artist’s widow Mona in February 2007, Willy Gordon described likewise his figure holding his hands behind the back and was not aware of the two interpretations (according to my reading) he had created. According to his widow, Gordon saw nothing negative in that pose but thought that the historic circumstances demanded quick, covert action. 45. See Nathan Eck, “The Rescue of Jews with the Aid of Passports and Citizenship Papers of Latin American States,” in Yad Vashem Studies (YVS) 1 (1957), 125–52. 46. See Leni Yahil, “Raoul Wallenberg,” 17; Anger, Med Raoul Wallenberg i Budapest, 42ff.; Lévai, Raoul Wallenberg, 70, 78–9; Levine, From Indifference to Activism, 268.

PPL-UK_HMF-Schult_Notes.indd 382 12/13/2011 11:43:55 AM Notes 383

47. See Lévai, Raoul Wallenberg, (Melbourne, 1989), 88. 48. See, for example, Lévai, The Black Book on the Martyrdom of Hungarian Jewry, 355. 49. One Schutzpass with his signature can be found in Gann, Raoul Wallenberg, 57. 50. Lévai, Raoul Wallenberg, (Melbourne, 1989), 100, 273. 51. Lévai gives examples where a Schutzpass was not helpful or was even the reason for particular violence. He emphasizes how Wallenberg and his numerous helpers constantly insisted on the need for using these passes. See ibid., 52. See Anger, Med Raoul Wallenberg i Budapest, 65, 85; also Lévai, Raoul Wallenberg, (Melbourne, 1989), 134ff. 53. See Eck, “The Rescue of Jews with the Aid of Passports and Citizenship Papers of Latin American States,” 142. 54. Lévai, Raoul Wallenberg, (Melbourne, 1989), 94–5. 55. See Berg, Boken som försvann, 169–70. 56. See Lajos, Hjälten och offren, 128. 57. There are other, less popular theories that the three crowns were perhaps used much earlier. However, the first reliable source is a seal from 1364 showing a shield with three crowns. For the triple crowns as heraldic symbol representing Sweden, see Justitiedepartementet, Sveriges Riksvapen och Sveriges Flagga (Stockholm, 1981). 58. See Hugo Kehrer, Die “heiligen drei Könige” in der Legende und in der deutschen bildenden Kunst bis Albrecht Dürer (Strassburg, 1904); idem, Die heiligen drei Könige in Literatur und Kunst, 2 vols (Leipzig, 1908). For the triple crowns as symbol for Sweden and their association with the Magi in particular, see Heribert Seitz, De tre kronorna: Det svenska riksvapnet i sitt europeiska sammanhang (Stockholm, 1961). 59. See also Erwin Panofsky, “Iconography and Iconolgy: An Introduction to the Study of Renaissance Art,” in Meaning in the Visual Arts (Harmondsworth, 1993), 56–7. 60. See Seitz, De tre kronorna, 44. 61. The speech given by Miksa Domonkos, executive chief secretary of the Jewish Community, contains frequent references to Wallenberg’s hero-hood. Cited in Lévai, Raoul Wallenberg, 237–8. 62. See Kehrer, Die “heiligen drei Könige”, 21. 63. The comparison of Wallenberg with light is a significant point of reference; see, for example, “Lights in the Darkness—Raoul Wallenberg and the Saving of the Jews in Budapest 1944/45,” a touring exhibition organized by the German lawyer Christoph Gann, author of the previously cited book about Wallenberg. 64. See Seitz, De tre kronorna, 25, 46. 65. One needs only to think of Hermes, the messenger of the gods. See Christer Jönsson, “Antik mytologi banade väg för diplomatin,” in SvD (August 29, 2001), 9. 66. According to the artist. The analysis is based on an interview with Philip Jackson at his studio and gallery in Midhurst, West Sussex, England, on March 7, 2003. 67. See Bloch, “Heroen der Kunst,” 284. According to Bloch, the gaze turned upwards reveals the “twinkle of a creative thought.”

PPL-UK_HMF-Schult_Notes.indd 383 12/13/2011 11:43:55 AM 384 Notes

68. Einhorn, Handelsresenade i liv, 173. 69. Per Anger, With Raoul Wallenberg in Budapest: Memories of the War Years in Hungary, Foreword by Congressman Tom Lantos (Washington, 1995), 38. 70. See Ricki Neuman, “Wallenberg? Which one?,” in One Man Can Make a Difference, 16–18, here 17. 71. See Älskade Farfar, 103–4, 79–81. 72. Bloch, “Heroen der Kunst,” 284. I will return to Jackson’s rooting in the genre’s tradition in Chapter 10. 73. Ibid., 284. 74. Cubitt, “Introduction,” 11. 75. Here I follow Gibbon, A Call to Heroism, 7. 76. Ibid., 28. 77. For a brief history of the monument, see the catalog entry. All information is based on correspondence with Adam Chyrek and the Sydney Jewish Museum. 78. For a brief history of the monument, see the catalog entry. It is mainly based on the email correspondence with Miri Margolin and the catalogs she was so kind as to send me; an interview with Annette Lantos on May 20, 2003, in Washington, DC, and further mail exchange with her, as well as the tribute to Margolin written by Tom Lantos published in the Congressional Record (November 20, 1995), E 2222. 79. Ekkehard Mai and Gisela Schmirber, “Mo(nu)ment mal: Denkmal?,” in Mai and Schmirber, Denkmal—Zeichen—Monument, 7–12, here 9. 80. These letters can be found in Nylander and Perlinge, Raoul Wallenberg in Documents. 81. Based on an interview with Zev Yaroslavsky, Los Angeles City Councilman, on May 1, 2003 and art dealer Suzanne Zada on May 2, 2003, and the material they provided me, such as newspaper articles, photos and press releases. Suzanne Zada also showed me the sketches and the original model and gave me a copy of her speech from the inauguration as well as lending me a book about Assetto, entitled A Small Map for a Journey in Time [year, place and publishing house unknown]. 82. At the time of the inauguration, it was the Great Western. In 2003, when I visited Los Angeles, it was the Washington Mutual Bank. 83. The “feathers,” however, are best visible in the model. In her inauguration speech, Suzanne Zada describes the back of the plates as prison walls. This interpretation appears in various newspaper articles: see, for example, Mathis Chazanov, “Statue of Anti-Nazi Hero rises in Square,” in Los Angeles Times (November 13, 1988), Westside, part 9, 1; or David Keller, “Local Hands aid Wallenberg tribute,” in the Post (December 1, 1988), 1. I cannot follow this interpretation and keep to the motif of the wings. 84. Based on information given by Louise Schlyter, Curator of Culture at the Cultural Activities and Recreation Department at the City of Lidingö, who after careful archival research wrote the new text on the noticeboard in front of the foundation walls that was installed in connection with the inauguration of the monument.

PPL-UK_HMF-Schult_Notes.indd 384 12/13/2011 11:43:55 AM Notes 385

7 Raoul Wallenberg’s Fate

1. See Bernhard Schlink, “Das Opfer des Lebens,” in Merkur 59 (679) (2005), 1021–31. 2. Campbell, The Power of Myth, 151–6. 3. See Boorstin, “From Hero to Celebrity,” 53. 4. The texts on Cohn’s monument are based on information given by Anna Cohn and her children Carol Vleeskens and Colin Cohn. Among the material received was the contract between the committee and the artist, from which I quoted above, as well as copies of the sketches of the design and photographs taken after the inauguration. 5. The texts on Raab’s monument are based on an interview with Ernest Raab and his former wife Goldi Steiner-Raab on May 9, 2003. For Raab’s life, see his autobiography Violin of Stone: Journey of a Soul (Toronto, 1999). 6. For the brief history, see the catalog entry. The texts on Cudin’s bust are based on correspondence with Vladimir Skorodenko from the library, correspondence with the artist and the artist’s secretary Emanuela Strano, as well as articles from Russian newspapers, and Dossier No. 30 (January 19, 2001) from the Swedish Embassy in Moscow. 7. See Langner, “Denkmal und Abstraktion,” 58ff. 8. Based on Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 147. 9. Albert Leong, Centaur: The Life and Art of Ernst Neizvestny (Lanham, MD, 2002), 12. 10. Torsten Ekbom, “Tatlins torn,” in idem, Tatlins torn och andra texter (Stockholm, 1986), 142–9, here 143. 11. Leong, Centaur, 6. 12. Here I quote from information given via email by the Galleri Astley on April 29, 2005. 13. Based on a telephone interview with Anna Graham, Ernst Neizvestny’s wife, on June 27, 2005. 14. Leong, Centaur, 67. 15. Neizvestny’s approach has much in common with that of the models created by Karl Hartung and Fritz Koenig. See Michalski, Public Monuments, 160. The competition, won by Reg Butler, was intended to pay tribute to those who had been imprisoned or lost their lives in the cause of human freedom. However, the project was abandoned in 1960; no model was ever realized. 16. See Leong, Centaur, 177. This information was confirmed by Anna Graham in a telephone interview on August 27, 2006. 17. See Leong, Centaur, 42. 18. See, for example, the work Crucifixion of 1977–80. Egeland points out that Neizvestny uses the motif not only in a sacral meaning but also to sym- bolize conflicts in societies. See Erik Egeland, Ernst Neizvestny: Liv och Verk (Skinnskatteberg, 1984), 26. See also Neizvestny’s Rebirth Monument in Moscow. 19. Leong, Centaur, xiv. 20. Ibid., 13.

PPL-UK_HMF-Schult_Notes.indd 385 12/13/2011 11:43:55 AM 386 Notes

21. Here it may be worth mentioning that Neizvestny later on created a grave monument for Nikita Khrushchev on request of Khrushchev’s son. See Leong, Centaur, 156–63. 22. Ibid., 183. 23. As Vera Gara wrote in “Unveiling of Raoul Wallenberg Sculpture,” in Clarion (December 9, 1986), 2. Vera Gara, herself a Holocaust survivor, was the driving force behind the competition. 24. Joanna E. Ziegler, Sculpture of Compassion: The Pietà and the Beguines in the southern Low Countries, c. 1300–c. 1600 (Brussels, 1992), 28. 25. Ibid., 16. 26. Wilhelm Pinder quoted after ibid., 28. 27. Uga Drava in his proposal for the sculpture. The texts on Drava’s work are based on interviews with the artist over the period 5–8 May 2003 during my stay at the Drava family’s home in the Niagara Escarpment and in Toronto. Drava gave me the proposal for the sculpture as well as other background material, including newspaper articles on the work in the Clarion, the Ottawa Citizen, Manchester Journal and Le Droit. 28. Campbell, The Hero with a Thousand Faces, 33. 29. Ibid., 35. 30. G.B. Freed [G. Barany], “Humanitarianism vs. Totalitarianism: The Strange Case of Raoul Wallenberg,” in Papers of the Michigan Academy of Science, Arts and Letters XLVI (1961), 503–28, here 512. 31. Campbell, The Hero with a Thousand Faces, 34. 32. Ibid., 329. 33. Lester, Wallenberg, 176. 34. The texts on Stoval’s monument are based on an interview with the artist on May 4, 2003, followed by a visit to the site. 35. See de Vries, Heroic Song and Heroic Legend, 231. 36. See Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 166. 37. This phrase is often used to describe Wallenberg’s unclarified fate: see, for example, the homepage of the Raoul Wallenberg’s Foundation, especially the article by Yoav Tenembaum, under the section “In the press” [reaccessed July 28, 2008]. 38. The brief history is based on the interviews with Imre Varga at his museum in Óbuda, Budapest, on February 6, 2003 (with the kind assistance of Tamás Dragonitz), and an interview with Attila Zsigmond, Director of the Budapest Galéria, on February 7, 2003, as well as information given by the Swedish Embassy in Budapest; the latter includes, the Promemoria from April 14, 1987 and May 7, 1987, and Dossier No. 73 (May 20, 1987). The text is based on Nickel, Imre Varga im Gespräch, especially the chapter “Märtyrer, Opfer und Helden im 20. Jahrhundert,” 13–39, with detail on Varga’s Wallenberg monument at 16–21. 39. See, for example, Steven A. Mansbach, Two Centuries of Hungarian Painters 1820–1970: A Catalogue of the Nicholas M. Salgo Collection (Washington, DC, 1998). 40. Cole, “Turning the Places of Holocaust History into Places of Holocaust Memory,” 281.

PPL-UK_HMF-Schult_Notes.indd 386 12/13/2011 11:43:55 AM Notes 387

41. Based on interviews. See also Rosenfeld, Raoul Wallenberg, xxii; Kamm, 1987, A2; John Eisenhammer, “The search goes back to Moscow for the truth about Wallenberg,” in the Independent (October 12, 1989), 12. 42. The perception of the gesture as authoritative or weak depends on the point of view. The power of the gesture of the hand was the starting point for Gennadij Ajgi in the composition of the 1988 poem (written in Russian), Die Letzte Fahrt. The working title was in fact Wallenberg’s Hand. The poem elaborates on the gesture and the associations it elicits. See Gennadij Ajgi, Die Letzte Fahrt (Berlin, 1993). 43. In Stavisky’s estate I found a photo showing Varga’s monument, most prob- ably taken soon after the work’s inauguration. Her quotation, however, refers originally to her own group of Auschwitz bronzes and sounds as the whole, “Whether you are a prisoner in a concentration camp, a prisoner in a prison, or a prisoner in your own body… suffering alone does not make you a hero. Its how you meet suffering that makes the difference.” See Fred Hoot, “Sculpting Raoul Wallenberg: Highlight in an Artist’s Life,” in Newsletter of The Raoul Wallenberg Committee of the United States (3) (September 1987), 4–5, here 5. 44. See Irvin Zupnick, “Saint Sebastian: The Vicissitudes of the Hero as Martyr,” in Burns and Reagan, Concepts of the Hero in the Middle Ages and the Renaissance, 239–67, here 239. 45. See Nickel, Imre Varga im Gespräch, 17. 46. See The Blade (October 13, 1995), 9. 47. See Cubitt, “Introduction,” 8. 48. See Müller-Funk, “Anatomie des Helden,” 10. 49. See Franz Schuh, “Über Helden,” in Müller-Funk and Kugler, Zeitreise Heldenberg, 23–9, here 25. 50. The texts on Salman’s bust are based on information given by Yad Vashem and via a telephone interview with the Russian-speaking artist made on my behalf during summer 2006 by my colleague Johnny Rodin, Södertörn University College. Unfortunately, it was not possible to gather more detailed information about the work or the artist.

8 Raoul Wallenberg’s Legacy

1. See the correspondence and the sketches in the Raoul Wallenberg-förenin- gens arkiv (F 4:3) in Riksarkivet, Stockholm. 2. Freed mentions Wallenberg’s nomination in 1947, in “Humanitarianism vs. Totalitarianism: The Strange Case of Raoul Wallenberg,” 503 and 516. According to Anger, Wallenberg was suggested for the Nobel Peace Prize for the first time in 1947 and the last time in 1983. See Anger, Med Raoul Wallenberg i Budapest, 177. Except for Dag Hammarskjöld (Nobel Peace Prize 1961) and Erik Exel Karlfeldt (Nobel Prize in Literature 1931), all other laureates were still living when they received the prize. On the homepage of the Nobelmuseum one can learn that “from 1974, the Statues of the Nobel Foundation have stipulated that a prize cannot be awarded posthu- mously, unless death has occurred after the announcement of the Nobel Prize.” On that page, it is noted that Wallenberg was nominated 23 times

PPL-UK_HMF-Schult_Notes.indd 387 12/13/2011 11:43:55 AM 388 Notes

between 1948 and 1949. Those who proposed Wallenberg were apparently convinced that he was still alive and that the Nobel Peace Prize would con- tribute to hasten his release. See the section “The Nomination Database for the Nobel Peace Prize” at on The Norwegian Noble Institute’s homepage. [reaccessed July 29, 2008]. If Anger is right, people tried to nominate Wallenberg even after 1948 and following the change of the statutes. So although the chance that Wallenberg was still alive and could receive the prize did not increase over the years, he was still proposed. The reason for that was either that he was really believed to be still alive or that a nomination was one attempt to raise public attention concerning his fate. However, after my inquiry at the Norwegian Nobel Institute in Oslo, I learned that the foundation’s statutes have a clause that does not allow anyone to reveal who was nominated during the last 50 years. Consequently, Anger’s information could not be confirmed. 3. Based on information given by Elisabeth Fleetwood as well as Martin Brandorf and Anselm Eggert (both of whom worked at the Riksdag), and an examination of all the motions. 4. See Anger, Med Raoul Wallenberg i Budapest, 177. 5. Based on interviews with Anselm Eggert on November 26, 2004 and April 13, 2005. 6. Historian Paul A. Levine is mistaken when he states that inside the parliament “one can view a bust which resembles the man himself.” See Levine, “Whither Holocaust Studies in Sweden?,” 96, footnote 3. 7. The so-called program Auschwitz-Dagen or Vi får aldrig glömma: Till åminne av Förintelsen (The Auschwitz Day or We should never forget: In Memory of the Holocaust) was broadcast on Swedish television SVT 2 (on January 27, 1998), 12:55–14:00. I saw a copy at the SLBA. 8. For the work, see Lenke Rothman, Att minnas—det goda gärningen: Hågkomsten, hyllningen och respekten för Raoul Wallenbergs gärning i Budapest 1944. Gestaltning av Lenke Rothman (Stockholm, 1998). For an overview of the art collection in the parliament, see Bo Lindwall, Art in the Riksdag Building (Stockholm, 1990), or Hedvig Hedqvist, Möte med Sveriges Riksdag: Arkitektur, konst och inredning (Stockholm, 2003). 9. This reading is shared by Henriette Zorn, “Grus, almanacka och ljuss- takar: Lenke Rothman har gjort en lågmäld och stark hyllning till Raoul Wallenbergs minne,” in DN (April 4, 1998), A6. 10. Gitta Magnell, “DN gratulerar: Vittnen i stram givakt,” in DN (March 28, 1999), A6. 11. Ibid. 12. The dispatch can be found in Rothman, Att minnas—det goda gärningen, 11ff. 13. The text of the leaflet, in Swedish and English, can be found on the homepage of the Center for Holocaust and Genocide Studies of the University of Minnesota, www.chgs.umn.edu/histories/wallenberg/rememberSw.html [accessed July 29, 2008] 14. See Lajos, Hjälten och offren, 125. 15. See Günter Metken, Spurensicherung: Kunst als Anthropologie und Selbsterforschung. Fiktive Wissenschaften in der heutigen Kunst (Köln, 1977), 139 as well as idem, Spurensicherung: Eine Revision. Texte 1977–1995 (Amsterdam/Dresden, 1996).

