DOCSLIB.ORG

This Copy of the Thesis Has Been Supplied on Condition That Anyone

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Copy of the Thesis Has Been Supplied on Condition That Anyone This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author‘s prior consent. 1 2 Auschwitz: Art, Commemoration and Memorialisation: 1940 to the Present day by Stefan Ludwik Aloszko A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities Faculty of Arts October 2011 3 4 STEFAN LUDWIK ALOSZKO AUSCHWITZ: ART, COMMEMORATION AND MEMORIALISATION: FROM 1940 TO THE PRESENT ABSTRACT This thesis explores chronologically the art, commemoration and memorialisation of the Nazi concentration and extermination camps at Auschwitz, from their establishment in 1940 to the present day. Following a review of the literature in Chapter 1, Chapter 2 examines the production of works of art by the inmates of the camp. That art should have been produced at all in Auschwitz may conflict with our expectations, given the conditions of life within the camp. Nevertheless, art was as necessary in Auschwitz as it is elsewhere. The present account of the making of art under such difficult circumstances attempts to make a significant addition to the established narratives of Auschwitz. The post-war development of Auschwitz as a site-specific museum, established to commemorate the victims of the camp almost as soon as the site was liberated in 1945, permits analysis of techniques utilized by the museum authorities to display artefacts in order to narrate the story of Auschwitz. This is the subject of Chapter 3. For a period, the site was used by successive Polish political administrations to construct and bind Polish national identity to Russian political demands. The act of memorialisation has been shaped by political requirements almost throughout Auschwitz‘s post-war history. The determinant of recognition for memorial purposes was national identity. The use of overtly religious iconography, whether Christian or Jewish, was severely limited. Communist governments defined all victims as political, and specifically as victims of the struggle against Nazism. These political 5 considerations affected the inconclusive 1957 memorial competition. This competition, and its political contexts, is described in Chapters 4 and 5. In 1968 the Polish government began an anti-Semitic campaign that provoked international condemnation. Chapter 6 surveys these events, and describes one significant outcome, the establishment at the site of what was known locally as the Jewish pavilion. Finally, in Chapter 7, I draw together the three overriding concepts of art, commemoration and memorialisation – the predominant themes of this discussion – in order to show how the conception of Auschwitz has moved beyond the physical boundaries of the historical site. The question of what the site itself means, or should mean, remains a matter of continuing debate. The narrative of memorialisation at Auschwitz becomes increasingly marked by single events such as the establishment of the Jewish Pavilion, each embodying the turn towards the recognition that what should be remembered lies beyond nationality, and is separate from the contingent politics of the post-war settlement. Behind this, however, lies a further and more important narrative: that at every point in its history Auschwitz was intrinsically and inescapably a Jewish experience. This subsumes the particularities of the slow realization that this is what the site should celebrate. This thesis is committed to embodying this overarching narrative, and aspects of it can be found throughout, in every chapter. 