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Nazismens Sensmoral Svenska Erfarenheter I Andra Världskrigets Efterdyning Östling, Johan

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Nazismens Sensmoral Svenska Erfarenheter I Andra Världskrigets Efterdyning Östling, Johan Nazismens sensmoral Svenska erfarenheter i andra världskrigets efterdyning Östling, Johan 2008 Document Version: Förlagets slutgiltiga version Link to publication Citation for published version (APA): Östling, J. (2008). Nazismens sensmoral: Svenska erfarenheter i andra världskrigets efterdyning. Bokförlaget Atlantis. Total number of authors: 1 Creative Commons License: Annan General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 nazismens sensmoral johan östling Nazismens sensmoral Svenska erfarenheter i andra världskrigets efterdyning atlantis Denna avhandling är tillkommen inom ramen för Forskarskolan i historia. Forskar skolan i historia är en av de nationella forskarskolor som tillkom på rege ringens initiativ hösten 2000. Forskarskolan genomförs i samarbete mellan Lunds och Växjö universitet samt Malmö och Södertörns högskolor med Lunds universitet som värdhögskola. Doktorsavhandlingar från Forskarskolan i historia (till och med juni 2008): Stefan Persson, Kungamakt och bonderätt: Om danska kungar och bönder i riket och i Göinge härad ca 1525–1640 (Göteborg, 2005). Sara Edenheim, Begärets lagar: Moderna statliga utredningar och heteronormativ­ itetens genealogi (Eslöv, 2005). Mikael Tossavainen, Heroes and Victims: The Holocaust in Israeli Historical Consciousness (Lund, 2006). Henrik Rosengren, »Judarnas Wagner«: Moses Pergament och den kulturella identifikationens dilemma omkring 1920–1950 (Lund, 2007). Victor Lundberg, Folket, yxan och orättvisans rot: Betydelsebildning kring demo­ krati i den svenska rösträttsrörelsens diskursgemenskap, 1887–1902 (Umeå, 2007). Tommy Gustafsson, En fiende till civilisationen: Manlighet, genusrelationer, sexualitet och rasstereotyper i svensk filmkultur under 1920­talet (Lund, 2007). Boken har finansierats med stöd av : Crafoordska stiftelsen Gunvor och Josef Anérs stiftelse Nationella forskarskolan i historia Stiftelsen Elisabeth Rausings minnesfond Stiftelsen Karl Staaffs Fond för frisinnade ändamål Atlantis, Stockholm © Johan Östling 2008 Omslagsbild : Melvin Charney, Better If They Think They Are Going to a Farm … (1982) Grafisk form omslag : Christer Jonson Grafisk form inlaga : Lena Eklund, Kolofon Typsnitt : Berling Nova Papper : 100 g Munken Premium Cream Tryckt och inbunden hos Livonia Print i Riga, Lettland 2008 isbn 978-91-7353-279-2 Innehåll Prolog 7 i. Nazismen och det tjugonde århundradet 13 ii. Den nazistiska erfarenheten 51 iii. Nazismen som stigma 101 i v. 1945 års idéer 147 v. Tysk höst 205 vi. Nazismens sensmoral 253 Tack 293 Summary 297 Noter 303 Källor och litteratur 355 Personregister 389 prolog Ett damoklessvärd över samtiden Tarrou trodde att pesten både skulle förändra och icke förändra staden, att våra medborgares högsta önskan själv- fallet var och skulle förbli att låtsas som om ingenting vore förändrat och att sålunda på sätt och vis ingenting skulle förändras men att man å andra sidan med bästa vilja i världen inte kan glömma allt, och pesten skulle lämna spår efter sig, i varje fall i människornas hjärtan. Albert Camus, Pesten (1947) 7 Melvin Charneys Better If They Think They Are Going to a Farm … (1982). azismen saknar motstycke i Europas moderna historia. Ingen politisk idé har dömts ut så förbehållslöst som natio- Nnalsocialismen. Från att ha utövat mäktig dragningskraft under mellankrigstiden förvandlades den till vår största politiska paria. Efter 1945 har beundrarna varit försvinnande få och apologe- terna ännu färre. Men nazismen miste inte sin makt över sinnena. Under efterkrigs- tiden blev den en civilisationens kontrapunkt, en tung och manan- de erfarenhet med en gåtfull vitalitet. »Nazismen, liksom Lucifer i kristendomen, har vägrat att åldras«, skriver författaren Carl-Hen- ning Wijkmark. »Den är ett förflutet som segt håller sig kvar i nuet, som hänger som ett damoklessvärd över samtiden.