PPL-UK_HMF-Schult_Notes.indd 388 12/13/2011 11:43:55 AM Notes 389

16. See for example Lenke Rothman, Ok Ok No New York, with photos by Tana Ross (Åhus, 1984), in which she described, during a stay in New York in 1981, how she approached art. This essay can be seen as symptomatic of her approach towards art in general. See also idem, Inskrifter (Stockholm, 2000). 17. See Herbert Molderings, “‘Spurensicherung’ in der Bildenden Kunst,” in Detlef Hoffmann together with Karl Ermert (eds), Spurensicherung. Geschichte und Vergangenheit in Kunst und Wissenschaft (Rehburg-Loccum, 1985; Loccumer Protokolle (55) 1984), 8–33, here 9. Molderings argues, however, for the use of the term “conceptual art” instead of Spurensuche because the “artwork is first of all an invention not a find.” 18. See ibid., 13. 19. See Metken, Spurensicherung, 15. 20. Yvonne Granath, “Ett estetiskt förhållningssätt hjälpte mig också i Auschwitz,” in Stockholms Fria Tidning (February 6, 2005). 21. Torsten Ekbom, Ett skrin fullt av samlade saker: Om Lenke Rothmans konst [Stockholm: L. Rothman, 1995], 10. 22. Lenke Rothman, Regn (Stockholm, 1993), 69. 23. Rothman is indeed also a writer. See her prose works Regn, and Stygn (Hedemora, 2001). The quotation is taken from idem, Quality of Life (Åhus, 1981) [unpaginated]. See also idem, Regn, 23, 154. Rothman also referred to the number eight in titling her pictures as, for example, in 8.8.1964 (from 1964). 24. Lenke Rothman, Spår—ett minnesmärke / Track—A Memorial (Stockholm, 1995), 26. 25. See Helena Östlund, “Stygn,” in Socialpolitik (3) (2001), 21–7. 26. Quoted from Rothman, Regn, 191. 27. Ekbom, Ett skrin fullt av samlade saker. 28. See ibid., especially 19–22, quotations 20 and 22. 29. For the cult of hero worship, see Jan de Vries, Heldenlied und Heldensage (Bern/Munich, 1961), 307ff. 30. Based on information from Lenke Rothman. See also Lindwall, Art in the Riksdag Building, 74. 31. See Kring 1809: Om regeringsformens tillkomst (Stockholm, 1965). I want to thank the historian Reinhold Wulff, Berlin, for his advice concerning this topic. 32. According to an email from the artist of May 1, 2003 to the author. The brief history is based on interviews with Jon Rush in Ann Arbor on April 23–24, 2003. 33. For the names of all nominees, see Penny Schreiber and Joan Lowenstein (eds), Remembering Raoul Wallenberg: The University of Michigan Celebrates Twentieth-Century Heroes (University of Michigan Wallenberg Executive Committee, 2001). 34. Quoted from Rogers, “An Architecture of Sanctuary,” 34. The statement can also be found in Laura Nelson, “Sculpture honors Wallenberg, King,” in The Michigan Daily (October 27, 1995), 6. 35. Even other readings of the construction, inspired by statements by the artist, appear in newspaper articles. See for example Rogers, “An Architecture of Sanctuary,” 34. According to those, the framework can also be read as the cell where Wallenberg was hidden: the sanctuary transforms into

PPL-UK_HMF-Schult_Notes.indd 389 12/13/2011 11:43:55 AM 390 Notes

Wallenberg’s prison cell. I regard this as an over-interpretation that expresses the wish to cover every facet of the Wallenberg narrative. 36. Based on the interviews with the artist. See also Nelson, “Sculpture honors Wallenberg, King,” 6, or Rogers, “An Architecture of Sanctuary.” 37. See Älskade Farfar, 203. See also Lester, Wallenberg, 30, and Lillian E. Stafford, “Raoul Wallenberg Remembered,” in Michigan Alumnus 91 (6) (May 1985),16–28, here 19. 38. The letter can be found in the Bentley Historical Library, University of Michigan, Ann Arbor. 39. For a complete list of the nominees up to 2001, see Rafael Moneo,: The Freedom of the Architect. The Raoul Wallenberg Lecture (Ann Arbor, 2002), 46. 40. King, “In Tribute to Raoul Gustaf Wallenberg,” 8. 41. The text on Adams’s sculpture are based on an interview with the artist in Parsippany on May 16, 2003, and completed by information given on the artist’s homepage [reaccessed July 29, 2008]. Further information was available via mail exchange with the Wallenberg Foundation of New Jersey: see their homepage [reaccessed July 29, 2008]. 42. See Hans-Georg Gadamer, “Die Aktualität des Schönen” [1974], in idem, Gesammelte Werke, vol. 8 (Ästhetik und Poetik: Kunst als Aussage) (Tübingen, 1993), 94–142, here 129. 43. The texts on Veress’s sculpture are based on information given by the artist’s wife, Margot Dalnoki-Veress, and Sherry Maurer, director of the Augustana Art Museum at the college. 44. The following is based on Dag Sebastian Ahlander, “The History of the Monument,” in the booklet The Raoul Wallenberg Monument in New York: Lest We Forget The Cruel History Of Our Time (Malmö, 1998), 9–11, and a telephone interview with Ahlander on July 18, 2005 that clarified remaining questions. Ahlander has also written the children’s book Raoul Wallenberg. Hjälten som försvann (Stockholm, 2001). 45. Based on Lena Einhorn’s drama-documentary Handelsresande i liv (Stateless, arrogant and lunatic) (Sweden, 1997). The film was broadcasted on Swedish television SVT 2 (March 25, 1998), 20:00. I saw a copy at the SLBA. The book about this subject appeared two years later: Einhorn, Handelsresande i liv: Om vilja och vankelmod i krigets skugga (Stockholm, 1999). 46. See David Finn, Hope: A Monument to Raoul Wallenberg: Sculpture by Gustav Kraitz. With an introduction by Kofi Annan (Woodstock, 2001), 10: “each stone was carefully selected, placed and numbered before reaching its final home.” See also 18. 47. See Burnham, Beyond Modern Sculpture. All quotations can be found on 30. 48. Waldemar Otto, in Mai and Schmirber, Denkmal—Zeichen—Monument, 173–5, here 173. 49. As for example Finn, Hope, 8. 50. For more about both their team work as well as the special Chinese technique used for their ceramic sculpture, see the documentary Den Kinesiska Hästen på Hallandsåsen (March 24, 1983, SVT, TV 1, 19:00) as well as the short insert about Ulla and Gustav Kraitz in Sköna Söndag (March 20, 1988, SVT, TV 2, 9:30), both available in the SLBA.

PPL-UK_HMF-Schult_Notes.indd 390 12/13/2011 11:43:56 AM Notes 391

51. For further details on the technique as well as Kraitz’s ceramic works in general, see Ulla and Gustav Kraitz [Förslöv, 1993], or Ulla och Gustav Kraitz: Keramisk skulptur och collagemålningar (Stockholm, 1996). 52. Quoted from the article “Makarna Kraitz i Hishult,” in Nordvästra Skånes tidningar (July 11, 1998). 53. James Yood, “Gustav and Ulla Kraitz in Chicago 1993–94,” in Ulla och Gustav Kraitz. Keramisk skulptur och collagemålningar, 19–21, 19. 54. Jan Torsten Ahlstrand, “Ett monument som hejdar tidens ström,” in Gustav Kraitz: Raoul Wallenberg Monument i New York (Lund, 1999), 2–8, here 5. 55. See also Finn, Hope, 11. 56. Gustav Kraitz, “Lest we forget the cruel history of our time …,” in The Raoul Wallenberg Monument in New York, 25–6, here 25. 57. Kraitz, in an article by Bengt Hansson, “Hopp: Idag tar New York emot Raoul Wallenberg-monumentet,” in Göteborgs-Posten (November 9, 1998), 33. 58. Kraitz, in an article by Larsolof Carlsson, “Minnesmärken med symbolik,” in Helsingborgs Dagbblad (April 15, 1999), 25. 59. Kraitz, in an article by Larsolof Carlsson, “75-åring som skapar offentlig konst,” in Helsingborgs Dagbblad (March 29, 2001), 19. 60. Göran Christenson, “The Artist,” in The Raoul Wallenberg Monument in New York, 29–31, here 30–1. 61. Kraitz’ statement was quoted in various newspaper articles repeatedly before and after the monument’s inauguration. See for example Eva Dandanelle, “Monumentets dramatik förmedlas,” in Borås Tidning (September 4, 2000), 16, or Hansson, “Hopp,” or Carlsson, “Minnesmärken med symbolik.” Furthermore the booklet of the exhibition at the Skissernas Museum in Lund in 1999 as well as a booklet about the monument edited by the artist himself affirm this reading. 62. Gustav Kraitz, “Lest we forget the cruel history of our time …,” 25. 63. Finn, Hope, 18. 64. Yood, “Gustav and Ulla Kraitz in Chicago 1993–94,” 20. 65. Already in January 1942, the Declaration of the United Nations has been signed by 26 allied nations. During the course of the war, 21 more nations added their signatures to this declaration. 66. See Grusa, “Helden,” 15. 67. See Raoul Wallenberg: Report of the Swedish–Russian Working Group, 36. For Wallenberg’s reconstruction plan, see Gann, Raoul Wallenberg, 137ff. 68. See Lester, Wallenberg, 107 and Rosenfeld, Raoul Wallenberg, 85; see also the interview with Tom Veres in Der Spiegel (20) (2001), 128–9. 69. Gann, Raoul Wallenberg, 180. 70. Using the search function on the official UN homepage, the researcher will find some 15 entries where Annan refers to Wallenberg. See the official homepage of the United Nations, (when reaccessed on January 8, 2007, 31 entries could be found). 71. All quotes by Annan were taken from the Internet. However, the site from which I quoted, , is no longer available. 72. See Daniel Levy and Natan Sznaider, “The Institutionalization of Cosmopolitan Morality: The Holocaust and Human Rights,” in Journal of Human Rights 3 (2) (June 2004), 143–57.

PPL-UK_HMF-Schult_Notes.indd 391 12/13/2011 11:43:56 AM 392 Notes

73. Levy and Sznaider, The Holocaust and Memory in the Global Age, 5. 74. Levy and Sznaider, “The Institutionalization of Cosmopolitan Morality,” 147. 75. Quoted from Gann, Wallenberg, 137. 76. See the homepage of the United Nations (updated in the meantime) [reaccessed July 29, 2008). 77. Kraitz in Hansson, “Hopp,” 33. 78. The following is based on an interview with Staffan Nihlén and the Commissioner of Urban Environment, Gunnar Ericson, on September 4, 2003 in Malmö, together with a follow-up telephone interview with Nihlén on June 14, 2005. The Gatukontoret (Streets and Parks Department) of Malmö provided me with additional documents. 79. As Aldo Caserino formulated it. See Staffan Nihlén: Statuario (Hishult, 2005), 14. 80. See for example Nihlén’s publications Skulptur: 1986–1991. Rosso Levanto (Skurup, 1991); Mediterraneo (Lund, 1996); Dialogo con Leonardo / Dialogue with Leonardo (Montespertoli, 1999). 81. Marble absorbs light, which in turn makes the stone shine; see Nihlén’s statement, for example, in Per Sinding-Larsen, “Marmorn har ljus,” in Ystads Allehanda (May 11, 1990). 82. Here I follow Jörgen Klinthage’s interpretation; see his article “Granit och rosor marmor,” in Hallandsposten (July 3, 1996). 83. Bloch, “Heroen der Kunst, Wissenschaft und Wirtschaft,” 317. 84. See ibid., 320. 85. Ibid., 317. 86. See for example Jan Pieper, Pienza: Der Entwurf einer humanistischen Weltsicht (Stuttgart/London, 1997), or Andreas Tönnesmann, Städtebau und Humanismus (Munich, 1990). 87. Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, ed. with an introduction and notes by Adam Phillips (Oxford, 1998), 36: “When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible, but at certain distances … they are delightful.” 88. See ibid., 103ff. 89. Nihlén, Mediterraneo, 90. 90. Brita Ostadius, “Tre nordiska mästare trollar med sten,” in Borås tidning (July 7, 1996). 91. Prologue for the gala concert in memory of Raoul Wallenberg’s deed on June 26, 1946, Raoul Wallenberg-föreningens arkiv (F 4:3) in Riksarkivet, Stockholm. 92. When I interviewed Charlotte Gyllenhammar on June 19, 2006 in the artist’s studio, I also saw the model created for the competition. Another telephone interview took place on December 5, 2006 and we had further email exchanges. Furthermore, I received information and docu- mentation from Cecilia Borgström-Fälth from the Cultural Department of the City of Gothenburg, among the material she provided being Gyllenhammar’s justification for her proposal with which she won the competition. 93. Based on information given by Nina Lagergren on February 9, 2007.

PPL-UK_HMF-Schult_Notes.indd 392 12/13/2011 11:43:56 AM Notes 393

94. Mikael Göransson’s design for the underground station Stadshagen in Stockholm was his first large-scale artwork in graphic concrete and the first public work to make use of this technique in Sweden. See the artist’s homepage [reaccessed on July 29, 2008], which was very helpful to understand the technique and where also images of the test-castings of the Wallenberg monument can be found. 95. The contrast “private–public” is indeed an essential element of Gyllenhammar’s work; see especially Håkan Nilsson’s article “Charlotte Gyllenhammar,” in Magnus Jensner and Evalena Lidman (eds), Charlotte Gyllenhammar (Stockholm, 2005). 96. Published for example in Debórah Dwork, Children With a Star: Jewish Youth in Nazi Europe (New Haven, 1991), 204. 97. Rothman, Regn, 11. 98. Martin Gilbert, The Righteous: The Unsung Heroes of the Holocaust (London, 2002), 375. 99. Gibbon, A Call to Heroism, 169. 100. Ulf Abel, Ikonen: Den besjälade bilden. Essäer och uppsatser om ortodox kyrkokonst (Skellefteå, 2006). 101. Ibid., 146. 102. Ibid., 126. 103. Ibid., 146. 104. See Hans-Dieter Gelfert, Im Garten der Kunst: Versuch einer empirischen Ästhetik (Göttingen, 1998), 21–2.

9 Raoul Wallenberg’s Insubordination

1. Cubitt, “Introduction,” 8–9. 2. See Berg, Vad hände i Budapest, 49, 50. 3. See Müller-Funk, “Anatomie des Helden,” 8. According to Müller-Funk, these skills are traditionally described as “female.” 4. Prologue for the gala concert in memory of Raoul Wallenberg’s deed on June 26, 1946. 5. See the unpublished manuscript “Raoul Wallenbergs Torg” by Dorothea Flodin (John Ericsson Minnesmonument), Vanessa Gandy (Jorden sedd från ovan) and Johanna Gullberg (Wallenberg monumentet) (Stockholm University, September 2002). I thank Dorothea Flodin for giving the manuscript to me. 6. For the restoration of Raoul Wallenbergs torg, Aleksander Wolodarski received the Sienapriset by the Association of Swedish Architects in 2003. See their homepage (last update November 23, 2003) , the section on awards (in Swedish only) [reaccessed July 29, 2008]. 7. According to telephone interviews with Kirsten Ortwed in August 2005 and August 2006. 8. See the article “Hotellkonst som bryter av” by Ricki Neuman, in SvD (June 6, 2003), 2. 9. See Meyer, 30 Monuments to Raoul Wallenberg. 10. For the monument, see the publication Glöm oss inte: En bok om Förintelsen och Minnesmonumentet i Stockholm (Stockholm, 1999).