6 Acknowledgements My thanks go too many people for their untiring enthusiasm and assistance with this project, namely Sam Smiles and Jenny Graham at the University of Plymouth. At the Auschwitz-Birkenau State Museum at Oświęcim, Poland, my particular thanks go to the Director of Education, Dr Alicija Biełecka and Dr Igor Bartosik (Senior Curator), Dr Jacek Lachendro (Deputy Head of the Research Department), and Beata Juszczyk, who acted as my translator. Outside of the University of Plymouth and the Auschwitz-Birkenau State Museum many people have offered assistance, in particular Jonathan Marshall, Jack Mellor, Jackie Armstrong, Jill Bright and Alan Munton. Finally and most of all, I thank my partner Robert Nunn. 7 AUTHOR‘S DECLARATION At no time during the registration for the degree of Doctor of Philosophy has the author been registered for any other University award. Relevant seminars and conferences were regularly attended at which work was often presented. Word count of main body of thesis: Signed…………………………………. Date……………………………………. 8 Contents List of Illustrations 12 1 Introduction and Literature Review 18 Literature Concerning Art of the Holocaust at Auschwitz 23 Literature Concerning Attempts to Memorialise Auschwitz 39 Literature Concerning the Museum at Auschwitz 38 2 Inmate art at Auschwitz 1940 – 1945 44 Auschwitz and Its Origins 45 Artist Inmates 51 Illicit Artworks 56 Voluntary Artworks 61 The Lagermuzeum 66 Commissioned Artworks 79 Conclusion 96 3 The Founding of the Auschwitz Museum: 1945 – 1955 99 Inmate Survivors Return to the Camp 113 First Exhibitions at Auschwitz 115 The Official Museum at Auschwitz 121 The Official Opening of the State Museum Auschwitz-Birkenau 127 Display Strategies at Auschwitz, 1947 133 Picasso Visits Auschwitz 137 Developments in 1950 140 Blocks 4 and 5: A Case Study of the Contents of the 1955 Displays 142 Block 4: The Extermination of Millions 143 Block 5: Evidence of Mass Extermination 146 Conclusion 150 4 Memorialising Auschwitz 1944 – 1956 149 Looking Back from the Twenty-First Century: An Overview of Memorials at Auschwitz II-Birkenau 152 Early Memorials at Auschwitz 153 Brandhuber‘s Memorial 160 Brandhuber‘s Design in Context: War Memorialisation in Poland 175 9 Memorialisation at Auschwitz 1945—1956: ‗Form and Function‘ 178 Memorials Post-Brandhuber‘s Design: The Stone of Martyrdom: The First Permanent Memorial at Auschwitz II-Birkenau 184 Conclusion 191 5 The Memorial Competition at Auschwitz 1957—1967 194 British Entrants to the Completion 196 Carol Visser: The Emotional Effects of Responding to the Memorial Competition 200 Henry Moore, Poland and the Auschwitz Memorial Competition 202 The Committee Choose the Three Suitable Designs: 1958 206 Oskar Hansen‘s Winning Design 208 Former Inmates Oppose Hansen‘s Design 214 Contextualising Hansen‘s Memorial Regarding the History of the Site 216 The Competition Outcome: 1961 221 A Memorial Competition in Western Europe: The Monument to the Unknown Political Prisoner, Berlin 229 Conclusion 234 6 Auschwitz, a site 1968 – 1989 236 Political Background 238 The Anti-Zionist Campaign and Auschwitz 245 The International Response 247 The Creation of a Jewish Pavilion at Auschwitz 248 A Description of the Contents of the Exhibition Display of 1968 250 The Opening of the Exhibition 255 Visitor Numbers at Block 27 257 Jewish Pavilion 1978 258 Israeli Responses to the Exhibition 260 Political Elites Contribute to the Growing Internationalisation of Auschwitz 261 10 Auschwitz-Birkenau Becomes a UNESCO World Heritage Site 262 Conclusion 267 7 Conclusion: Auschwitz Today 268 The Use and Display of the Art Collection 268 Memorials – Monuments at the Site 277 Commemoration – the Museum 287 Illustrations 290 Bibliography 349 11 List of Illustrations Fig. 1 Stefan Jassienski, Crucifix, (after 29 September 1944), incised marks on plaster, Block 11, Cell 21, KL Auschwitz, H. 15 x W. 10 cm. Fig. 2 Anonymous, Clock without Hands, Pencil, incised marks and domestic paint, Block 2, Auschwitz II-Birkenau, H. 60 cm. Fig 3 Map showing the locations of Auschwitz I, Auschwitz II-Birkenau and Auschwitz III-Monowitz. Fig. 4 Anonymous, First Deportation of Prisoners to Auschwitz from Tarnów Prison Collection of the Auschwitz-Birkenau State Museum Archives. No Nr. or neg. reference