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THE STOLPERSTEINE PROJECT by NATALIE L. BENNIE a Thesis THE RHETORIC OF COUNTER-MONUMENTALITY: THE STOLPERSTEINE PROJECT BY NATALIE L. BENNIE A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May 2019 Winston-Salem, North Carolina Approved By: Michael J. Hyde, PhD, Advisor R. Jarrod Atchison, PhD, Chair Alyssa Howards, PhD Acknowledgments I have learned many things from my grandfather, Don Bennie, to whom I dedicate this thesis. Namely, I hope to have learned a great respect for education and an appreciation for my blessings. This thesis project is a result of the former, and this list of acknowledgments a result of the latter. I first want to thank my family. Mom and Dad, I will name you first since you could very well be the only ones who read this project. Rebecca, Blake, and Ian, you all inspire me with your own brands of intelligence. I think it’s neat that we will all have doctorate degrees, even though Ian is the only sibling who can actually call himself one. Incredible educators, who have each been influential to this project in their own way, punctuated my time at Wake Forest. Jarrod Atchison is an incredible teacher, coach, and mentor. His notes on this project and advice for navigating graduate school were huge (in number and significance). I would also like to thank Alyssa Howards and my adviser, Michael Hyde, for their helpful feedback on this project and for graciously serving on this committee. Lastly, Marina Krcmar has been my strongest advocate and good friend throughout my time as a graduate student. I would not have had any success in this program were it not for her kindness, patience, and example. I also need to shout-out the Wake Debate family. The debaters and coaches have been my biggest support system during graduate school. Specifically, Pablo and Jack, thank you for being the best. I am lucky to have such good teammates, and I am luckier still to be able to call you both my friends. Thank you as well to the Paul K. and Elizabeth Cook Richter Memorial Fund for making site research for this project a reality. ii Table of Contents Acknowledgments............................................................................................................................ ii Table of Contents ............................................................................................................................ iii Abstract ........................................................................................................................................... iv Chapter 1: Introduction ................................................................................................................... 1 Historical Context ......................................................................................................................... 2 An Inter-disciplinary Theoretical Approach ................................................................................. 3 Memory Studies ....................................................................................................................... 4 Holocaust Studies..................................................................................................................... 8 Rhetoric .................................................................................................................................. 12 A Rhetorical Approach to Holocaust Memory ....................................................................... 13 Methodological Approach ......................................................................................................... 14 Chapter Preview ......................................................................................................................... 17 Chapter 2: Communication, Memory, and the Counter-Monument ............................................ 18 The Counter-Monument ............................................................................................................ 18 Communication and Places of Memory ..................................................................................... 21 Argument, the Counter-Monument, and the Sacred ................................................................ 24 Beyond Argumentation .............................................................................................................. 27 Chapter 3: Stolpersteine as Counter-Monument .......................................................................... 31 Subject ....................................................................................................................................... 32 Form ........................................................................................................................................... 33 Site ............................................................................................................................................. 35 Visitor Experience ...................................................................................................................... 40 Meaning ..................................................................................................................................... 41 Chapter 4: Conclusion and Implications ........................................................................................ 43 Reclaiming Banality .................................................................................................................... 43 Stolpersteine as Profane Memorial Space ................................................................................. 44 Signifying Risks ........................................................................................................................... 46 Future Directions ....................................................................................................................... 51 Works Cited .................................................................................................................................... 53 Curriculum Vitae ............................................................................................................................ 57 iii Abstract As Pierre Nora and James E. Young suggest, memorialization often shares no attachment to our daily lives. The traditional monument is built to contain memories, the result of which is a shrugging off of the obligation to remember. In an attempt to remedy this failing, artists and theorists have turned to a new memorial concept: the counter- monument. Young’s concept of the counter-monument forms the basis for academic inquiry from a number of disciplines. Yet, few critics have analyzed the counter- monument through a rhetorical lens, to ask not what constitutes a counter-monument but instead how such a monument functions to shape public memory and its visitors’ subjectivities. This thesis analyzes the discourse evoked by Gunter Demnig’s Stolpersteine project and suggests how that discourse adds nuance to understandings of both rhetoric and the theoretical concept of the counter-monument. The Stolpersteine case provides a strong argument for the rhetorical power of reclaiming banality and its role in evoking consciousness. Moreover, the ways in which evil functions banally must be accounted for in our memorial culture. If Arendt is correct and evil is done not out of hatred but out of a lack of thinking, commemoration is a means by which we may ensure the acknowledgment necessary to demand an ethical engagement with the Other, or at least the memory of the Other. Memory and commemorative culture are constantly working in conversation with one another. Developing proper understandings of the ways in which these linkages operate rhetorically is the task of the critic, and the rhetoric of Stolpersteine provides one such revelation. iv Chapter 1: Introduction Memorial culture is nearly everywhere at all times. It is around us, in the ground beneath us, and the buildings above us. It is outside of us, placed into archival receptacles that do the difficult work of remembering, forgetting, and navigating between the two. Yet, increasingly, it is not within us. As Pierre Nora and James E. Young both suggest, the impulse to memorialize is self-contained and shares no attachment to our daily lives.1 The monument is built to contain memories so that we may visit when we wish to encounter them, the result of which is often a shrugging off of our own obligation to remember. By allowing memory sites to do the labor of remembering for us, monuments “relieve viewers of their memory-burden.”2 In an attempt to remedy this failing of monuments, a number of artists and interested stakeholders over the past few decades have increasingly turned to a new monumental form to attempt to shift the burden of remembering back onto the individuals: the counter-monument. The concept of the counter-monument, first named by Young in 1992, forms the basis for academic inquiry from a number of disciplines. Yet, few rhetorical critics have analyzed the counter-monument through a rhetorical lens, to ask not what constitutes a counter-monument but instead how such a monument functions to shape public memory and the subjectivities of its visitors. Nor has an overarching discourse of the counter- monument as a memorial genre been suggested by rhetoricians. This thesis provides no such grand theory. Rather, it analyzes the discourse evoked by one particular monument, 1 James Young,
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