PPL-UK_HMF-Schult_Notes.indd 393 12/13/2011 11:43:56 AM 394 Notes

11. The text is based on (telephone) interviews with Wolodarski in May and June 2006 and Gabriel Herdevall in January 2007. 12. While it was not possible to take real rails, the cobblestones stem from the former ghetto of Budapest. Wolodarski received the cobblestones from Gustav Kraitz. The work was erected by the City of Stockholm, the Jewish community, and largely financed by Storch & Storch AB. 13. The text was written together with Per Ahlmark. 14. A side note on the choice of material: journalist Markus Lutteman points to the health risks for workers in China, but also in Sweden, who work with the cheap Chinese granite. See his article “Billig kinesisk sten till svenska skrytbyggen,” in SvD (November 21, 2006). In a global age, urban planning may reflect moral responsibility in the choice of material, even more so when the place is dedicated to a great humanitarian. 15. However, after Vägen was inaugurated, a bench was moved so that, and still at the time of writing in August 2008, the information is not readable. 16. See Burnham, Beyond Modern Sculpture, especially 19–48, see also D.A. Nawrocki, Grounded: Sculpture on the Floor (Ann Arbor, 1990). 17. See Eva Renate Meyer-Hermann, Das Phänomen Bodenplastik. Untersuchungen zu einem Problem der sechziger Jahre an Werkbeispielen von Carl Andre, Anthony Caro, Franz Erhard Walther und Franz Bernhard (Bonn, 1991), 19. 18. See Springer, “Rhetorik der Standhaftigkeit,” 365–408. 19. Ibid., 279. 20. Mai Misfeldt “The Sculptor’s Palette,” in Kirsten Ortwed: En samling en kunstner (Aalborg, 2002), 70–6, here 70. 21. Ibid. 22. As Kirsten Ortwed expressed it herself. Quoted Pryds Helle and Søndergaard, “Shaping Chance,” 25. 23. The sketches can be studied in the archives of the Skissernas Museum, Lund. One of the sketches can also be found in Wilfried Dickhoff, Kirsten Ortwed: Heavymetalopenspace. Skulpturen für öffentliche Räume. Sculptures for Public Spaces 1996–2006 (Cologne, 2006), 66–7. 24. To establish such a relationship is indeed one of the main elements in Kirsten Ortwed’s art, as Jochen Kronjäger demonstrated in his article “Calculated Space.” This explains the artist’s disappointment about the “not satisfying space” given to her sculptures on the Raoul Wallenbergs torg. Kronjäger’s article can be found in Kirsten Ortwed: En samling en kunstner, 61–5. The article was published first in German in 1986. 25. Misfeldt, “The Sculptor’s Palette,” 71. 26. For the following, see the ten-minute documentary by Peter R. Meyer, Kirsten Ortwed (Sweden, 1999). Available at the SLBA. 27. Troels Wörsel, “Introduction,” in Kirsten Ortwed, 2000, 7–10, here 10. 28. Based on Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 302. 29. In the following reading I was much inspired by Philip Spectre, Rabbi of the Great Synagogue on Wahrendorffsgatan until May 2005, with whom I met on February 25, 2003. 30. See also Pryds Helle and Søndergaard, “Shaping Chance,” 23–50. 31. Kirsten Ortwed in ibid., 31. 32. Quoted from Berg, The Book that Disappeared, 227. In the Swedish version of his book Berg mentions Skeppsbron as place for their arrival. This informa-

PPL-UK_HMF-Schult_Notes.indd 394 12/13/2011 11:43:56 AM Notes 395

tion was confirmed by Nina Lagergren. Anger writes of Stådsgården instead. See Anger, Med Raoul Wallenberg i Budapest, 133. Both landing stages lay in the same bay, but Skeppsbron is actually even closer to Nybroviken and thereby to Ortwed’s monument. 33. Misfeldt, “The Sculptor’s Palette,” 76. I do not follow Misfeldt’s judgment that the signature is easy legible, as will be discussed later on. 34. György Somlyó, Die Rampe (Berlin, 1988), 33. 35. See Gann, Wallenberg, 57. 36. Compare, for example, Fredrik von Feilitzen, “Wallenbergmonumentet: Ortweds förslag ingen vinnare,” in SvD (January 9, 1999), 15, and Lars- Göran Oredsson, “Av människan blev en struktur,” in Sydsvenskan (May 8, 1999), A4. 37. Per Anger, Georg Klein, Jan Lundvik, and Harry Schein, “Hedra Raoul Wallenberg med ett annat minnesmärke,” in DN (January 2, 1999), C4. 38. See Meyer’s documentary Kirsten Ortwed. 39. Pryds Helle and Søndergaard, “Shaping Chance,” 25. 40. Kirsten Ortwed in ibid., 34. 41. Misfeldt, “The Sculptor’s Palette,” 73. 42. See for example the articles on heroes in Wespennest: Zeitschrift für brauchbare Texte und Bilder (129) (Vienna 2002), especially those by George Blecher and Burghart Schmidt. 43. See Heinrich, Strategien des Erinnern, 162. 44. Raoul Wallenberg: Report of the Swedish–Russian Working Group, 166–7. 45. Letter to the editor by Margareta Bauer and Birgit Brulin, in SvD (March 14, 1999), 14. However, both knew Wallenberg from their time in Budapest and consider Ortwed’s “bronze lumps” on the ground to be unworthy of the commemoration of Wallenberg. 46. Letter to the editor by Hans Baruch, “Kirsten Ortwed’s förslag är originellt,” in SvD (January 11, 1999), 10. 47. Campbell, The Power of Myth, 32. 48. See Anger, Klein, Lundvik, and Schein, “Hedra Raoul Wallenberg med ett annat minnesmärke.” 49. In this context, it is interesting to mention that Ortwed’s work shows strong similarities with Gesine Weinmiller’s unrealized proposal for a Monument to the Murdered Jews of Europe in 1997. If even much bigger in size, the 18 stones would have much in common with Ortwed’s outspread sculptures, especially in the dispersal of the single pieces in the given space and the fact that the stones were meant to have a rough structure. Weinmiller’s monument should call to mind the murdered Jews. Her stones were meant to describe an abstract version of a Star of David. 50. Damus, Kunst im 20. Jahrhundert, 244. 51. The events of World War II and the Holocaust made it indeed impossible for many artists to continue between past and present as Max Liljefors so accurately writes. See Max Liljefors, “The Interplay of Memory and Amnesia: Sites of Memory in Europe and Africa,” in the exhibition catalog Förlust/Loss (Knislinge, 2008). 52. Hughes-Hallett, Heroes, 5. 53. See Sellier, “Heroism,” 559. 54. Linares, Der Held, 31.

PPL-UK_HMF-Schult_Notes.indd 395 12/13/2011 11:43:56 AM 396 Notes

55. The text appeared again, in a slightly different version, see Per Wästberg, “Reflections on Kirsten Ortwed’s Proposal for Raoul Wallenberg’s Square, Stockholm,” in the exhibition catalog Förlust/Loss (Knislinge, 2008). 56. Here, I refer to the monument project of Stolpersteine by German sculptor Günter Demnig. Demnig sets stones with inscriptions into the pavement at the sites where victims of Nazi persecution had their last residence: see the project’s homepage [reaccessed July 29, 2008). 57. See Stefanie Endlich, “Bilder und Geschichtsbilder: Kunst und Denkmal als Mittel der Erinnerung,” in Dachauer Hefte 18 (3) (2002), 3–22, here 10 (note 6). 58. See Michael Blackwood’s documentary film Peter Eisenman: Building Germany’s Holocaust Memorial (USA, 2005). The film was broadcast on Swedish television SVT 2 (August 25, 2006), 20:00–21:00. 59. See U"lkü Holago, “Väg håller minnet vid liv,” in SvD (June 14, 2006), front page Kultur and 5.

10 Challenges, Comparisons, and Conclusions

1. This becomes quite obvious by looking at the work, and even more so when comparing the newly taken photos with the photos Cohn’s son Colin sent me, taken at the time of the monument’s installation. 2. According to an email from Gunnar Ericson to the author dated November 2, 2006. 3. Rev. S. Hutchinson in the already mentioned speech given on the sixtieth anniversary of Wallenberg’s disappearance. 4. In 2006, Joseph Wachtel changed the title to Hero Without a Grave. The texts on Wachtel’s bronze are based on interviews with the artist between May 27 and 29, 2003 in West Palm Beach, Florida. 5. The texts on Campos’s monument are based on information given by the artist, Rabbi Dr Angel Kreiman, one of the driving forces behind the monument, Ana Veghazi of B’nai B’rith International and Doris Isaksson, Social Secretary at the Swedish Embassy in Santiago de Chile. 6. Cecilia Campos in an email to the author dated July 5, 2005. 7. The texts on Duldig’s monument are based on information given by the artist’s daughter Eva de Jong-Duldig, representing The Duldig Studio— museum, Melbourne, and Frank Vajda, head of the Melbourne Free Wallenberg Committee. 8. See for example Duldig’s ceramic head of 1941, his Brickyard Madonna, 1964, or the model for his Hakoah Monument, 1968, in Peter Stasny, Karl Duldig: Sculptures/Drawings (Vienna, 2003); for images see 151, 74–5, and 66. 9. Based on information given by Frank Vajda. 10. See Hans-Georg Gadamer, “Kunst und Nachahmung” [1967], in idem, Gesammelte Werke. vol. 8 (Ästhetik und Poetik. Kunst als Aussage), 25–36, here 30 and 32. 11. See Gadamer, “Die Aktualität des Schönen,” 129. 12. Hubertus Adam, “Zwischen Anspruch und Wirkungslosigkeit: Bemerkungen zur Rezeption von Denkmälern der DDR,” in kritische berichte 19 (1) (1991), 44.

PPL-UK_HMF-Schult_Notes.indd 396 12/13/2011 11:43:56 AM Notes 397

13. See Jürg Meyer zur Capellen, “‘Der Torso eines Ritters’ von Hans Arp. Anmerkungen zum Problem des modernen Denkmals,” in Mai and Schmirber, Denkmal—Zeichen—Monument, 125–33, here 129 and 132, quotation 132. 14. Mittig, “Das Denkmal,” 548. 15. Endell, quoted after Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 133. 16. See ibid., 303. 17. Ibid., 198. 18. See Gadamer, “Die Aktualität des Schönen,” 116ff., especially 128. 19. Ibid., 295, with reference to Langner. 20. Heinrich, Strategien des Erinnern, 24. 21. See ibid., 13. 22. Dan Karlholm, “Det tomma monumentet,” in Vad betyder verket? Konst- vetenskapliga studier kring måleri, skulptur, stadsplanering och arkitektur (Stockholm, 2001), 43–52, here 45. 23. See Eduard Trier, Bildhauertheorien im 20. Jahrhundert (Berlin, 1999), 195–7. 24. See Berggren, Giordano Bruno på Campo die Fiori, 19. 25. See Michelle Marie Roy, “Powers of Inversion: Charlotte Gyllenhammar’s Dual Perspective,” in Art Papers (March/April 2005), 22–3, here 22. 26. See Franziska Kirchner, “Zur Frage der Abstraktion oder Gegenständlichkeit im heutigen Denkmal,” in Orte des Erinnerns (Berlin, 1994) (vol. 1: Das Denkmal im Bayerischen Viertel: Beiträge zur Debatte um Denkmale und Erinnerung), 44–52, here 46. 27. See Ingela Lind, “Att söka hem,” in Wanås 2002: Ann Hamilton. Charlotte Gyllenhammar (Wanås, 2002), 7–9. 28. Staffan Nihlén, Skulptur 1986–1991. Rosso Levanto (Skurup, 1991), 13; for the following see also 11. 29. Philip Jackson in an email to the author dated May 25, 2005. 30. Vajda in an email to the author dated April 18, 2005. 31. Brita Orstadius, “Monument och engagemang—en fråga i tiden,” in Borås Tidning (April 24, 1999), 5. 32. See Bengt Sjösten, “Flytta Wallenbergmonumentet,” in SvD (November 26, 2002, Inrikes). 33. Here I refer to Peter Hansen, significantly an assistant professor in literature not an art historian. See Hansen, “Konst och monument går inte ihop,” in Svensk Tidskrift (1) (2002), 11–13. 34. See Albert E. Elsen, Rodin’s Thinker and the Dilemmas of Modern Public Sculpture (New Haven/London, 1985), 119. 35. Letter to the editor by Britta and Kurt Swedhner, in SvD (February 7, 1999), 14. Carl Hamilton expresses his harsh critique concerning Ortwed’s sculptures, which in his opinion resemble “(dog-)shit”—unworthy for the “greatest hero” in the Swedish twentieth century: see his article “Konstclowner slår till mitt i stan med tolv klickar b*js,” in Aftonbladet (November 29, 2001), 40. 36. See for example Lars Gustafsson, “I snigelskugga,” in Expressen (April 2, 2003), 6. 37. Letter to the editor by Bengt Sjösteen, “Smaklöst konstexperiment,” in Tidningen Östermalm (December 1, 2001). 38. Young, At Memory’s Edge, 4, 9, 10. 39. Reuße, Das Denkmal an der Grenze seiner Sprachfähigkeit, 286–7.

PPL-UK_HMF-Schult_Notes.indd 397 12/13/2011 11:43:56 AM 398 Notes

40. Bloch, “Denkmal und Denkmalkult,” 203. 41. See Hans-Ernst Mittig, “Über Denkmalkritik,” in idem and Volker Plagemann (eds), Denkmäler im 19. Jahrhundert. Deutung und Kritik (Munich, 1972), 283–304, here 284. 42. Springer, “Rhetorik der Standhaftigkeit,” 379. 43. See Berggren, Giordano Bruno på Campo die Fiori, 31. 44. Karlholm, “Det tomma monumentet,” 44. 45. Rosalind E. Krauss, “The Originality of the Avant-Garde,” in idem, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge/London, 1985), 151–70. 46. In this approach, I was much inspired by Adam, “Bestimmtheit, Unbesti- mmheit, Unsichtbarkeit.” Adam states that monument artists can make use of four approaches to mediate message (or combine them): these are the iconographic, the symbolic, the intellectual-associative (thereby inscriptions specify the monument’s meaning) or the emotional-associative approach. 47. Indeed, Nihlén began his artistic career as a painter. It was only in the mid- 1980s that he began to work in marble. To many, his sculptural works do evoke associations with painting. It seems as if Nihlén “paints” in marble. See Jan Torsten Ahlstrand, “Två skulptörer—två temperament,” in Jørgen Haugen Sørensen: Staffan Nihlén. Dansk-svensk skulpturutställning (Lund, 1996), 3–7, here 6. 48. Herbert Read, Modern Sculpture: A Concise History (reprinted New York, 1994), 10. 49. Halldór Björn Runólfsson, “Introduction,” in Kirsten Ortwed (Helsinki, 1992), 4–7, here 6. 50. Quoted from Kirsten Orted, in Pryds Helle and Søndergaard, “Shaping Chance,” 26. 51. “Interview: Rosemarie Trockel/Kirsten Ortwed,” in Kirsten Ortwed, 17–27, here 20. 52. See for example Springer, “Rhetorik der Standhaftigkeit,” 378. See also Hartmut Boockmann’s article “Denkmäler: Eine Utopie des 19. Jahrhunderts,” in Geschichte in Wissenschaft und Unterricht 28 (3) (1977), 160–73. 53. See Margit Rowell (ed.), Skulptur im 20. Jahrhundert. Figur—Raumkonstruktion— Prozess (Munich, 1986), 126ff. See also Minimal, Maximal: die Minimal Art und ihr Einfluss auf die internationale Kunst der 90er Jahre / Minimal Art and its Influence on International Art of the 1990s (Bremen, 1998). 54. See Zimmermann, Denkmalstudien, 164. 55. Gibbon, A Call to Heroism, 162. 56. See ibid., 165. 57. As Lina Pihl reflects in “Fult eller snyggt? Åsikterna går isär om nya Wallenbergmonumentet,” in Aftonbladet (August 8, 2001), 16. 58. Mai Misfeldt, “Værk for det næste årtusinde,” in Berlingske tidende (October 16, 1999), section 2, 8. 59. Young, “The Countermonument: Memory against Itself in Germany,” in idem, The Texture of Memory, 27–48. 60. See Nathan Glazer, “Monuments in an Age without Heroes,” in Public Interest 123 (Spring 1996), 22–39. 61. Copies of the sketches (apparently handed to Wallenberg’s teachers on January 16, 1933) can be found at Riksarkivet, Stockholm; the originals are the property of Nina Lagergren.

PPL-UK_HMF-Schult_Notes.indd 398 12/13/2011 11:43:56 AM Notes 399

62. See Bloch, “Denkmal und Denkmalkult,” 195. 63. Levy and Sznaider, Erinnerung im globalen Zeitalter: Der Holocaust, 30. 64. Quoted from Gomes, “Introduction,” 4. Gomes’s emphases. 65. Boorstin, “From Hero to Celebrity,” 46. 66. Gomes, “Introduction,” 5. 67. Campbell, The Hero with a Thousand Faces, 360 and 359. 68. Lester, Wallenberg, 120.