given, size unknown. Fig. 5 Anonymous, A Baby‘s Cot, oak, produced by inmate carpenters employed by the Deutsche Ausrüstungswerke Buchenwald Concentration Camp. Fig. 6 Włodzimierz Siwierski (?), Don Quixote and Rosinant, wood and string, H. 50 cm (KL Auschwitz 1940-1945), Collections of the Auschwitz-Birkenau State Museum. Fig. 7 Józef Szajna, Our Personal Data, Ink thumb prints and pencil on paper, 35 x 17 cm KL Auschwitz (1944), Collections of the Auschwitz-Birkenau State Museum. Fig. 8 Marian Ruzamski, Portrait of Xawery Dunikowski, Pencil, paper, 29 x 19,7 cm (KL Auschwitz 1943-44). Collections of the Auschwitz-Birkenau State Museum. Fig 9 Photograph, Dismantled Barracks Awaiting Collection, Judenrampe, Auschwitz II-Birkenau. View taken from the ‗Gate of Death‘ watchtower Spring/Summer 1945. Fig. 10 Photographer, ‗Alex the Greek Jew‘, Sonderkommando Photograph (‗Bodies of people who have been gassed are burnt in the open air by Jewish prisoners‘). KL Auschwitz II-Birkenau (1944). Fig. 11 Photographer, ‗Alex the Greek Jew‘, Sonderkommando Photograph (Naked Jewish women being herded towards Gas Chamber V). KL Auschwitz II-Birkenau (1944). Fig. 12 Marianne Grant, Wall Mural, Children‘s‘ block, Birkenau Oil on plaster, KL Auschwitz II-Birkenau (no later than July 1944). Fig 13 Anonymous, Konigsgraben (King‘s Canal), oil on plaster, Ceiling painting, Penal Company block, Auschwitz II-Birkenau (no later than July 1942). Fig. 14 Fransziek Targosz, A Letter with an Ornament ‗Crocuses‘ Tempera, paper, 21 x 15 cm, KL Auschwitz (1942), Collections of the State Auschwitz-Birkenau State Museum. Fig. 15 Francziszek Targosz, Arabian Horse, Pencil on cardboard 21 x 29.5 cm KL Auschwitz (1944), Collection of the Auschwitz-Birkenau State Museum. Fig. 16 Francziszek Targosz, Hussar of Death, Oil on cardboard, 17 x 11.5 cm, KL Auschwitz (1942), Collection of the Auschwitz-Birkenau State Museum 12 Fig. 17 Mieczyslaw Koscielniak, Interior of the Lagermuzeum, Signed MK and dated 1942. 69 X 59 cm. KL Auschwitz (1942). Collection of the Auschwitz-Birkenau State Museum. Fig. 18 Halina Olomucki, Ringworm is Cured in the Camp, Pencil and Ink on Paper, KL Auschwitz II-Birkenau (1942). Collection of the Ghetto Fighters‘ House, Israel.
Load more

Recommended publications
  • Déportés À Auschwitz. Certains Résis- Tion D’Une Centaine, Sont Traqués Et Tent Avec Des Armes
    MORT1943 ET RÉSISTANCE BIEN QU’AYANT rarement connu les noms de leurs victimes juives, les nazis entendaient que ni Zivia Lubetkin, ni Richard Glazar, ni Thomas Blatt ne survivent à la « solution finale ». Ils survécurent cependant et, après la Shoah, chacun écrivit un livre sur la Résistance en 1943. Quelque 400 000 Juifs vivaient dans le ghetto de Varsovie surpeuplé, mais les épi- démies, la famine et les déportations à Treblinka – 300 000 personnes entre juillet et septembre 1942 – réduisirent considérablement ce nombre. Estimant que 40 000 Juifs s’y trouvaient encore (le chiffre réel approchait les 55 000), Heinrich Himmler, le chef des SS, ordonna la déportation de 8 000 autres lors de sa visite du ghetto, le 9 janvier 1943. Cependant, sous la direction de Mordekhaï Anielewicz, âgé de 23 ans, le Zydowska Organizacja Bojowa (ZOB, Organisation juive de combat) lança une résistance armée lorsque les Allemands exécutèrent l’ordre d’Himmler, le 18 janvier. Bien que plus de 5 000 Juifs aient été déportés le 22 janvier, la Résistance juive – elle impliquait aussi bien la recherche de caches et le refus de s’enregistrer que la lutte violente – empêcha de remplir le quota et conduisit les Allemands à mettre fin à l’Aktion. Le répit, cependant, fut de courte durée. En janvier, Zivia Lubetkin participa à la création de l’Organisation juive de com- bat et au soulèvement du ghetto de Varsovie. « Nous combattions avec des gre- nades, des fusils, des barres de fer et des ampoules remplies d’acide sulfurique », rapporte-t-elle dans son livre Aux jours de la destruction et de la révolte.