PPL-UK_HMF-Schult_Notes.indd 399 12/13/2011 11:43:56 AM Bibliography

Archives

Bentley Historical Library, University of Michigan, Ann Arbor Raoul Wallenberg-föreningens arkiv (The Raoul Wallenberg Association Archives) in Riksarkivet (The National Archives of Sweden), Stockholm, Sweden Statens ljud- och bildarkiv (The Swedish National Archive of Recorded Sound and Moving Images = SLBA), Stockholm, Sweden

Newspapers and magazines

Aftonbladet Berliner Zeitung Berlingske tidende Borås tidning Clarion Dagens Nyheter (= DN) Der Spiegel Expressen Göteborgs-Posten Hallandsposten Helsingborgs Dagbblad Heti világ gazdaság (HVG) Jewish Chronicle Judisk Tidskrift Le Droit Los Angeles Times Manchester Journal Michigan Alumnus Moment Montreal Gazette New York Times Nordvästra Skånes tidningar Ottawa Citizen San Mateo Weekly Stockholms Fria Tidning Svenska Dagbladet (= SvD) Sydsvenskan The Blade The Independent The Michigan Daily The Post The Washington Post Tidningen Östermalm Ystads Allehanda 400

PPL-UK_HMF-Schult_Biblio.indd 400 12/13/2011 11:56:32 AM Bibliography 401

Films and other forms of electronic media

30 Monuments to Raoul Wallenberg. Documentary written and directed by Peter R. Meyer (Sweden, 2001). Auschwitz-Dagen or Vi får aldrig glömma. Till åminne av Förintelsen (The Auschwitz Day or We should never forget. In Memory of the Holocaust) (Sweden, 1998). Den Kinesiska Hästen på Hallandsåsen (Sweden, 1983). Giorgio Perlasca: An Italian Hero. Movie directed by Alberto Negrin (Italy, 2002). Handelsresande i liv (Stateless, arrogant and lunatic). Drama-documentary by Lena Einhorn (Sweden, 1997). Interview with Nina Lagergren. Recorded by Jan Levy for the Survivors of the Shoah Visual History Foundation (Interview 51634 dated May 5, 2001). Interview with Nina Lagergren on Axess (Internet portal/Web-TV, 2008) Kirsten Ortwed. Documentary by Peter R. Meyer (Sweden, 1999). Peter Eisenman: Building Germany’s Holocaust Memorial. A documentary by Michael Blackwood (USA, 2005). Pimpernel Smith. Movie directed by Leslie Howard (England, 1941). Raoul Wallenbergs gärning—ett monument kommer till (The Deed of Raoul Wallenberg —A Monument Comes into Existence). CD-ROM containing interviews with Willy Gordon, Carmen Regnér, and Oscar Lindqvist, led by Louise Schlyter (City of Lidingö, 2001). Sköna söndag (Sweden, March 20, 1988). The Last Days. Documentary directed by James Moll (USA, 1998). Wallenberg: A Hero’s Story. TV series, scripted by Gerald Green, directed by Lamont Johnson (USA, 1985). Wallenbergs (The Wallenbergs). A documentary series by Gregor Nowinski (Sweden, 2007).

Internet resources

“Silent Heroes” Memorial Center Center for Holocaust & Genocide Studies of the University of Minnesota David Kilgour, Member of the Canadian parliament Edward M. Adams, artist Ernst Neizvestny, artist Holocaust Memorial Center in Farmington Hills, Michigan László Csíky, artist Mikael Göransson, artist Norma D’Ippolito, artist Paul Lancz, artist Raoul Wallenberg Academy For Young Leaders Stolpersteine by sculptor Günter Demnig The Anglican Church of Canada The Arab Institute for the Holocaust Research and Education

PPL-UK_HMF-Schult_Biblio.indd 401 12/13/2011 11:56:32 AM 402 Bibliography

The Association of Swedish Architects The Garden of Righteous worldwide The Holocaust and the United Nations. Outreach Programme of the United Nations The International Raoul Wallenberg Foundation (= IRWF) The Norwegian Nobel Institute in Oslo The Raoul Wallenberg Committee of Sweden The Raoul Wallenberg Committee of the United States The Raoul Wallenberg International Movement for Humanity The Stockholm International Forum on the Holocaust. A Conference on Education, Remembrance and Research The United Nations The Wallenberg Foundation of New Jersey Uga Drava, artist www.ugadrava.com

Primary resources

Regular interview partner: Nina Lagergren, Raoul Wallenberg’s sister. Interview with artist Imre Varga at his museum in Óbuda, Budapest, Hungary, on February 6, 2003 (with the kind assistance of Tamás Dragonitz). Interview with Attila Zsigmond, General Director of the Budapest Galéria in Budapest for 28 years, in Budapest, Hungary, on February 7, 2003. Interview with artist Pál Pátzay’s widow Hertha Pátzay in Budapest on February 8, 2003. Interview with Philip Spectre, Rabbi of the Great Synagogue on Wahrendorffsgatan until May 2005, in Stockholm, Sweden, on February 25, 2003. Interview with artist Philip Jackson at his studio and gallery in Midhurst, West Sussex, England, on March 7, 2003. Interview with Alan Schwartz, member of the Cardiff Wallenberg Committee, in Cardiff, Wales, on March 9, 2003. Interview with artist Jon Rush in Ann Arbor, Michigan, USA, on April 23 and 24, 2003. Interview with Zev Yaroslavsky, Los Angeles City Councilman, in Los Angeles, USA, on May 1, 2003. Interview with art dealer Suzanne Zada in Los Angeles, USA, on May 2, 2003. Interview with artist James Stoval in Menlo Park, California, USA, on May 4, 2003. Interviews with artist Uga Drava at the family’s home in the Niagara Escarpment and in Toronto, Canada, May 5–8, 2003. Interview with artist Ernest Raab and his former wife Goldi Steiner-Raab in Toronto, Canada, on May 9, 2003. Interview with Vera Parnes, founder of The Canadian Friends of Raoul Wallenberg, in Montreal, Canada, on May 10, 2003. Interview with artist Paul Lancz and his son and manager Peter in Montreal, Canada, on May 11, 2003. Interview with Diane Blake from The Raoul Wallenberg Committee of the United States of America, in New York, USA, on May 13, 2003.

PPL-UK_HMF-Schult_Biblio.indd 402 12/13/2011 11:56:32 AM Bibliography 403

Interview with Joel C. Feffer, Stavisky’s lawyer and administrator of artist Lotte Stavisky’s estate, and his secretary Joy Glass in New York, USA, on May 13, 2003. Interview with the artist E. M. Adams in Parsippany, New Jersey, on May 16, 2003. Interview with Annette Lantos, the wife of Congressman Tom Lantos, in the Capitol in Washington, DC, USA, on May 20, 2003. Interviews with artist Joseph Wachtel in West Palm Beach, Florida, USA, May 27–29, 2003. Interview with artist Staffan Nihlén and the Commissioner of the Urban Environment, Gunnar Ericson, in Malmö on September 4, 2003, as well as a further telephone interview with Nihlén on June 14, 2005. Interviews with Anselm Eggert, then interior decorator at the Swedish Parliament, in Stockholm, Sweden, on November 26, 2004 and April 13, 2005. Interview with Jan Lundvik, Swedish ambassador to Hungary, 1994–8 and member of the Swedish–Russian working group, in Stockholm, Sweden, on January 12, 2005. Interview with artist Lenke Rothman in Stockholm on February 18, 2005. Interview with György Krausz, member of the Budapest Wallenberg Statue Committee, in Oslo in March 2005. Telephone interview with Anna Graham, wife of artist Ernst Neizvestny, on June 27, 2005. Telephone interview with Dag Sebastian Ahlander, Consul General of Sweden in New York (1992–9), on July 18, 2005. Telephone interviews with artist Kirsten Ortwed in August 2005 and August 2006. Interview with Elisabeth Fleetwood, member of Moderaterna, at the Riksdag, in spring 2006. Telephone interviews with Aleksander Wolodarski, City Architect at Stadsbyggnads- kontoret (The City Planning Administration) in May and June 2006. Interview with the artist Charlotte Gyllenhammar at her studio in Stockholm, Sweden, on June 19, 2006. Another telephone interview took place on December 5, 2006. Interview with architect Gabriel Herdevall in Stockholm, Sweden, in January 2007.

Literature

“Interview: Rosemarie Trockel / Kirsten Ortwed,” in Kirsten Ortwed (Helsinki: Nordiskt konstcentrum, 1992), 17–27. Abel, Ulf, Ikonen. Den besjälade bilden. Essäer och uppsatser om ortodox kyrkokonst (Skellefteå: Artos & Norma, 2006). Adam, Hubertus, “Zwischen Anspruch und Wirkungslosigkeit: Bemerkungen zur Rezeption von Denkmälern der DDR,” in kritische berichte 19 (1) (1991), 44–64. Adam, Hubertus, “Bestimmtheit, Unbestimmheit, Unsichtbarkeit. Wirkungen und Wirkungsbedingungen neuester NS-Mahnmäler,” in Eberhard Grillparzer (ed.), Denkmäler—ein Reader für Unterricht und Studium (Bund Deutscher Kunst- erzieher, 1994), 26–39. Agrell, Wilhelm, Skuggor runt Wallenberg. Uppdrag i Ungern 1943–1945 (Lund: Historiska Media, 2006).

PPL-UK_HMF-Schult_Biblio.indd 403 12/13/2011 11:56:33 AM 404 Bibliography

Ahlander, Dag Sebastian, “The History of the Monument,” in The Raoul Wallenberg Monument in New York: Lest We Forget the Cruel History of Our Time (Malmö: Skissernas Museum, 1998), 9–11. Ahlander, Dag Sebastian, Raoul Wallenberg: Hjälten som försvann (Stockholm: Natur och kultur, 2001). Ahlstrand, Jan Torsten, “Två skulptörer—två temperament,” in Jørgen Haugen Sørensen. Staffan Nihlén. Dansk-svensk skulpturutställning (Lund: Skissernas Museum, 1996), 3–7. Ahlstrand, Jan Torsten, “Ett monument som hejdar tidens ström,” in Gustav Kraitz. Raoul Wallenberg Monument i New York (Lund: Skissernas Museum, 1999), 2–8. Ajgi, Gennadij, Die Letzte Fahrt. Text in German and Russian. Translation from Russian by Felix Philipp Ingold (Berlin: Rainer, 1993). Albert Leong, Centaur: The Life and Art of Ernst Neizvestny (Lanham, 2002), 177. Älskade farfar: Brevväxling mellan Gustaf och Raoul Wallenberg 1924–1936. Ed. and commentary by Gustaf Söderlund and Gitte Wallenberg (Stockholm: Bonnier, 1987). Anger, Per, Med Raoul Wallenberg i Budapest: Minnen från krigsåren i Ungern (Stockholm: Norstedt, 1985 [1979]). Anger, Per, With Raoul Wallenberg in Budapest: Memories of the War Years in Hungary. Foreword by Congressman Tom Lantos (Washington, DC: Holocaust Library, 1995 [Swedish original edition 1979]). Assetto, Franco, A Small Map for a Journey in Time [year, place, and publisher unknown]. Bätschmann, Oskar, “Anleitung zur Interpretation. Kunstgeschichtliche Her- meneutik,” in Kunstgeschichte: Eine Einführung. Ed. Hans Belting, Heinrich Dilly, Wolfgang Kemp, Willibald Sauerländer, and Martin Warnke. 5th rev. edn (Berlin: Dietrich Reimer, 1996 [1985]), 192–222. Bauer, Yehuda, Die dunkle Seite der Geschichte. Die Shoah in historischer Sicht: Interpretationen und Re-Interpretationen (Frankfurt/Main: Jüdischer Verlag im Suhrkamp Verlag, 2001). Beckman, Svante, Utvecklingens hjältar: Om den innovativa individen i samhällstän- kandet (Stockholm: Carlsson, 1990). Benz, Wolfgang (ed.), Überleben im Dritten Reich: Juden im Untergrund und ihre Helfer (Munich: Beck, 2003). Berg, Lars G., Vad hände i Budapest (Stockholm: Forsner, 1946). Berg, Lars G., Boken som försvann. Vad hände i Budapest (Arboga: Textab, 1983). Berg, Lars G., The Book that Disappeared: What Happened in Budapest (New York: Vantage Press, 1990). Berggren, Lars, Giordano Bruno på Campo die Fiori: Ett monumentprojekt i Rom 1876–1889 (Lund: Artifex, 1991). Bierman, John, Rigtheous Gentile: The Story of Raoul Wallenberg, Missing Hero of the Holocaust (London: Allen Lane, 1981). Blatter, Janet, Art of the Holocaust (London: Orbis, 1982). Bloch, Peter, “Vom Ende des Denkmals,” in Friedrich Piel and Jörg Traeger (eds), Festschrift Wolfgang Braunfels (Tübingen: Mohr Siebeck, 1977), 25–30. Bloch, Peter, “Heroen der Kunst, Wissenschaft und Wirtschaft. Zierbrunnen und ‘freie’ Kunst,” in Eduard Trier and Willy Weyres (eds), Kunst des 19. Jahrhunderts im Rheinland, vol. 4 (Düsseldorf: Schwann, 1980), 281–348.

PPL-UK_HMF-Schult_Biblio.indd 404 12/13/2011 11:56:33 AM Bibliography 405

Bloch, Peter, “Denkmal und Denkmalkult,” in Peter Bloch, Sibylle Einholz, and Jutta von Simson (eds), Ethos und Pathos. Die Berliner Bildhauerschule 1786–1914 (Berlin: Gebrüder Mann, 1990), 191–205. Bloomfield, Morton W., “The Problem of the Hero in the Later Medieval Period,” in Norman T. Burns and Christopher J. Reagan (eds), Concepts of the Hero in the Middle Ages and the Renaissance (Albany, NY: State University, 1975), 27–48. Boockmann, Hartmut, “Denkmäler. Eine Utopie des 19. Jahrhunderts,” in Geschichte in Wissenschaft und Unterricht 28 (3) (1977), 160–73. Boehm, Gottfried, Bildnis und Individuum: Über den Ursprung der Porträtmalerei in der italienischen Renaissance (Munich: Prestel, 1985). Böhm, Thomas, “Getting my Bearings on Raoul Wallenberg,” in Raoul Wallenberg. One Man Can Make a Difference (Stockholm: Judiska Museet, 2004), 19–20. Böhm, Thomas, “Raoul’s Childhood and Youth— a Psychological Reflection,” in Raoul Wallenberg: One Man Can Make a Difference (Stockholm: Judiska Museet, 2004), 30–2. Bohrer, Karl Heinz, “Die Kunst des Rühmens,” in Merkur 58 (665/666) (2004), 808–17. Boorstin, Daniel J., “From Hero to Celebrity: The Human Pseudo-Event,” in Daniel J. Boorstin, The Image: A Guide to Pseudo-Events in America (New York: Atheneum, 1985 [1961 under the title: The Image or What happened to the American Dream]), 45–76. Braham, Randolph L., The Politics of Genocide: The Holocaust in Hungary. 2 vols (New York: Columbia University Press, 1981). Braham, Randolph L., The Hungarian Jewish Catastrophe: A Selected and Annotated Bibliography. 2nd rev. and enlarged edn (Boulder, CO: Social Science Monograph, 1984). Brown, Gordon, “Raoul Wallenberg,” in Gordon Brown, Courage: Eight Portraits (London: Bloomsbury, 2007), 65–87. Bruchfeld, Stéphane and Paul A. Levine, om detta må ni berätta (Tell ye your children) (Stockholm: Regeringskansliet, 1997). Brunel, Pierre, Companion to Literary Myths, Heroes and Archetypes (London: Routledge, 1992 [original French edition 1988]). Burke, Edmund, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Ed. with an introduction and notes by Adam Phillips (Oxford: Oxford University Press, 1998). Burnham, Jack, Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (London: Braziller, 1968). Burns, Norman T. and Christopher J. Reagan (eds), Concepts of the Hero in the Middle Ages and the Renaissance (Albany, NY: State University, 1975). Campbell, Joseph, The Power of Myth (New York: Anchor Books, 1991 [1988]). Campbell, Joseph, The Hero with a Thousand Faces. Commemorative edition (Princeton: Princeton University Press, 2004 [1949]). Carlberg, Ingrid, “Paul A. Levine: Raoul Wallenberg in Budapest: Myth, History and Holocausl,” in Dagens Nyheter (April 14, 2010). Carlyle, Thomas, On Heroes, Hero-Worship and the Heroic in History (Oxford: Oxford University Press, 1935 [1841]). Cesarani, David, Eichmann. His Life and Crimes (London: Heinemann, 2004). Christenson, Göran, “The Artist,” in The Raoul Wallenberg Monument in New York. Lest We Forget the Cruel History of Our Time (Malmö: [publisher unknown], 1998), 29–31.

PPL-UK_HMF-Schult_Biblio.indd 405 12/13/2011 11:56:33 AM 406 Bibliography

Christmas of Raoul Wallenberg Budapest 1944. Text in Swedish, English, and Hungarian (Budapest: Kolor Optika, 2004). Cole, Tim, “Turning the Places of Holocaust History into Places of Holocaust Memory. Holocaust Memorials in Budapest, Hungary, 1945–95,” in Shelley Hornstein and Florence Jacobowitz (eds), Image and Remembrance. Representation and the Holocaust (Bloomington: Indiana University Press, 2003), 272–87. Cubitt, Geoffrey, “Introduction,” in Geoffrey Cubitt and Allen Warren (eds), Heroic Reputations and Exemplary Lives (Manchester: Manchester University Press, 2000), 1–26. Damus, Martin, “Die Vergegenständlichung bürgerlicher Wertvorstellungen in der Denkmalsplastik. Das Denkmal zur Erinnerung an den 20. Juli 1944 von Richard Scheibe in Berlin—der nackte Jüngling als Symbolfigur für den Widerstand,” in K+U (Sonderheft, 1974), 70–80. Damus, Martin, Kunst im 20. Jahrhundert. Von der transzendierenden zur affirmativen Moderne (Reinbek/Hamburg: Rowohlt, 2000). Derogy, Jacques, Raoul Wallenberg: Le juste de Budapest (Paris: Stock, 1994). de Vries, Jan, Heldenlied und Heldensage (Bern/Munich: Francke, 1961). de Vries, Jan, Heroic Song and Heroic Legend (London/New York: Oxford University Press, 1963 [original Dutch edition 1959]). Dickhoff, Wilfried, Kirsten Ortwed. Heavymetalopenspace. Skulpturen für öffentliche Räume. Sculptures for Public Spaces 1996–2006. Text in German and English (Cologne: DuMont, 2006). Diner, Dan, Beyond the Conceivable: Studies on Germany, Nazism, and the Holocaust (Berkeley: University of California Press, 2000). Dwork, Debórah, Children With a Star: Jewish Youth in Nazi Europe (New Haven: Yale University Press, 1991). Eberl, Wolfgang, “Sind Denkmäler heute möglich?,” in Ekkehard Mai and Gisela Schmirber (eds), Denkmal—Zeichen—Monument: Skulptur und öffentlicher Raum heute (Munich: Prestel, 1989), 35–7. Eck, Nathan, “The Rescue of Jews with the Aid of Passports and Citizenship Papers of Latin American States,” in Yad Vashem Studies (YVS) 1 (1957), 125–52. Edelstein, Alan, Everybody is Sitting on the Curb: How and Why America’s Heroes Disappeared (Westport, CN: Praeger, 1996). Egeland, Erik, Ernst Neizvestny: Liv och Verk (Skinnskatteberg: Galleri Astley, 1984). Einhorn, Lena, Handelsresenade i liv: Om viljan och vankelmod i krigets skugga (Stockholm: Prisma, 1999). Ekbom, Torsten, “Tatlin’s torn,” in Torsten Ekbom, Tatlins torn och andra texter (Stockholm: Bonnier, 1986), 142–9. Ekbom, Torsten, Ett skrin fullt av samlade saker: Om Lenke Rothmans konst [Stockholm: L. Rothman, 1995]. Elsen, Albert E., Rodin’s Thinker and the Dilemmas of Modern Public Sculpture (New Haven/London: Yale University Press, 1985). Endlich, Stefanie, “The Monument as a Work of Art and Sign of Remembrance,” in Daedalos (49) (1993), 90–9. Endlich, Stefanie and Thomas Lutz, Gedenken und Lernen an historischen Orten: Ein Wegweiser zu Gedenkstätten für die Opfer des Nationalsozialismus in Berlin (Berlin: Landeszentrale für politische Bildung, 1995).

PPL-UK_HMF-Schult_Biblio.indd 406 12/13/2011 11:56:33 AM Bibliography 407

Endlich, Stefanie, “Bilder und Geschichtsbilder. Kunst und Denkmal als Mittel der Erinnerung,” in Dachauer Hefte 18 (3) (2002), 3–22. Epstein, Joseph, “Knocking on Three, Winston,” in Joseph Epstein, With My Trousers Rolled (New York/London: Norton, 1995), 70–88. Ett diplomatiskt misslyckande. Fallet Raoul Wallenberg och den svenska utrikesledningen. Kommissionen om den svenska utrikesledningens agerande i fallet Raoul Wallenberg (SOU 2003: 18) (Stockholm: Fritzes offentliga publikatoner, 2003). Ferrier-Caverivière, Nicole, “Historical Figures and Mythical Figures,” in Pierre Brunel (ed.), Companion to Literary Myths, Heroes and Archetypes (London: Routledge, 1992 [original French edition 1988]), 578–85. Finn, David, Hope: A Monument to Raoul Wallenberg: Sculpture by Gustav Kraitz. With an introduction by Kofi Annan (Woodstock: Overlook Press, 2001). Fishwick, Marshall W., American Heroes: Myth and Reality (Washington, DC: Public Affairs Press, 1954). Fowkes, Reuben, “Monumental Sculpture in Post-War Eastern Europe, 1945–1960” (unpublished dissertation, University of Essex, 2002). Available as microfilm from the British Library, London. Freed, G.B. [G. Barany], “Humanitarianism vs. Totalitarianism: The Strange Case of Raoul Wallenberg,” in Papers of the Michigan Academy of Science, Arts and Letters XLVI (1961), 503–28. Frevert, Ute, “Herren und Helden: Vom Aufstieg und Niedergang des Heroismus im 19. und 20. Jahrhundert,” in Erfindung des Menschen. Schöpfungsträume und Körperbilder 1500–2000 (Vienna: Böhlau, 1998), 323–44. Gadamer, Hans-Georg, “Aesthetics and Hermeneutics” [1964], in Hans-Georg Gadamer, Philosophical Hermeneutics. Trans. and ed. by David E. Linge (Berkely: University of California, 1976), 95–104. Gadamer, Hans-Georg, “On the Circle of Understanding” [1959], in Hermeneutics Versus Science? Three German Views. Essays by H. G. Gadamer, E. K. Specht, W. Stegmüller. Trans., ed. and introduced by John M. Connolly and Thomas Keutner (Notre Dame: University of Indiana Press, 1988), 68–78. Gadamer, Hans-Georg, Truth and Method. 2nd, rev. edn (London: Sheed & Ward, 1989). Gadamer, Hans-Georg, “Kunst und Nachahmung” [1967], in Hans-Georg Gadamer, Gesammelte Werke, vol. 8 (Ästhetik und Poetik. Kunst als Aussage) (Tübingen: Mohr Siebeck, 1993), 25–36. Gadamer, Hans-Georg, “Die Aktualität des Schönen” [1974], in Hans-Georg Gadamer, Gesammelte Werke, vol. 8 (Ästhetik und Poetik. Kunst als Aussage) (Tübingen: Mohr, 1993), 94–142. Gadamer, Hans-Georg, “Lesen ist wie Übersetzen” [1989], in Hans-Georg Gadamer, Gesammelte Werke, vol. 8 (Ästhetik und Poetik: Kunst als Aussage) (Tübingen: Mohr, 1993), 279–85. Gadamer, Hans-Georg, “Zur Fragwürdigkeit des ästhetischen Bewußtseins” [1958], in Hans-Georg Gadamer, Gesammelte Werke, vol. 8 (Ästhetik und Poetik. Kunst als Aussage) (Tübingen: Mohr Siebeck, 1993), 9–17. Gadamer, Hans-Georg, “Bildkunst und Wortkunst,” in Gottfried Boehm, Was ist ein Bild? (Munich: Fink, 1994), 90–104. Gadamer, Hans-Georg, “Ästhetik und Hermeneutik” [1964] in Jean Grondin (ed.), Gadamer Lesebuch (Tübingen: Mohr Siebeck, 1997), 112–19.

PPL-UK_HMF-Schult_Biblio.indd 407 12/13/2011 11:56:33 AM 408 Bibliography

Gadamer, Hans-Georg, “Wort und Bild—‘so wahr, so seiend,’” in Jean Grondin (ed.), Gadamer Lesebuch (Tübingen: Mohr Siebeck, 1997), 172–98. Gadamer, Hans-Georg, “Was ist Wahrheit” [1957], in Gesammelte Werke, vol. 2 (Hermeneutik: Wahrheit und Methode. Ergänzungen; Register) paperback of the 6th rev. edn of 1990 [1960]) (Tübingen: Mohr Siebeck, 1999), 44–56. Gann, Christoph, Raoul Wallenberg: So viele Menschen retten wie möglich (Munich: Beck, 1999). Gelfert, Hans-Dieter, Im Garten der Kunst: Versuch einer empirischen Ästhetik (Göttingen: Vandenhoeck & Ruprecht, 1998). Gersten, Alan, A Conspirancy of Indifference: The Raoul Wallenberg Story ([Philadelphia]: Xlibris Corporation, 2001). Gibbon, Peter H., A Call to Heroism. Renewing America’s Vision of Greatness (New York: Atlantic Monthly Press, 2002). Gilbert, Martin, The Righteous: The Unsung Heroes of the Holocaust (London: Doubleday, 2002). Glazer, Nathan, “Monuments in an Age without Heroes,” in Public Interest 123 (Spring 1996), 22–39. Glöm oss inte: En bok om Förintelsen och Minnesmonumentet i Stockholm (Stockholm: Hillel, 1999). Gomes, Peter J., “Introduction,” in Peter H. Gibbon, A Call to Heroism. Renewing America’s Vision of Greatness (New York: Atlantic Monthly Press, 2002). Gordon, Willy, Willy Gordon. Text in Swedish and English (Järna: Meta, 1976). Gordon, Willy and Tsila Zak, “Jerusalem of Lithuania.” Vilnius 1990. International Monument Competition ([place unknown]: S.I., 1990). Grondin, Jean, Einführung zu Gadamer (Tübingen: Mohr Siebeck, 2000). Grusa, Jiri, “Helden,” in Wolfgang Müller-Funk and Georg Kugler (eds), Zeitreise Heldenberg. Lauter Helden. Catalog of the Niederösterreichische Landes- ausstellung (Horn/Vienna: Berger, 2005), 15–20. Hall, Stuart (ed.), Soundings: Heroes & Heroines (3) (Summer 1996). Handler, Andrew, A Man for all Connections: Raoul Wallenberg and the Hungarian State Apparatus, 1944–45 (Westport, CN: Praeger, 1996). Hansen, Peter, “Konst och monument går inte ihop,” in Svensk Tidskrift (1) (2002), 11–13. Hedqvist, Hedvig, Möte med Sveriges Riksdag. Arkitektur, konst och inredning (Stockholm: The Swedish Riksdag, 2003). Heinrich, Christoph, Strategien des Erinnern: Der veränderte Denkmalbegriff in der Kunst der achtziger Jahre (Munich: Schreiber, 1993). Hofmann, Werner, Die Plastik des 20. Jahrhundert. (Frankfurt/Main: Fischer, 1958). Hook, Sidney, The Hero in History: A Study in Limitation and Possibility (London: Secker & Warburg, 1945). Hoot, Fred, “Sculpting Raoul Wallenberg: Highlight in an Artist’s Life,” in Newsletter of The Raoul Wallenberg Committee of the United States (3) (September 1987), 4–5. Hughes-Hallett, Lucy, Heroes: Saviours, Traitors and Supermen (London: Harper Perennial, 2005 [2004]). Impelluso, Lucia, Gods and Heroes in Art (Los Angeles: J. Paul Getty Museum, 2003). Jeismann, Michael, Auf Wiedersehen Gestern. Die deutsche Vergangenheit und die Politik von morgen (Munich: DeutscheVerlags-Anstalt, 2001).

PPL-UK_HMF-Schult_Biblio.indd 408 12/13/2011 11:56:33 AM Bibliography 409

Jones, Dudley and Tony Watkins, “Introduction,” in Dudley Jones and Tony Watkins (eds), A Necessary Fantasy? The Heroic Figure in Children’s Popular Culture (London/New York: Garland, 2000). Justitiedepartementet, Sveriges Riksvapen och Sveriges Flagga (Stockholm: Liber, 1981). Karlholm, Dan, “Det tomma monumentet,” in Vad betyder verket? Konst- vetenskapliga studier kring måleri, skulptur, stadsplanering och arkitektur (Stockholm: Konstvetenskapliga institutionen, 2001), 43–52. Kehrer, Hugo, Die “heiligen drei Könige” in der Legende und in der deutschen bildenden Kunst bis Albrecht Dürer (Strassburg: J. H. E. Heitz, 1904). Kehrer, Hugo, Die heiligen drei Könige in Literatur und Kunst. 2 vols (Leipzig: E. A. Seemann, 1908). King, Sol, “In Tribute to Raoul Gustaf Wallenberg,” in Sir Nikolaus Pevsner: Architecture as a Humane Art. The Raoul Wallenberg Lecture (Ann Arbor: College of Architecture and Design, The University of Michigan, 1973), 5–12. Kirchner, Franziska, “Zur Frage der Abstraktion oder Gegenständlichkeit im heutigen Denkmal,” in Orte des Erinnerns, vol. 1 (Das Denkmal im Bayerischen Viertel. Beiträge zur Debatte um Denkmale und Erinnerung) (Berlin: Kunstamt Schöneberg, 1994), 44–52. Kluxen, Wolfgang, “Denkmäler setzen—Identität stiften,” in Friedrich Piel and Jörg Traeger (eds), Festschrift Wolfgang Braunfels (Tübingen: Mohr Siebeck, 1977), 30–2. Kobenter, Samo, “Die triumphale Niederlage, mit einem Wort Österreich,” in Wolfgang Müller-Funk and Georg Kugler (eds), Zeitreise Heldenberg. Lauter Helden. Catalog of the Niederösterreichische Landesausstellung (Horn/Vienna: Berger, 2005), 139–43. Korey, William, The Last Word on Wallenberg? New Investigations, New Questions published on Lantos’s government address [this page is no longer available]. Kraitz, Gustav, “Lest we forget the cruel history of our time…, ” in The Raoul Wallenberg Monument in New York: Lest We Forget the Cruel History of Our Time (Malmö: [publisher unknown], 1998), 25–6. Krauss, Rosalind E., “The Originality of the Avant-Garde,” in Rosalind E. Krauss, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA/ London: MIT Press, 1985 [1981]), 151–70. Krimmel, Babette, “Manualità—Aspekte der Kunst- und Kulturgeschichte der Hand,” in Andreas Pfeiffer (ed.), la mano. Die Hand in der Skulptur des 20. Jahrhunderts (Heilbronner Museumskatalog No. 84) (Heilbronn: Umschau/ Braus, 1999), 29–43. Kring 1809: Om regeringsformens tillkomst (Stockholm: Wahlström & Widstrand, 1965). Kroh, Jens, Transnationale Erinnerung. Der Holocaust im Fokus geschichtspolitischer Initiativen (Frankfurt/New York: Campus, 2006). Kronjäger, Jochen, “Calculated Space,” in Kirsten Ortwed. En samling en kunstner (Aalborg: Nordjyllands Kunstmuseum, 2002), 61–5. Küng, Andres, Raoul Wallenberg. Igår, idag (Stockholm: Timbro, 1985). Lajos, Hjälten och offren. Raoul Wallenberg och judarna i Budapest (Växjö: Svenska emigrantinstitutet, 2004).

PPL-UK_HMF-Schult_Biblio.indd 409 12/13/2011 11:56:33 AM 410 Bibliography

Langner, Johannes, “Denkmal und Abstraktion. Sprachregelungen der monumentalen Symbolik im 20. Jahrhundert,” in Ekkehard Mai and Gisela Schmirber (eds), Denkmal—Zeichen—Monument: Skulptur und öffentlicher Raum heute (Munich: Prestel, 1989), 58–68. Le Normand-Romain, Antoinette, Sculpture: The Adventure of Modern Sculpture in the Nineteenth and Twentieth Centuries (New York: Skira/Rizzoli, 1986). Leong, Albert, Centaur: The Life and Art of Ernst Neizvestny (Lanham: Rowman & Littlefield, 2002). Lester, Elenore, Wallenberg: The Man in the Iron Web (Englewood Cliffs, NJ: Prentice-Hall, 1982). Letters and Dispatches 1924–1944. Trans. by Kjersti Board (New York: Arcade, 1995). Lévai, Jenö, The Black Book on the Martyrdom of Hungarian Jewry. Ed. by Lawrence P. Davis (Zurich: Central European Times, 1948). Lévai, Jenö, Raoul Wallenberg: Hjälten i Budapest (Stockholm: Saxon & Lindström, 1948). Lévai, Jenö, “The Hungarian Deportations in the Light of the Eichmann Trial,” in Nathan Eck and Arieh Leon Kubovy (eds), Yad Vashem Studies (YVS) V (Jerusalem, 1963, 69–103). Lévai, Jenö, Raoul Wallenberg: His Remarkable Life, Heroic Battles and the Secret of his Mysterious Disappearance. Trans. by Frank Vajda (Melbourne: WhiteAnt Occasional Publ., 1989 [Hungarian original 1948]). Levine, Paul A., “Raoul Wallenberg in Budapest: Modern Jewry’s Ultimate Hero?,” in M. Mor, Crisis and Reaction: The Hero in Jewish History (Omaha, NE: Creighton University Press, 1995), 251–68. Levine, Paul A., From Indifference to Activism. Swedish Diplomacy and the Holocaust 1938–44. 2nd rev. and enlarged edn (Uppsala: Historiska institutionen, 1998 [1996]). Levine, Paul A., “One Day During the Holocaust. An Analysis of Raoul Wallenberg’s Budapest Report of 12 September, 1944,” in Samtidshistoria och politik: Vänbok till Karl Molin (Stockholm: Hjalmarson & Högberg, 2004), 235–57. Levine, Paul A., “Raoul Wallenberg was a Real Life Hero,” in Raoul Wallenberg: One Man Can Make a Difference (Stockholm: Judiska Museet, 2004), 33–5. Levine, Paul A., “The Unfinished Story of a Swedish Hero,” in Raoul Wallenberg: One Man Can Make a Difference (Stockholm: Judiska Museet, 2004), 36–57. Levine, Paul A., “Whither Holocaust Studies in Sweden? Some Thoughts on Levande Historia and Other Matters Swedish,” in Holocaust Studies: A Journal of Culture and History 11 (1) (2005), 75–98. Levine, Paul A., Raoul Wallenberg in Budapest: Myth, History and Holocaust (Edgeware: Vallentine & Mitchell, 2010) Levy, Daniel and Natan Sznaider, Erinnerung im globalen Zeitalter: Der Holocaust (Frankfurt/Main: Suhrkamp, 2001). Levy, Daniel and Natan Sznaider, “The Institutionalization of Cosmopolitan Morality: The Holocaust and Human Rights,” in Journal of Human Rights 3 (2) (June 2004), 143–57. Levy, Daniel and Nathan Sznaider, The Holocaust and Memory in the Global Age. Trans. by Assenka Oksiloff (Philadelphia: Temple University Press, 2006 [original German edition 2001]. Liljefors, Max, “The Interplay of Memory and Amnesia: Sites of Memory in Europe and Africa,” in the exhibition catalog Förlust/Loss (Knislinge: Wanås Foundation, 2008).