    [Show full text]
  • Timeline Rudolf Höss
    TIMELINE RUDOLF HÖSS (25 Nov 1900 - 16 Apr 1947) Compiled and edited by Campbell M Gold (2010) --()-- Note: Rudolf Höss must not be confused with Rudolf Hess, Hitler's deputy, and one of the first group of Nuremburg defendants. --()-- 25 Nov 1900 - Rudolf Höss born in Baden-Baden, Germany. When he was six or seven years old, the Höss family moved to Mannheim, where Höss was educated. --()-- 1922 - Höss Joins the Nazi Party. --()-- 1934 - Höss joins the SS. --()-- 01 May 1940 - Höss is the first Commandant of Auschwitz where it is estimated that more than a million people were murdered. Jun 1941 - According to Höss' later trial testimony, he was summoned to Berlin for a meeting with Reichsführer-SS Heinrich Himmler "to receive personal orders." Himmler told Höss that Hitler had given the order for the physical extermination of Europe's Jews. Himmler had selected Auschwitz for this purpose, he said, "on account of its easy access by rail and also because the extensive site offered space for measures ensuring isolation." Himmler told Höss that he would be receiving all operational orders from Adolf Eichmann. Himmler described the project as a "secret Reich matter", meaning that "no one was allowed to speak about these matters with any person and that everyone promised upon his life to keep the utmost secrecy." 1941 - After visiting Treblinka extermination camp to study its methods of human extermination, Höss tested and perfected the techniques of mass killing that made Auschwitz the most efficiently murderous instrument of the Final Solution. Later, Höss explained how 10,000 people were exterminated in one 24-hour period: "Technically [it] wasn't so hard – it would not have been hard to exterminate even greater numbers..
    [Show full text]
  • Alina Szapocznikow
    Out of My Mouth: The ‘Photosculptures’ of Alina Szapocznikow 3 June – 29 August 2010 “I am convinced that among all the manifestations of impermanence, the human body is the most fragile, the only source of all joy, all pain and of all truth…” Alina Szapocznikow, 1972. This exhibition features a remarkable series of works created by Alina Szapocznikow in 1971. Simply titled ‘Photosculptures’, these images depict pieces of gum which have been chewed by the artist to produce an assortment of abject sculptural forms. As the title implies, Szapocznikow regarded photography itself as a sculptural medium which allowed her to explore formal qualities such as scale, texture and contrast. As she stated in the accompanying text: “It is sufficient to photograph and enlarge my masticatory discoveries to create the event of a sculptural presence.” Throughout her career the body was the principal focus of Szapocznikow’s art. Moving on from more conventional figure sculpture, from the mid 1950s she began experimenting with new materials and production methods. She took casts of her own face and body parts and translated them into grotesque and sexually-charged assemblages. Thus, the body became not only the subject of her work but the active agent through which sculptural forms could be created. Born in 1926 to a Jewish family in Kalisz, Poland, Szapocznikow survived the concentration camps of Bergen-Belsen and Teresienstadt during World War II. She went on to study sculpture in Prague and at the École Nationale Supérieure des Beaux-Arts, Paris. Returning to Poland in 1951, she established a reputation as a figurative sculptor through official commissions, such as the 1953 ‘Monument to Russian-Polish Friendship’.