PPL-UK_HMF-Schult_Biblio.indd 410 12/13/2011 11:56:33 AM Bibliography 411

Linares, Filadelfo, Der Held: Versuch einer Wesensbestimmung (Bonn: Bouvier, 1967). Lind, Ingela, “Att söka hem,” in Wanås 2002: Ann Hamilton. Charlotte Gyllenhammar (Wanås: Wanås Foundation, 2002), 7–9. Lindgren, Håkan, Jacob Wallenberg 1892–1980 (Stockholm: Atlantis, 2007). Lindwall, Bo, Art in the Riksdag Building (Stockholm: The Swedish Riksdag, 1990). Lutz, Thomas, “Einleitung,” in Wulff E. Brebeck, Nicolas Hepp, and Thomas Lutz (eds), Über–Lebens–Mittel: Kunst aus Konzentrationslagern und in Gedenkstätten für Opfer des Nationalsozialismus (Marburg: Jonas, 1992), 7–11. Mai, Ekkehard and Gisela Schmirber (eds), Denkmal—Zeichen—Monument: Skulptur und öffentlicher Raum heute (Munich: Prestel, 1989). Mai, Ekkehard and Gisela Schmirber, “Mo(nu)ment mal: Denkmal?,” in Ekkehard Mai and Gisela Schmirber (eds), Denkmal—Zeichen—Monument: Skulptur und öffentlicher Raum heute (Munich: Prestel, 1989), 7–12. Mansbach, Steven A., Two Centuries of Hungarian Painters 1820–1970: A Catalogue of the Nicholas M. Salgo Collection (Washington, DC: American University Press, 1998). Merkel, Ursula, Das plastische Porträt im 19. und frühen 20. Jahrhundert. Ein Beitrag zur Geschichte der Bildhauerei in Frankreich und Deutschland (Heidelberg: Universität, 1992). Metken, Günter, Spurensicherung. Kunst als Anthropologie und Selbsterforschung. Fiktive Wissenschaften in der heutigen Kunst (Köln: DuMont, 1977). Metken, Günter, Spurensicherung. Eine Revision. Texte 1977–1995 (Amsterdam/ Dresden: Verlag der Kunst, 1996). Meyer zur Capellen, Jürg, ‘“Der Torso eines Ritters’ von Hans Arp. Anmerkungen zum Problem des modernen Denkmals,” in Ekkehard Mai and Gisela Schmirber (eds), Denkmal—Zeichen—Monument: Skulptur und öffentlicher Raum heute (Munich: Prestel, 1989), 125–33. Meyer-Hermann, Eva Renate, Das Phänomen Bodenplastik. Untersuchungen zu einem Problem der sechziger Jahre an Werkbeispielen von Carl Andre, Anthony Caro, Franz Erhard Walther und Franz Bernhard (Bonn: [E. R. Meyer- Hermann], 1991). Michalski, Sergiusz, Public Monuments: Art in Political Bondage 1870–1997 (London: Reaktion, 1998). Minimal, Maximal: die Minimal Art und ihr Einfluss auf die internationale Kunst der 90er Jahre / Minimal Art and its Influence on International Art of the 1990s (Bremen: Neues Museum Weserburg, 1998). Misfeldt, Mai, ‘The Sculptor’s Palette,” in Kirsten Ortwed: En samling en kunstner (Aalborg: Nordjyllands Kunstmuseum, 2002), 70–6. Mittig, Hans-Ernst, “Die Entstehung des ungegenständlichen Denkmals,” in Evolution générale et développements regionaux en histoire de l’art 2 (1972) (Actes du XXII. Congrès international d’histoire de l’art. Budapest, 1969), 469–74. Mittig, Hans-Ernst, “Über Denkmalkritik,” in Hans-Ernst Mittig and Volker Plagemann (eds), Denkmäler im 19. Jahrhundert. Deutung und Kritik (Munich: Prestel, 1972), 283–304. Mittig, Hans-Ernst, “Das Denkmal,” in Werner Busch (ed.), Funkkolleg Kunst: Eine Geschichte der Kunst im Wandel ihrer Funktionen (Munich: Piper, 1987), 532–58.

PPL-UK_HMF-Schult_Biblio.indd 411 12/13/2011 11:56:33 AM 412 Bibliography

Molderings, Herbert, ‘“Spurensicherung’ in der Bildenden Kunst,” in Spurensicherung: Geschichte und Vergangenheit in Kunst und Wissenschaft. Ed. by Detlef Hoffmann together with Karl Ermert (Rehburg-Loccum: Evangelische Akademie Loccum, 1985; Loccumer Protokolle (55) 1984), 8–33. Müller, Ernst, “Mythos/mythisch/Mythologie,” in Ästhetische Grundbegriffe. Historisches Wörterbuch in sieben Bänden, vol. 4 (Medien-Populär) (Stuttgart: Metzler, 2002), 309–46. Müller-Funk, Wolfgang and Georg Kugler (eds), Zeitreise Heldenberg: Lauter Helden. Catalog of the Niederösterreichische Landesausstellung (Horn/Vienna: Berger, 2005). Müller-Funk, Wolfgang and Georg Kugler, “Lauter Helden. Eine Einleitung,” in Wolfgang Müller-Funk and Georg Kugler (eds), Zeitreise Heldenberg: Lauter Helden. Catalog of the Niederösterreichische Landesausstellung (Horn/Vienna: Berger, 2005), XI–XIV. Müller-Funk, Wolfgang, “Anatomie des Helden,” in Wolfgang Müller-Funk and Georg Kugler (eds), Zeitreise Heldenberg. Lauter Helden. Catalog of the Niederösterreichische Landesausstellung (Horn/Vienna: Berger, 2005), 3–13. Murányi, Gábor, “Wallenberg-emlékmuvek Budapesten,” in Mária Ember, Wallen- berg Budapesten (Budapest: Városháza, 2000), 185–97. Nawrocki, D. A., Grounded. Sculpture on the Floor (Ann Arbor: University of Michigan, 1990). Neuman, Bertil, En miljon bortglömda hjältar: berättelser om mod och goda gärningar under Förintelsen. 2nd, enlarged and rev. edn (Stockholm: Carlsson, 2000 [1999]). Neuman, Ricki, “Wallenberg? Which one?,” in Raoul Wallenberg: One Man Can Make a Difference (Stockholm: Judiska Museet, 2004), 16–18. Nickel, Christa, Imre Varga im Gespräch (Bonn/Budapest/Monte Pitoro: Ecoprint, 1995). Nihlén, Staffan, Skulptur: 1986–1991. Rosso Levanto (Skurup: Hylteberga, 1991). Nihlén, Staffan, Mediterraneo (Lund: Ellerström, 1996). Nihlén, Staffan, Dialogo con Leonardo / Dialogue with Leonardo. Text in Italian and English (Montespertoli: Maschietto & Musolino, 1999). Nilsson, Håkan, “Charlotte Gyllenhammar,” in Magnus Jensner and Evalena Lidman (eds), Charlotte Gyllenhammar (Stockholm: Carlsson i samarbete med Galleri Charlotte Lund, 2005). Nylander, Gert and Anders Perlinge, Raoul Wallenberg in Documents, 1927–1947. Text in Swedish and English (Stockholm: Stiftelsen för ekonomisk historisk forskning inom bank och företagande, 2000). Östlund, Helena, “Stygn,” in Socialpolitik (3) (2001), 21–7. Palmqvist, Eva, I offentlighetens tjänst. En studie av Raoul Wallenbergs Torg och tre hjältars monument vid Nybroviken (Stockholm: Konstvetenskapliga institutionen, 2002). Panofsky, Erwin, “Iconography and Iconology. An Introduction to the Study of Renaissance Art,” in Erwin Panofsky, Meaning in the Visual Arts (Harmondsworth: Penguin, 1993), 56–7. Pátzay Pál: Az ember és a mü [Budapest: publisher unknown, 2001]. Philipp, Rudolph, Raoul Wallenberg: Diplomat, kämpe, samarit (Stockholm: Fredborg, 1946). Piel, Friedrich and Jörg Traeger (eds), Festschrift Wolfgang Braunfels (Tübingen: Mohr Siebeck, 1977).

PPL-UK_HMF-Schult_Biblio.indd 412 12/13/2011 11:56:34 AM Bibliography 413

Pieper, Jan, Pienza: Der Entwurf einer humanistischen Weltsicht (Stuttgart/London: Menges, 1997). Pinkola Estés, Clarissa, “Introduction,” in Joseph Campbell, The Hero with a Thousand Faces. Commemorative edn (Princeton: Princeton University Press, 2004 [1949]), xxxiii–xxxv. Pótó, János, “The Wallenberg Monument,” in História (1) (1984) [pages unknown]. Preimesberger, Rudolf, Hannah Baader and Nicola Suthor (eds), Porträt (Berlin: Reimer, 1999) (Geschichte der klassischen Bildgattungen in Quellentexten und Kommentaren; 2nd vol.). Pryds Helle, Merete and Morten Søndergaard, “Shaping Chance. A Portrait Interview with Kirsten Ortwed,” in Kirsten Ortwed: The Sculptor’s Palette (Horsen: Horsens Kunstmuseum, 2000), 23–50. Raab, Ernest, Violin of Stone (Toronto: Lugus, 1999). Rafael Moneo: The Freedom of the Architect. The Raoul Wallenberg Lecture (Ann Arbor: The University of Michigan, 2002). Rank, Otto, Der Mythus von der Geburt des Helden (Leipzig: Deudicke, 1909). Raoul Wallenberg: One Man Can Make a Difference. Exhibition catalog ed. by the Jewish Museum in Stockholm. Text in Swedish and English (Stockholm: Judiska Museet, 2004). Raoul Wallenberg. Report of the Swedish–Russian Working Group (Stockholm: Ministry for Foreign Affairs, 2000). Read, Herbert, Modern Sculpture: A Concise History (New York: Thames & Hudson, 1994 [1964]). Reuße, Felix, Das Denkmal an der Grenze seiner Sprachfähigkeit (Stuttgart: Klett- Cotta, 1995). Rogers, Tom “An Architecture of Sanctuary,” in Michigan Alumnus (Early Spring 1996), 34–6. Rosenfeld, Harvey, Raoul Wallenberg. Rev. edn (New York: Holmes & Meier, 1995 [1982]). Rothman, Lenke, Quality of Life (Åhus: Kalejdoskop, 1981 [1980]). Rothman, Lenke, Ok Ok No New York. Photos by Tana Ross (Åhus: Kalejdoskop, 1984). Rothman, Lenke, Regn (Stockholm: En bok för alla, 1993 [1990]). Rothman, Lenke, Spår—ett minnesmärke / Track—A Memorial. Text in Swedish and English (Stockholm: Folkens museum—etnografiska, 1995). Rothman, Lenke, Att minnas—det goda gärningen: Hågkomsten, hyllningen och respekten för Raoul Wallenbergs gärning i Budapest 1944. Gestaltning av Lenke Rothman (Stockholm: Sveriges Riskdag, 1998). Rothman, Lenke, Inskrifter (Stockholm: Statens Historiska Museum, 2000). Rothman, Lenke, Stygn (Hedemora: Gidlund, 2001). Rowell, Margit (ed.), Skulptur im 20. Jahrhundert. Figur—Raumkonstruktion—Prozess (Munich: Prestel, 1986). Roy, Michelle Marie, “Powers of Inversion. Charlotte Gyllenhammar’s Dual Perspective,” in Art Papers (March/April 2005), 22–3. Rubinstein, William D., The Myth of Rescue: Why the democracies could not have saved more Jews from the Nazis (London: Routledge, 2000 [1997]). Runólfsson, Halldór Björn, “Introduction,” in Kirsten Ortwed (Helsinki: Nordiskt konstcentrum, 1992), 4–7.

PPL-UK_HMF-Schult_Biblio.indd 413 12/13/2011 11:56:34 AM 414 Bibliography

Saltzman, Lisa R., Art after Auschwitz: Anselm Kiefer and the Possibilities of Representation (Cambridge, MA: Harvard University Press, 1994). Scharf, Helmut, “Denkmalbegriff,” in Kleine Kunstgeschichte des deutschen Denk- mals (Darmstadt: Wissenschaftliche Buchgesellschaft, 1984), 5–19. Schlink, Bernhard, “Das Opfer des Lebens,” in Merkur 59 (679) (2005), 1021–31. Schlyter, Louise, “Raoul Wallenberg—en karaktär, en livsinriktning.” Unpub- lished folder distributed in connection with a Raoul Wallenberg exhibition (Lidingö, 1999, revised in 2002). Schmidbauer, Wolfgang, “Helden und Superhelden,” in psychosozial 10 (31) (1987) (Schwerpunktthema: Helden), 85–95. Schreiber, Penny and Joan Lowenstein (eds), Remembering Raoul Wallenberg: The University of Michigan Celebrates Twentieth-Century Heroes (Ann Arbor: University of Michigan Wallenberg Executive Committee, 2001). Schuh, Franz, “Über Helden,” in Wolfgang Müller-Funk and Georg Kugler (eds), Zeitreise Heldenberg: Lauter Helden. Catalog of the Niederösterreichische Landesausstellung (Horn/Vienna: Berger, 2005), 23–9. Schult, Tanja, Review of ‘Raoul Wallenberg: One Man Can Make a Difference.’ H-Museum, H-Net Reviews. June, 2004. [reaccessed on January 11, 2009] Schult, Tanja, “Raoul Wallenberg—One Man Can Make a Difference. Utställning: Judiska Museet i Stockholm 2004,” in Scandia 72 (1) (2006), 142–4. Schult, Tanja, “Review of Paul Levine, Raoul Wallenberg in Budapest: Myth, History and Holocaust,” H-Soz-u-Kult, H-Net Reviews. May, 2010. www.h-net.org/ reviews/showrev.php?id=30372. Schult, Tanja, “Whose Raoul Wallenberg is it? The Man and the Myth: Between Memory, History and Popularity,” Culture Unbound 2 (2010), 669–797, www. cultureunbound.ep.liu.se/v2/a41/references.html. Sculpture: The Adventure of Modern Sculpture in the Nineteenth and Twentieth Century (Cologne: Taschen, 1996). Seeßlen, Georg, “Held,” in Wolfgang R. Langenbucher, Ralf Rytlewski, and Bernd Woyergraf (eds), Handbuch zur deutsch-deutschen Wirklichkeit: Bundesrepublik Deutschland—Deutsche Demokratische Republik im Kulturvergleich (Stuttgart: Metzler, 1988), 258–60. Segal, Robert A. (ed.), Hero Myths: A Reader (Oxford: Blackwell, 2000). Seitz, Heribert, De tre kronorna: Det svenska riksvapnet i sitt europeiska sammanhang (Stockholm: Norstedt, 1961). Sellier, Philippe, “Heroism,” in Pierre Brunel (ed.), Companion to Literary Myths, Heroes and Archetypes (London: Routledge, 1992 [original French edition 1988]), 557–65. Sjöquist, Eric, Affären Raoul Wallenberg (Stockholm: Bonnier, 1974). Sjöquist, Eric, Raoul Wallenberg. Diplomaten som försvann (Stockholm: Askild & Kärnekull, 1981). Sjöquist, Eric, Raoul Wallenberg (Stockholm: Norman, 1985). Sjöquist, Eric, Dramat Raoul Wallenberg (Stockholm: Norstedt, 2001). Smith, Danny, Wallenberg: Lost Hero (Basingstoke: Marshall Pickering, 1986). Somlyó, György, Die Rampe. Trans. by Peter Scharfe (Berlin: Volk und Velt, 1988 [Hungarian original 1984]). Spielmann, Jochen, “Steine des Anstoßes—Denkmale in Erinnerung an den Nationalsozialismus in der Bundesrepublik Deutschland,” in kritische berichte 16 (3) (1988), 5–16.