    [Show full text]
  • Discourse of Heresy in Polish Post-WWII Literature Herlingâ•Žs
    ACTA UNIVERSITATIS LODZIENSIS Folia Litteraria Polonica 4(55) 2019 http://dx.doi.org/10.18778/1505-9057.55.21 Margreta Grigorowa* https://orcid.org/0000-0003-4416-371X Discourse of heresy in Polish post-WWII literature Herling’s and Herbert’s heretics Heretics, stakes, and inquisitors invaded Polish literature of the second half of the 20th century. That was visible in the outputs of renowned Polish authors who en- dured the apocalypse of World War II and the dictatorships of the last century: Gustaw Herling-Grudziński (1919–2000), a prisoner of the Gulag in Yertsevo, combatant in the Warsaw Uprising, as well as Andrzej Szczypiorski (1928–2000), a prisoner of the Lager in Sachsenhausen, Zbigniew Herbert (1924–1998), a young poet in occupied Lviv, or those who survived Soviet occupation, e.g. Czesław Miłosz (1911–2004) and Jerzy Andrzejewski (1909–1983). What heretics can be found in their works? Jacques de Molay, a Knight Tem- plar burnt at the stake together with 36 other “relentless brothers”, Albigensians, Cathars, the related Bulgarian Bogomils in Herbert’s essays in the Barbarzyńca w ogrodzie1 volume: Obrona templariuszy and O albigensach, inkwizytorach i tru- badurach. Herling-Grudziński’s short stories featured the heretic Giordano Bruno and his spiritual ally the artist Caravaggio, e.g. in the short story Głęboki cień, the mysterious heretic from Bolsena in the short story Drugie przyjście, and the legendary St. Aaron, a former heretic, stealer of the Host, who by God’s miracle was saved from the stake in the short story Legenda o nawróconym pustelniku. Giordano Bruno was also featured in one of Miłosz’s key poems from 1943 entitled Campo di Fiori (Herling-Grudziński referred to it in his texts on Giordano Bruno), where the historical parallel became vivid during the nightmare with the burning * Professor, University of Veliko Turnovo St Cyril and St.
    [Show full text]
  • The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer.
    [Show full text]
  • In This Issue
    July/August 2015 Tammuz Elul, 5775 Mazel Tov to all our Religious school students for another great year of learning. IN THIS ISSUE Special kudos to the Zayin Class who graduated in Host an Oneg…………………………. 2 President’s Column …………………. 3 May: Rabbi’s Column ……………………… 4 David Arlen Holiday Services ………..…………… 7 Ari Bernstein Yahrzeits July ……………………… 9 Adam Belkin-Rosen Yahrzeits August …………………10 Contributions ……………………..... 11 Rose Chusid In Memoriam ………………………… 13 Leah Lurie Education Director’s Column ...….. 14 Benjamin Margolis Gala Update …………………………. 16 Nathan Stein Kosher Korner ……………………. 17 Sisterhood News ………..…….…… 18 Jack Hyams Gift Shop …………………………… 19 Philly Soul Arena Football Team … 20 UPCOMING EVENTS Film Festival Schedule ……………. 21 Classes w/ Rabbi Jacob …….…….. 26 Please visit Donation Form……………………….. 27 orshalom.com/ Monthly Calendar ……………….. 28 calendar for the latest Advertisers ……………………….. 30 information about Office Hours: Monday 10:30 to 3:30 events. Tuesday 11 to 4 Wednesday 10 to 3 Thursday 10 to 3 September Horizons Friday 10:30 to 3:30 articles will be due August 21st Office Closed June 30 July 3 HORIZONS July/August 2015 Tammuz Elul, 5775 TD Bank Affinity Program One of our best opportunities to increase Or Shalom’s revenue is through TD Bank. The bank has a program which pays Or Shalom a percentage of the total balances of the accounts that are enrolled in Horizons is published monthly. Material the program and affiliated with Or Shalom. If you already have an submitted for publication may be edited account at TD Bank, you can easily enroll your account in the Affinity for style, length and content. Program by calling Jeff Salvo, the TD Bank branch manager in Devon.
    [Show full text]
  • The Historical Journal VIA RASELLA, 1944
    The Historical Journal http://journals.cambridge.org/HIS Additional services for The Historical Journal: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here VIA RASELLA, 1944: MEMORY, TRUTH, AND HISTORY JOHN FOOT The Historical Journal / Volume 43 / Issue 04 / December 2000, pp 1173 ­ 1181 DOI: null, Published online: 06 March 2001 Link to this article: http://journals.cambridge.org/abstract_S0018246X00001400 How to cite this article: JOHN FOOT (2000). VIA RASELLA, 1944: MEMORY, TRUTH, AND HISTORY. The Historical Journal, 43, pp 1173­1181 Request Permissions : Click here Downloaded from http://journals.cambridge.org/HIS, IP address: 144.82.107.39 on 26 Sep 2012 The Historical Journal, , (), pp. – Printed in the United Kingdom # Cambridge University Press REVIEW ARTICLE VIA RASELLA, 1944: MEMORY, TRUTH, AND HISTORY L’ordine eZ giaZ stato eseguito: Roma, le Fosse Ardeatine, la memoria. By Alessandro Portelli. Rome: Donzelli, . Pp. viij. ISBN ---.L... The battle of Valle Giulia: oral history and the art of dialogue. By A. Portelli. Wisconsin: Wisconsin: University Press, . Pp. xxj. ISBN ---.$.. [Inc.‘The massacre at Civitella Val di Chiana (Tuscany, June , ): Myth and politics, mourning and common sense’, in The Battle of Valle Giulia, by A. Portelli, pp. –.] Operazione Via Rasella: veritaZ e menzogna: i protagonisti raccontano. By Rosario Bentivegna (in collaboration with Cesare De Simone). Rome: Riuniti, . Pp. ISBN -- -.L... La memoria divisa. By Giovanni Contini. Milan: Rizzoli, . Pp. ISBN -- -.L... Anatomia di un massacro: controversia sopra una strage tedesca. By Paolo Pezzino. Bologna: Il Mulino, . Pp. ISBN ---.L... Processo Priebke: Le testimonianze, il memoriale. Edited by Cinzia Dal Maso.
    [Show full text]
  • Maria Bartuszová
    MARIA BARTUSZOVÁ Born 1936 in Prague, Czech Republic Died 1996 in Košice, Slovakia EDUCATION 1961 Academy of Applied Arts, Architecture and Design, Prague (studio of Prof. Otto Eckerdt, Department of Ceramics and Porcelain) 1955 Higher School of Applied Arts, Prague (Prof. Václav Šimek) SOLO EXHIBITIONS 2022 Tate Modern, London, UK (forthcoming) 2016 Alison Jacques Gallery, London, UK 2014 ‘Maria Bartuszová: Provisional Forms’, Museum of Modern Art, Warsaw, Poland Galerie Rüdiger Schöttle, Munich, Germany 2012 ‘Maria Bartuszová – Drawings / Anna Bartuszová – Recordings’, Galéria Cypriána Majernika, Bratislava, Slovakia 2011 Galerie Rüdiger Schöttle, Munich, Germany ‘Maria Bartuszová – Drawings / Anna Bartuszová – Recordings’, Mestská galéria, Rimavská Sobota, Slovakia 2009 Galerie Rüdiger Schöttle, Munich, Germany ‘Gino De Dominicis – Maria Bartuszová’, Galerie Rüdiger Schöttle, Munich, Germany 2008 ‘Maria Bartuszová: Negative Volumes’, Galerie Rüdiger Schöttle, Munich, Germany 2007 ‘Maria Bartuszová: A Selection of Sculptural Work’, CC Centrum, Bratislava, Slovakia 2005 ‘Germination: The Path to Organic Sculpture’, Slovak National Gallery Bratislava, Slovakia 1997 ‘Hommage a Mária (Dedicated to Mária Bartuszová 1936–1996)’, VLM Košice, Slovakia 1988 ‘Sculpture Works I, 1962–1987’, ZSVU Exhibition Hall, Košice, Slovakia ‘Sculpture Works’, Kontajner Gallery, UN Theatre Prešov, Slovakia 1983 ‘Maria Bartuszová: Transformations of Shape’, Galéria Miloša Alexandra Bazovského, Trencin, Slovakia 16–18 Berners Street, London W1T 3LN +44 20 7631
    [Show full text]
  • UCSB History 133B Essay