PPL-UK_HMF-Schult_Biblio.indd 414 12/13/2011 11:56:36 AM Bibliography 415

Springer, Peter, “Rhetorik der Standhaftigkeit. Monument und Sockel nach dem Ende des traditionellen Denkmals,” in Wallraf-Richartz-Jb. (48/49) (1987/88), 365–408. Staffan Nihlén. Statuario (Hishult: Konsthallen i Hishult, 2005). Staiger, Emil, “Die Kunst der Interpretation,” in Emil Staiger, Die Kunst der Interpretation: Studien zur deutschen Literaturgeschichte. 5th unchanged edn (Zurich: Atlantis, 1967 [1955]), 9–33. Stasny, Peter, Karl Duldig: Sculptures/Drawings (Vienna: The Jewish Museum, 2003). Steffen, Uwe, Drachenkampf: Der Mythos vom Bösen (Stuttgart: Kreuz, 1984). Storm-Rusche, Angelika, “Personendenkmäler,” in Will Cremer and Ansgar Klein (eds), Heimat: Analysen, Themen, Perspektiven (Bielefeld: Westfalen-Verlag, 1990), 706–42. The New Expanded Holocaust Memorial Center: Illuminating the Past. Enlightening the Future (West Bloomfield, MI: Holocaust Memorial Center, 2002). Tönnesmann, Andreas, Städtebau und Humanismus (Munich: Hirmer, 1990). Topolski, Jerzy, “Helden in der Geschichte und Geschichtsschreibung,” in Jerzy Strzelczyk (ed.), Vorträge einer gemeinsamen Konferenz des Instituts für Geschichte der Adam–Mickiewicz–Universität Poznan und des Historischen Seminars der Universität Hannover, Poznan, 26–27 October 1995 (Poznan: Instytut Historii, 1997), 11–19. Tóth, László K., “Három szobor. Változatok egy Wallenberg emlékmüre,” in Remény 2 (3) (1999), 63–7. Trier, Eduard, Bildhauertheorien im 20. Jahrhundert. 5th, complete new, rev. and extended edn (Berlin: Gebr. Mann, 1999 [1992]). Tschuy, Theo, Dangerous Diplomacy: The Story of Carl Lutz, Rescuer of 62,000 Hungarian Jews (Grand Rapids, MI: Eerdman, 2000). Ulla H and Gustav Kraitz. Swedish and English edition [Förslöv: G. Kraitz, 1993]. Ulla and Gustav Kraitz: Keramisk skulptur och collagemålningar (Stockholm: Waldemarsudde, 1996). Villius, Hans and Elsa, Fallet Raoul Wallenberg (Stockholm: Geber, 1966). von Dardel, Fredrik, Raoul Wallenberg: Fakta kring ett öde. En sammanfattning (Stockholm: Proprius, 1970). von Dardel, Maj, Raoul (Stockholm: Rabén & Sjögren, 1984). Wachtel, Joseph, Escape from the Hounds of Hell (unknown binding, 1993). Wästberg, Per, Om Raoul Wallenberg (Stockholm: Stockholms konstråd, 1998). Wästberg, Per, “Reflections on Kirsten Ortwed’s Proposal for Raoul Wallenberg’s Square, Stockholm,” in the exhibition catalog Förlust/Loss (Knislinge: The Wanås Foundation, 2008). Werbell, Frederick E. and Thurston Clarke, Lost Hero: The Mystery of Raoul Wallenberg (New York: McGraw-Hill, 1982). Wespennest. Zeitschrift für brauchbare Texte und Bilder (129) (Vienna 2002). Winter, Gundolf, Zwischen Individualität und Idealität: Die Bildnisbüste. Studien zu Thema, Medium, Form und Entwicklungsgeschichte (Stuttgart: Urachhaus, 1985). Wirth, Hans-Jürgen, “Die Sehnsucht nach Vollkommenheit,” in Psychosozial 10 (31) (1987), 96–113. Wörsel, Troels, “Introduction,” in Kirsten Ortwed: The Sculptor’s Palette (Horsen: Horsens Kunstmuseum, 2000), 7–10. Yahil, Leni, “Raoul Wallenberg—His Mission and His Activities in Hungary,” in Livia Rothkirchen (ed.), Yad Vashem Studies (YVS) XV (Jerusalem 1983), 7–53.

PPL-UK_HMF-Schult_Biblio.indd 415 12/13/2011 11:56:36 AM 416 Bibliography

Yood, James, “Gustav and Ulla Kraitz in Chicago 1993–94,” in Ulla och Gustav Kraitz. Keramisk skulptur och collagemålningar (Stockholm: Waldemarsudde, 1996), 19–21. Young, James E., The Texture of Memory: Holocaust Memorials and Meaning (New Haven/London: Yale University Press, 1993). Young, James E., “The Biography of a Memorial Icon: Nathan Rapoport’s Warsaw Ghetto Monument,” in James E. Young, The Texture of Memory. Holocaust Memorials and Meaning (New Haven/London: Yale University Press, 1993), 155–84. Young, James E., “The Countermonument: Memory against Itself in Germany,” in James E. Young, The Texture of Memory: Holocaust Memorials and Meaning (New Haven/London: Yale University Press, 1993), 27–48. Young, James E., The Art of Memory: Holocaust Memorials in History (New York: Prestel, 1994). Young, James E., The Changing Shape of Holocaust Memory (New York: American Jewish Committee, 1995). Young, James E., At Memory’s Edge: After-Images of the Holocaust in Contemporary Art and Architecture (New Haven/London: Yale University Press, 2000). Zander, Ulf, Review of Attila Lajos’s dissertation, in Scandinavian Journal of History 30 (2/4) (2005), 350–3. Zander, Ulf, “Heroic Images: Raoul Wallenberg as a History-Cultural Symbol,” in Martin L. Davies and Claus-Christian W. Szejnmann (eds), How the Holocaust Looks Now: International Perspectives (Basingstoke: Palgrave Macmillan, 2007), 126–35. Ziegler, Joanna E., Sculpture of Compassion: The Pietà and the Beguines in the southern Low Countries, c. 1300–c. 1600 (Brussels: Institut historique belge de Rome, 1992). Zimmermann, Maria, Denkmalstudien: Ein Beitrag zum Verständnis des Persön- lichkeitsdenkmals in der Bundesrepublik Deutschland und West-Berlin seit dem Zweiten Weltkrieg (Münster: Kunsthistorisches Institut, 1982). Zupnick, Irvin, “Saint Sebastian. The Vicissitudes of the Hero as Martyr,” in Norman T. Burns and Christopher J. Reagan (eds), Concepts of the Hero in the Middle Ages and the Renaissance (Albany, NY: State University of New York Press, 1975), 239–67.

PPL-UK_HMF-Schult_Biblio.indd 416 12/13/2011 11:56:36 AM Photograph Credits

All photographs in this publication were taken by the author, except for the following: Christina Andorfer-Berggren and Uwe Andorfer, Malsch, Germany: Figures 7.2, 7.3, 7.4, 10.6, 10.7 Collection of the Yad Vashem Art Museum, Jerusalem, Israel: Figures 7.20, 7.21 Stephanie Forsmann, Sydney, Australia: Figure 7.1 Galleri Astley—Museum Tree of Life by Ernst Neizvestny, Uttersberg, Sweden: Figures 7.9, 7.10 Blake Hamilton, Sydney, Australia: Figure 6.17 Doris Isaksson, Social Secretary at the Swedish Embassy, Santiago de Chile, Chile: Figures 10.4, 10.5 Maris Khalilov, Library for Foreign Literature, Moscow, Russia: Figure 7.8 Photographer unknown. Compliments of Joel C. Feffer, New York, USA: Figure 6.6 Jacques Pri-Gal, Jad Bamidbar Holocaust Study and Memorial Center in Eilat, Israel: Figure 6.5 Klement Trizuljak, Bratislava, Slovakia: Figures 10.2, 10.3 Károly Veress, Fonthill, Ontario, Canada: Figure 8.11 Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked, the author will be pleased to make the necessary arrangements at the first opportunity. I want to express my warmest gratitude to all these photographers. Without their help, my study could not have been completed.

417

PPL-UK_HMF-Schult_PCredits.indd 417 12/13/2011 1:59:13 PM my heroes

Jan Torsten Ahlstrand, Lars-Göran Andersson, Christina Andorfer- Berggren and Uwe Andorfer, Nicholas Aylott, BaltSeaNet (The Baltic Sea Area Studies: Northern Dimension of Europe, a research training network financed by the European Community), Kristina Benc, Frances Boylston, Dan Brändström (Riksbankens Jubileumsfond / The Bank of Sweden Tercentenary Foundation), Jan Brockmann, Claus Bubner, Daniela Büchten, Staffan Carlsson (Swedish Embassy, Budapest), Tamás Dragonitz, Uga Drava, Stephanie Forsmann, Kristian Gerner, Fred Girod (Collegium Budapest), Berit Gulyás, Edit Györgyjakobi, Juliane Hahn, Blake Hamilton, Bernd Henningsen, Madeleine Hurd, Doris Isaksson, Vera Kempa (Raoul Wallenberg Guesthouse of Collegium Budapest), Nina Lagergren, dict.leo.org, Ohad Livne, Jan Lundvik, Joachim Marcuse, Alexander Mauersberger, Hans-Joachim and Renate Mauersberger, Camilla Olsson (Södertörn högskola’s library), Tom Olsson, Marta Reuter, Lenke Rothman, Jon Rush, Mai-Brith Schartau and The Centre for Germany Studies at Södertörns högskola, Louise Schlyter, Maike Schult, Anikó Serege, Edith Sinapius, Svenska Föreningen i Buenos Aires, Kantor Emil Tóth, Joseph Wachtel, David and Monica Wadsworth, Barbara A. Wolanin, Marianne Yagoubi

All artists and interview partners

And many, many more, who contributed in one way or another so that this project could become a reality

And especially Alexander, Mats, and Niklas

Thank you

418

PPL-UK_HMF-Schult_Mheroes.indd 418 12/13/2011 1:58:51 PM Index

Abdulkader, Tani, 364 Benchmark, also fundamental Abel, Ulf, 231 rupture, civilizational break, 12, Adams, Edward M., 196–201, 224 14, 74–5, 79, 91 260–3, 278, 283–4, 291, 305, Benedicks, Michael, 53 343–5, 390 Berg, Lars, 41, 47, 56, 110–11, 244, Ahlander, Dag Sebastian, 203–7, 210, 248, 394 347, 390 Bergen-Belsen (concentration camp), Ahlstrand, Jan Torsten, 209 342 Altman, Lionel, 340 Berggren, Lars, 277 Ambassador Danielsson, 57, 91, 108, Bernadotte, Folke, 110, 188, 324 119, 245, 375 Bierman, John, 41, 47, 119, 278, 281, Amess, David, 339 291, 299, 311, 339, 357 Andre, Carl, 241 Bildt, Carl, 172–3 Angel of Budapest, 114, 343 Biogal, 91–3 Anger, Per, 33, 41, 47, 55, 90–1, 108, Björklund, Margita, 362 122, 207, 230, 331–3 Björlin, Ulf, 56 Annan, Kofi, 216–7, 299, 311 Blake, Diane, 382 Annan, Nane, born Lagergren Bloch, Peter, 287 (Raoul Wallenberg’s niece, Nina Board, Kjersti, 207 Lagergren’s daughter), 216, 311 Boccioni, Umberto, 145 Arbitrariness, arbitrary, 274–6, 282–4, Boorstin, Daniel, 49 291 Borgström-Fälth, Cecilia, 392 Arp, Hans, 201 Borisov, Boris, 173 Arrow Cross coup, 38, 45, 57, 81, Borofski, Jonathan, 270 110–11, 215, 266–7 Bottos, Gerö, 90 Arrow Cross, also Nyilas Party, 38–9, Braham, Randolph L., 33 42, 71, 90, 215, 306 Brancusi, Constantin, 201, 207 Art of the Holocaust, 3 Brandorf, Martin, 388 Assetto, Franco, 24, 61, 68, 129–31, Brändström, Elsa, 54–5, 114 232, 263, 271, 304, 323–4 Breda, Carl Fredrik, 173 Attaché case, also briefcase, 131–2, Broberg, Rolf, 347 205, 209, 212–14, 218, 270, 276, Broniatowski, Karol, 270 305, 345, 347–8 Brooks, Paul, 323–4 Auschwitz, also Auschwitz-Birkenau Brophy, Andrew, 377 (concentration camp), 12, 37, Bruchfeld, Stéphane, 173 63, 74, 107, 109, 119, 172, Burke, Edmund, 224–5 184–5, 217, 254, 318, 323, Burnham, Jack, 207 338–9, 342, 354 Bystander, 68, 74, 232 Autonomous, 10, 234, 285, 288–91 Campbell, Joseph, 50–1, 154 Baskin, Leonard, 189 Campos, Cecilia, 269–72, 276, 304, Becher, Kurt, 56 350–2, 397 Beckley, Robert M., 332 Carlyle, Thomas, 45

419

PPL-UK_HMF-Schult_Index.indd 419 12/13/2011 11:59:34 AM 420 Index

Caro, Anthony, 241 Emerson, Ralph Waldo, 122, 125 Carter, Jimmy, 72–3 Endell, August, 274–5 Cesarani, David, 375 Ericson, Gunnar, 219, 225, 262, 280, Chamberlain, Richard, 52 283, 329–30, 392 Churchill, Winston, 72, 280 Ericsson, John, 248, 293 Chyrek, Adam, 111, 125–6, 304, Expectations on the monument 327–8 genre, 25–6, 255, 259, 274–7, Cohn, Anna, 24, 134–8, 261, 271, 284–92 282, 299, 304, 317–18 Cohn, Colin, 385, 396 Fautrier, Jean, 250 Cold War, 13, 73, 217 Feffer, Joel C., 98, 382 Cole, Tim, 3 Finn, David, 4, 214, 216, 347 Copland, John, 313 Fleetwood, Elisabeth, 170, 173, Cotler, Irwin, 334, 376 342, 388 Croake, Richard, 190 Flood of monuments, also pestilence Csíky, László, 128–9, 304, 337 of monuments, 9 Cubitt, Geoffrey, 124 Ford, Gerald, 34 Cudin, Gianpietro, 141–2, 298, 305, Forgács, Paul, 57 356–7 Forrester, Erwin, 318 Czinder, Antal, 91 Forum för levande historia (Forum for Living history), 40, 173, 360 Dadswell, Lyndon, 318 Frank, Anne, 75 Dahl, Birgitta, 172–3, 299 Frevert, Ute, 48 Dalnoki-Veress, Margot, 390 David, Jacques-Louis, 82 Gach, George, 308 de Jong-Duldig, Eva, 396 Gagarin, Yuri, 65 de Vries, Jan, 46 Gandhi, Mahatma, 63, 65, 298 Deák, Gábor, 93, 307–8 Gann, Christoph, 245 Death-march, 38, 109, 135, 318 Gara, Vera, 386 Democratization of art, 16, 291 Gerner, Kristian, 91 Demszky, Gábor, 93, 210, 307 Gerö, Eva-Carin, 46 Didactic, 9, 210, 213, 254, 290–1 Gerz, Jochen, 16, 294 Diner, Dan, 73 Ghetto in Warsaw, 90, 126, 228, 232 Dizhur, Bella, 315 Ghetto, the international ghetto with Domonkos, Miksa, 113, 369, 383 the protective house, close to the Drava, Uga, 149–54, 165, 261, 263, island of Margaret, Budapest, 81 277, 281, 300, 304, 321–2, 386 Ghetto, the large or sealed ghetto Drew, Mary Ann, 190, 332 in the VII district of inner Pest, Dromberg, Ragnar, 158 Budapest, 38, 61, 81, 131, 209–10, Duldig, Karl, 263, 268–73, 283, 304, 215, 237, 323, 336, 345–6 312–14 Giacometti, Alberto, 191 Gibbon, Peter H., 49–50, 230, 302 Eatough, Carl W., 169 Gilbert, Martin, 230 Eggert, Anselm, 171, 388 Glass, Joy, 382 Ehrenpreis, Marcus, 35, 46, 236 Goethe, Johann Wolfgang von, 277 Eichmann, Adolf, 56, 253 Goldberg, Hal, 365 Einhorn, Jerzy, 172 Göransson, Mikael, 228, 393 Einhorn, Lena, 122 Gorbachev, Michael, 73, 158, 164 Ekbom, Torsten, 146, 186 Gordon, Mona, 100, 348, 382

PPL-UK_HMF-Schult_Index.indd 420 12/13/2011 11:59:34 AM Index 421

Gordon, Willy, 99–114, 125, 260, 263, Holocaust memory, 18, 74 265, 271, 276, 278, 282, 294, 299, Holocaust remembrance, 3, 26, 73, 305, 348–49, 359 75–6, 216, 264, 300 Graham, Anna, 385 Hook, Sidney, 45, 49, 50, 56 Graphic concrete, 228, 362, 393 Hope Levin, Pamela, 354 Green, Gerald, 52 Horn, B., 96–7, 304, 319 Gregorian, Vartan, 311 Horowitz, Slawa, 313 Ground sculpture, sculpture on the Horthy, Miklós, 37–8, 179 ground, 240–1, 243, 248, 251, 286 Hrušovský, Pavel, 361 Grünewald, Isaac, 329 Hübner, Lutz, 56 Grusa, Jiri, 215 Hungarian uprising in 1956, 39, 67, Guben (working camp), 342 244, 296, 334, 346, 356 Gulag, 59, 70, 72, 115, 137, 140, Hutchinson, Andrew S., 264, 335 146–7, 153, 160, 165, 227, 361 Gurion, Ben, 326 International Criminal Court, 216–17 Gyllenhammar, Charlotte, 63, Isaac, Aron, 237–8 226–32, 241, 252, 278–9, 293–5, Isaeus Berlin, Meta, 362 299, 305, 361–3, 392 Györfi, Sándor, 306–7 Jackson, Philip, 115–25, 129, 154, 216, 255, 262–3, 276, 278, 281, Haider, Jörg, 96 285–7, 289, 290, 293–4, 296–7, Hanak, Anton, 313 299, 300, 304, 338–40, 383 Hansen, Tove, 364 Jad Bamidbar Holocaust Study- and Hatvany, Lajos, 88 Memorial Center, Eilat, Israel, Haycock Makela, Laurie, 63, 362 97, 319 Hegedu˝s, Lajos, 91–2, 381 Jewish Joint Distribution Committee Hercules, 86–7 (JOINT), 36 Herdevall, Gabriel, 237, 254, 394 Johnson, Herschel V., 36, 236 Hermeneutics, also the hermeneutic Jones, Ronald, 63, 362 approach, hermeneutic circle, 21–3, 26, 112, 289–90 Kádár, János, 158, 321 Hero, author’s use of the term, 44–5 Kadosh, Gabi, 319 Hero, ideal, 48, 231 Kállay, Miklós, 36 Hero, modern-day, 301 Kamm, Henry, 90 Hero, moral, 231 Kappsta, 99, 107, 131–2, 347 Hero, national, 65–6, 287, 301 Karlholm, Dan, 277, 281, 289 Hero, origin of, 51–4, 59, 230 Kemény, Elisabeth, 52 Hero, patriotic, 65, 297 Kemény, Gabor, 52 Hero, real-life, 26, 43, 47, 51, 134 Kennedy, John F., 49 Hero, tragic, 42, 185 Keri, Ribor, 92, 381 Hero, universal, 65–8, 215, 296 Kersten, Felix, 205 Hero-as-victim, 133, 149, 157 King Carl XVI Gustaf of Sweden, Heydecker, Joe J., 228 172–3, 299, 360 Himmler, Heinrich, 110, 177, 205 King, Martin Luther, 49, 63 Hitler, Adolf, 56, 75, 195, 336 King, Sol, 35, 189–96, 331–2 Hoffman, Lillian, 326 Kirschenbaum, Bernard, 360 Hoheisel, Horst, 294 Kisfaludi Strobl, Zsigmond, Holocaust, author's use of the term, 378 96, 334 Holocaust Art, 3, 268 Kittler, Regina, 364

PPL-UK_HMF-Schult_Index.indd 421 12/13/2011 11:59:34 AM 422 Index

Klimsch, Fritz, 84 Lundén, Alejandra, 17 Konrad, György, 45 Lundvik, Jan, 370 Korczak, Janusz, 126, 328 Lutz, Carl, 61 Kraitz, Gustav, 4–5, 68, 74, 107, 131, 203–18, 226, 251, 261, 263, 276, Magnell, Gitta, 175–6 278, 284, 286–7, 290, 293, 299, Magritte, René, 270 305, 345–7 Maillol, Aristide, 84 Kraitz, Ulla, 107, 131–2, 203–18, 276, Mandela, Nelson, 63, 65 278, 305, 345–7 Man-in-action, 99 Krauss, Rosalind E., 289 Margolin, Miri, 56, 67, 73, Krausz, György, 93 127–9, 170, 283, 296, 299, Kreiman, Angel, 297, 351–2, 396 304, 325–6 Krushchev, Nikita, 148, 386 Marosits, István, 84, 306–7 Marshal Malinovsky, 39 Lagergren, Nina, born von Dardel Martyr, 32, 58, 86, 157, 164–6, (Raoul Wallenberg’s sister), 54–5, 227–8, 321 69, 72, 187, 236, 311, 326 Masur, Norbert, 236 Lajos, Attila, 32–3, 43, 111, 125 Maurer, Sherry, 390 Lakatos, Géza, 37 Memory, cosmopolitan, Lancz, Paul, 59–60, 93–96, 124, 145, 217, 300 264, 282, 300, 304, 333–5, 381 Memory, cultural, 18–19 Lancz, Peter, 96, 335, 381 Memory, global, 215, 300 Langlet, Valdemar, 108 Memory, national, 19, 297, 300 Lantos, Annette, 62, 71–3, 165, 283, Memory, of Wallenberg, 2, 67, 69–71, 299, 309, 325–6, 377 76, 90, 158, 199, 219 Lantos, Tom, 62, 66–7, 71–3, 165, Memory, personal, 180, 210 299, 309, 326 Memory, popular, 110 Lauer, Kálmán, 35–6, 236 Memory, public, 18 League of Nations, 55 Memory, universal, 75, 300 Leidi, Franco, 360 Meropa, 35, 236 Leong, Albert, 146, 148–9 Meszaros, Michael, 312 Lester, Elenore, xi, 41, 47, 72, 98, Meyer, Peter R., 4, 280 107, 154, 302 Michelangelo, 146 Leutzsch, Anne, 364 Miesenberger, Maria, 104, 363 Lévai, Jenö, 33, 43, 47, 57, 68, 87–8, Mikus, Sándor, 96 90, 108, 114, 283 Minimal Art, 16, 243, 293 Levine, Paul A., 3, 32, 42–4, 61, 173, Misfeldt, Mai, 241 379, 388 Misuse of the hero-concept, 12, 45, Levy, Alban, 315 48, 64, 96 Levy, Daniel, 75, 217–18, 300 Misuse of the monument genre, 4, 17, LeWitt, Sol, 277 20, 302 Leyser, Henry J., 169 Mittig, Hans-Ernst, 274 Lin, Maya Ying, 279 Modernism, 10–12, 274, 288 Lincoln, Abraham, 298 Montgomery, James F., 324 Lindblom, Sivert, 237 Monument understanding, altered/ Lindqvist, Oscar, 382 extended, 248, 277, 292 Loeld, Lars Olof, 360, 363 Moses, 165 Lorch, Emil, 195 Mukhina, Vera, 94 Lubianka Prison, 39, 332 Munke, Sven, 170

PPL-UK_HMF-Schult_Index.indd 422 12/13/2011 11:59:34 AM Index 423

Nansen, Fridtjof, 54–5 Queen Elizabeth II, 300, 340 Natzweiler-Struthof (concentration camp), 270 Raab, Ernest, 138–41, 264, 290, 304, Nazism, 4, 17, 36, 48, 76, 85, 87, 335–7, 385 91–2, 147, 165, 216, 281, 340 Radiological Clinic, Budapest, 92, 308 Neizvestny, Ernst, 94, 143–9, 265, Rajk, László, 306–7 300–1, 304, 315–16 Rank, Otto, 373 Netanyahu, Benyamin, 325 Raoul Wallenberg Academy for Young Netanyahu, Jonathan, 325 Leaders, 47 Neufeld, Robert, 173 Raoul Wallenberg Committee of Neuman, Ricki, 122 Sydney, 318 Nihlén, John, 330 Raoul Wallenberg Committee of the Nihlén, Staffan, 5, 219–26, 262–3, Unites States of America, 47, 204, 265, 278, 280, 283–6, 291, 304, 310–11 328–30, 348 Raoul Wallenberg Institute of Human Nobel Peace Prize, 55, 170, 189, 299, Rights and Humanitarian Law, 387–8 Lund, Sweden, 169 Nyhlén, Astley, 147, 316 Raoul Wallenberg Room, Lidingö, 107, 350 Obrist, Hermann, 11, 277 Raoul Wallenberg Walk, 204, 345, 347 Oldenburg, Claes, 14 Rapoport, Nathan, 90 Ollivier, Yann, 4 Readability, readable, 104, 125, 136, Olsen, Iver C., 36, 236, 318 178, 194, 212, 255, 273–4, 276, 285 Orosz, Ferenc, 381 Reagan, Ronald, 72–3 Orstadius, Brita, 285 Regnér, Carmen, 349–50 Ortwed, Kirsten, 3, 5, 99, 216, Reich, Walter, 67 234–55, 261, 265, 275–7, 279, Reuβe, Felix, 145, 275, 277 281–2, 285–9, 291–6, 299, 305, Richier, Germaine, 191 357–60, 363 Riesman, Eugene N., 335 Ovid, 163, 165, 277, 320–1 Rigtheous Gentile, 64, 66, 74–5, 119, 167, 297, 311, 319, 327, 354, 357 Paldiel, Mordecai, 230 Robert-Jones, Ivor, 280 Parnes, Vera, 334, 381 Rodin, Auguste, 295 Partos, Christian, 360 Rodin, Johnny, 387 Pátzay, Hertha, 85, 88, 307, 402 Roncalli, Angelo, 61 Pátzay, Pál, 81–95, 98, 124, 157–64, Roosevelt, Franklin D., 36, 109 197–8, 209–10, 224, 231, 282, 299, Rose, Alan, 334 300, 304, 306–8, 320–1 Rosenfeld, Harvey, 41, 308 Perlasca, Giorgio, 61, 376 Rosselino, Bernardo, 224 Persson, Göran, 40, 172–3, 189 Rothman, Lenke, 4, 54, 170–89, Philipp, Rudolph, 41, 47 230–1, 245, 250, 265, 276, 278, Pienza, 225 294–5, 299, 304, 341–2 Pimpernel Smith, 55 Rowkes, Reuben, 89 Pinder, Wilhelm, 152 Rubinstein, William D., 42–4, 64 Plensa, Jaume, 360 Rückriem, Ulrich, 194 Pótó, János, 88 Rush, Jon, 3, 189–96, 213, 268, 271, Prager-Brooks, John, 323 283–4, 286, 291, 293–4, 304, Pri-Gal, Jacques, 97, 382 331–2, 389 Putin, Vladimir, 58 Ryback, Sue, 190

PPL-UK_HMF-Schult_Index.indd 423 12/13/2011 11:59:34 AM 424 Index

Sachs, Nelly, 188 Stoval, James, 66, 68, 72, 154–7, 283, Safe houses, 38–9, 71, 113, 119, 177, 299, 304, 309, 386 179, 194–6, 209, 267–8, 323, Strano, Emanuela, 385 331–3, 336–8, 353 Sukarno, 308 Salgó, Nicholas M., 157–8, 320 Svenungsson, Jan, 363 Salisova, Stefania, 361 Swedish emblem, 102, 108, 112, 119, Salman, Mark, 24, 166–8, 304, 326–7 125, 336 Schapiro, Herb, 56 Swedish flag, 119–20, 124, 333, 338, Schellenberg, Walter, 110 353 Schindler, Oskar, 60, 74 Szajna, Jósef, 270 Schlyter, Louise, 374, 382, 384 Szálasi, Ferenc, 38 Schutzpass, also Schutzpässe, Szent István Park, 71, 81, 88, 158, protective papers, protective 306 passports, passes, documents, 1, Sznaider, Natan, 75, 217–18, 300 38–9, 60, 63, 90, 99, 101–2, 104, Sztójay, Döme, 37 105, 107–13, 116–21, 124–6, 182, 215, 244–5, 253, 281, 323, 328, Tatlin, Vladimir, 11, 13, 145–6 332, 333–4, 338, 348, 354, 358 Tenembaum, Baruch, 340 Secular saint, 64, 153 Terror Háza (House of Terror), 160 Sellier, Phillippe, 85, 251 Teva, 91–2 Shaelv-Gerz, Esther, 294 The Cardiff Wallenberg Committee, Site-specificity, 234, 249, 251, 295 314–15 Skandinaviska Banken, 175–6, 341 The Convention on Prevention and Skepticism towards the hero-concept, Punishment of the Crime of 48–9, 50, 63, 248, 295–6 Genocide from 1948, 217 Skepticism towards the monument The Free Wallenberg Australian genre, 295–6 Committee, 88, 273, 312 Skissernas Museum (Museum of The Gromyko Memorandum, 39 Sketches for Decorative Art), 5, 348 The International Raoul Wallenberg Skorodenko, Vladimir, 385 Foundation (IRWF), 5, 216, Socialist Realism, 12, 89, 94–6, 145, 340–1, 348 149, 333 The Magi, 112–14 Somlyó, György, 245, 299 The Raoul Wallenberg Committee Spectre, Philip, 394 of Sweden, 5 Speer, Albert, 195 The Raoul Wallenberg International Spielberg, Steven, 74 Movement for Humanity St George, 85–7, 218 (RWIMH), 334 Stalin, Josef, 89, 90, 94, 96, 145, The triple crowns, 102, 104–5, 108, 148–9, 336, 346 111–14, 336 Stalinism, 4, 17, 48, 76–7, 281, 316 The United States Holocaust Stavisky, Lotte, 24, 96–8, 164, 304, Memorial Museum, 316, 339 310–11 Treblinka (concentration camp), 126, Steiner-Raab, Goldi, 337, 385 339 Stern, Henry, 203, 347 Trizuljak, Klement, 265–8, 305, Sternberg, Sigmund, 340, 351, 361 360–1 Stone setting, 23, 69 Trizuljak, Marek, 265, 267–8, 305, Storch, Hilel, 205, 346 360–1 Storch, Marcus, 205, 261, 347–8 Tüür, Erkki-Sven, 56

PPL-UK_HMF-Schult_Index.indd 424 12/13/2011 11:59:34 AM Index 425

United Nations (UN), 55, 173, 203–5, Wallenberg, Gustaf (Raoul 214–18, 251, 299, 300, 345 Wallenberg’s paternal grandfather), Universal Declaration of Human 34–5, 54, 65, 179, 195 Rights in 1948, 68, 215, 217 Wallenberg, Jacob (Raoul Wallenberg’s Universal values, 27, 201, 297–8 uncle and godfather), 35 US Capitol in Washington DC, 56, 67, Wallenberg, Marcus (Raoul 127–8, 170, 283, 296, 325–6 Wallenberg’s uncle), 369, 375 Wallenberg, Peter (Raoul Wallenberg’s Vägen (The Way), 205, 236, 237–8, second cousin), 158, 321 254–5, 276 Wallenberg, Raoul Oscar (Raoul Vajda, Frank, 76, 88, 283–4, 370 Wallenberg’s father), 34, 53–4 Varga, Imre, 5, 66, 85, 91–2, 157–66, War Refugee Board (WRB), 36, 66, 194, 210, 263, 277, 299, 304, 109, 236 320–1, 386 Wästberg, Per, 238, 252–5, 287, 359 Veghazi, Ana, 396 Werbell, Fredrick, 72 Veres, Tom, 107, 215 White Busses, 110, 324 Veress, Károly, 201–2, 284, 305, 355–6 White House Rose Garden, 72 Verticality, vertical, 150, 154, 178, Wiesel, Elie, 189, 299 211–12, 214, 223, 248, 251, 286 Wiesenthal, Simon, 378 Vince, Mátyás, 93, 307 Wising, Sophie (Raoul Wallenberg’s Vleeskens, Carol, 385 maternal grandmother), 373 Vöczköndy, László, 38 Wolodarski, Aleksander, 235, 237, von Dardel, Fredrik (Raoul Wallenberg’s 254 stepfather), 34, 69, 235 World Jewish Congress (WJC), 36, von Dardel, Fritz (Raoul Wallenberg’s 205 stepgrandfather), 235–6 Wulff, Reinhold, 389 von Dardel, Guy, 34, 58, 69, 236, 326 Yad Vashem – The Holocaust Martyrs’ von Dardel, Nils, 235–6 and Heroes’ Remembrance von Dardel, Maj, born Wising, Authority, 69, 88, 166–7, 216, 230, married Wallenberg (Raoul 307, 326–7, 377, 387 Wallenberg’s mother), 34, 42, Yaroslavsky, Zev, 324 53–4, 69, 111, 171, 179, 244 Yeltsin, Boris, 316 Yood, James, 208, 214 Wachtel, Gabriela, 353–4 Young, James E., 18, 20, 287 Wachtel, Joseph, 63, 265–7, 305, 353–5, 396 Zada, Suzanne, 323, 324, 384 Wallenberg, Annie (Raoul Zsebök, Zoltán, 308 Wallenberg’s paternal Zsigmond, Attila, 93, 159 grandmother), 374 Zwirner, Christian, 241

PPL-UK_HMF-Schult_Index.indd 425 12/13/2011 11:59:34 AM Plate 1 Pál Pátzay, Snake Killer, 1949/1999, Budapest, Hungary.

9780230361454_19_Colpla.indd 1 1/27/2012 2:00:41 PM Plate 2 Philip Jackson, The Wallenberg Monument, 1997, London, England.

9780230361454_19_Colpla.indd 2 1/27/2012 2:00:42 PM Plate 3 Franco Assetto, Angel of Rescue, 1988, Los Angeles, USA.

9780230361454_19_Colpla.indd 3 1/27/2012 2:00:43 PM Plate 4 Uga Drava, Pietà, 1987, Nepean (Ottawa), Canada.

9780230361454_19_Colpla.indd 4 1/27/2012 2:00:44 PM Plate 5 Imre Varga, The New Raoul Wallenberg Memorial, 1987, Budapest, Hungary.

9780230361454_19_Colpla.indd 5 1/27/2012 2:00:44 PM Plate 6 Jon Rush, Köszönöm Raoul Wallenberg (Thank You Raoul Wallenberg), 1995, in front of the Art and Architecture Building on the North Campus of the University of Michigan, Ann Arbor, Michigan, USA.

9780230361454_19_Colpla.indd 6 1/27/2012 2:00:45 PM Plate 7 Gustav and Ulla Kraitz, Hope, 1998, New York, USA. Detail of the globe symbolizing the work’s title.

9780230361454_19_Colpla.indd 7 1/27/2012 2:00:45 PM