    Aubrey Cox Prof. Marcuse UCSB Hist 133B Source Exploration 6 March, 2019 The Wetzler-Vrba Report Could Have Saved Many UCSB History 133B Drawing by Rudolf Vrba (1924–2006) and Alfred Wetzler (1918–1988) - German Extermination Camps— Auschwitz and Birkenau, Executive Office of the United States War RefugeeEssay Board, 16 November 1944. The U.S. War Refugee Board was the first to published this version of the report. See en:Auschwitz Protocols. Our source: Randolph L. Braham, Scott Miller, The Nazis' Last Victims: The Holocaust in Hungary, Wayne State University Press, 2002, 62., Public Domain, https://commons.wikimedia.org/w/index.php?curid=50340014 “Report by Alfred Wetzler and Rudolf Vrba, two Escapees from Auschwitz (Late April 1944)” GHDI - Document. Accessed February 07, 2019. http://germanhistorydocs.ghi- dc.org/sub_document.cfm?document_id=1535. Alfred Wetzler and Rudolf Vrba were two Jewish Slovakians who escaped from Auschwitz in April 1944. After a harrowing eighteen days Vrba and Wetzler finally arrieved in Zilina, Slovakia where they connected with other Jews to whom they dictated their report They compiled a report with as detailed information as they could with details of the camp and its 2 workings. Wetzler and Vrba’s original aim was to warn Hungarian Jews of the horrors that awaited them in the planned deportations from Hungary. By the end of April 1944, the report had reached Hungary’s Jewish leaders. Little credence was given to the warning however, and hundreds of thousands of Hungarian Jews were sent to Nazi death camps, particularly Auschwitz. According to GHDI it wasn’t until the report was published in a Swiss newspaper--which brought the attention of the world to what was going on at Auschwitz-- thatUCSB the Hungarian government attempted to put a stop to the mass deportations.
    [Show full text]
  • Germar Rudolf's Bungled
    Bungled: “DENYING THE HOLOCAUST” Bungled: “Denying the Holocaust” How Deborah Lipstadt Botched Her Attempt to Demonstrate the Growing Assault on Truth and Memory Germar Rudolf !"# !$ %&' Germar Rudolf : Bungled: “Denying the Holocaust”: How Deborah Lipstadt Botched Her Attempt to Demonstrate the Growing Assault on Truth and Memory Uckfield, East Sussex: CASTLE HILL PUBLISHERS PO Box 243, Uckfield, TN22 9AW, UK 2nd edition, April 2017 ISBN10: 1-59148-177-5 (print edition) ISBN13: 978-1-59148-177-5 (print edition) Published by CASTLE HILL PUBLISHERS Manufactured worldwide © 2017 by Germar Rudolf Set in Garamond GERMAR RUDOLF· BUNGLED: “DENYING THE HOLOCAUST” 5 Table of Contents 1.Introduction ................................................................................... 7 2.Science and Pseudo-Science ...................................................... 15 2.1.What Is Science? ........................................................................... 15 2.2.What Is Pseudo-Science? ............................................................. 26 3.Motivations and ad Hominem Attacks ....................................... 27 3.1.Revisionist Motives According to Lipstadt ............................... 27 3.2.Revisionist Methods According to Lipstadt .............................. 40 3.3.Deborah Lipstadt’s Motives and Agenda .................................. 50 4.Revisionist Personalities ............................................................. 67 4.1.Maurice Bardèche ........................................................................
    [Show full text]
  • "Witold Pilecki. Confronting the Legend of the "Volunteer to Auschwitz""
    Ewa Cuber-Strutyńska Witold Pilecki. Confronting the legend of the “volunteer to Auschwitz” Death had many opportunities to prematurely end the life of Witold Pilecki, who participated in the ight for independence during the war against the Bolsheviks and fought in World War II. Despite the risk he took, he managed to avoid death when he was at the front, when he found himself in the Auschwitz concentration camp and when he took part in the Warsaw Uprising. That it reached him in seemingly independent Poland and that it happened owing to, among others, his old brothers in arms should be considered a tragic paradox. Pilecki became a victim of the Communist regime, which brought death to him twice. The irst death, with a bullet in the back of his head, came on 25 May 1948; the second, symbolic one, involved killing the memory of Pilecki by censoring it for several dozen years. The memory of Pilecki was liberated and he was rehabilitated only after the fall of the regime that had brought death upon him. In the 1990s, we witnessed the publication of the irst biographies of Pilecki, which led to his return to the history of Poland and placed him in the pantheon of Poles who served their homeland to the greatest extent. Moreover, the past several years have shown a growing interest in Pilecki. His igure is now popularised by not only academic publications (which after all reach a rather small audience) but also various kinds of activities undertaken by state institutions, non-governmental organisations as well as football club fans.1 Among the increasing number of initiatives intended to honour Pilecki was even the idea to make an attempt at his beatiication.2 1 During a match between Śląsk Wrocław and Jagiellonia Białystok that took place on 3 May 2012, the supporters of Śląsk Wrocław prepared a setting including Pilecki’s portrait with a caption “Volunteer to Auschwitz” and the quote “Because compared with them Auschwitz was just a trile”.
    [Show full text]
  • The Beautiful Mrs Seidenman (Początek)
    The Beautiful Mrs Seidenman (Początek) Author: Andrzej Szczypiorski First Published: 1986 Translations: German (Die schöne Frau Seidenman, 1988); French (La jolie Madame Seidenman, 1988); Italian (La Bella Signora Seidenman, 1988); Danish (Den smukke fru Seidenmaneller Begyndelsen, 1989); Dutch (De mooie mevrouw Seidenman, 1989); Eng- lish (The Beautiful Mrs Seidenman, 1989); Norwegian (Begynnelsen, 1990); Swedish (Den vackra fru Seidenman, 1990); Hungarian (A szép Seidenmanné, 1991); Czech (Po- čátek, 1993); Finnish (Alku, 1994); Slovenian (Začetek, 1996); Spanish (La bella señora Seidenman: el comienzo, 2002). About the Author: Szczypiorski (1928–2000) was born to a well-educated family. His father organised an underground university during World War II and he was a mem- ber of the People’s Army (Armia Ludowa). For his participation in the Warsaw Upris- ing in 1944 he was arrested and detained in Sachsenhausen concentration camp. After the war, he worked for local newspapers and Polish Radio. His first literary produc- tions were released under the pseudonym Maurice St Andrew in Życie Literackie in 1952. After joining the Polish Communist Party in 1956, he worked as cultural attaché in the Polish embassy in Copenhagen and continued to publish feuilletons in numer- ous Polish magazines. He resigned from his membership in the party after the political crisis in 1968. He was forbidden to appear in public in 1969 and his texts were banned from 1972, but he continued writing in the literary underground (drugi obieg), wrote anonymously for opposition newspapers, and started working for the Polish exile monthly Kultura in Paris (Worsowicz, 2003). After his death, the right-wing media in particular discussed the evidence for Szczypiorski being a secret agent for the Polish Security Service in the 1940s (Kruczek, 2007).
    [Show full text]