« Han ser den som en kraftfull myt vars estetiska utstrålning förmår fängsla också dem som avvisar den; den attraherar som skräckbild. I sin stora bio- grafi över Adolf Hitler var publicisten Joachim Fest inne på likarta- de tankegångar. Han talade om den tyske führerns »oförminskade samtidighet«. Åtskilliga decennier efter sin död fortsätter Hitler att kasta skuggor över vår tid. Han dyker upp i hetlevrade politiska de- batter, han hemsöker oss i konsten och litteraturen, han är obliga- torisk rekvisita i populärkulturens svarta kabinett. Nazismens mörka, mytiska nimbus inbjuder till kvasireligiösa be- traktelsesätt; den bedöms alltid efter absoluta kriterier. »Nazism är katastrofal redan som tankeform och den enda ideologi som inte kan diskuteras i nyanser, dess vuxna anhängare måste räknas som delar av katastrofen, inte som litet eller mycket nazistiska, förklar- ligt nazistiska eller del-nazistiska«, poängterar författaren Sigrid Combüchen i sin biografi över Knut Hamsun. Det reservationslösa i domen har på samma gång skapat en egen- domligt levande relation till nationalsocialismen, denna den mest döda av ideologier. I stället för att förpassas till historiens avskrä- deshög har nazismen blivit efterkrigstidens antites: den var det som Ett damoklessvärd över samtiden 9 vi inte är. Man kan tala om ett kontrafobiskt reaktionsmönster, en intensiv upptagenhet vid det som vi vill fördöma, en repulsion som föder en närhet. Nazismen har blivit en negativ orienteringspunkt. Få har så suggestivt frambesvurit ett förhållande mellan eftervärl- den och nazismen som den kanadensiske konstnären Melvin Char- ney. År 1982 blev han inbjuden till en av de mest ansedda utställ- ningarna för internationell samtidskonst, Documenta i Kassel. Han föreslog en installation i två delar. Den ena skulle bestå av fem fa- sadkulisser placerade utefter en välkänd gågata i staden, var och en symboliserande ett skede i Tysklands moderna historia. Den andra delen skulle anläggas mittemot Kassels järnvägsstation och ha for- men av en fasadreplik av järnvägsinfarten till Auschwitz-Birkenau. Charney ville uppnå en symbolisk symmetri mellan ingången till nazisternas dödsfabrik och ingången till järnvägsstationen i en or- dinär västtysk stad. Att på detta sätt spegla krigstid och efterkrigs- tid i varandra var emellertid djupt kontroversiellt och väckte pro- tester från Kassels invånare. Förslaget stoppades, och projektet har bara överlevt som fotomontage och teckningar. I en av de bevarade skisserna avtecknar sig Auschwitz mot efter- krigstidens stadslandskap, med dess ändlösa rader av höghus och kontorsbyggnader. Med sin teckning från början av 1980-talet ut- tryckte Charney något både tidstypiskt och allmängiltigt. Han var en representant för det sena 1900-talets reflexion över nazismen, i synnerhet för det intresse för förintelsen som på allvar vaknade un- der århundradets sista decennier. I likhet med andra vid denna tid anlade han också ett modernitetskritiskt perspektiv på Tredje riket. Nationalsocialismen hade inte varit en arkaisk reaktion mot det moderna samhället; nazisternas förintelseläger hade tvärtom varit välsmorda, industriella dödsmaskiner, utflöden av den tekniskt-ra- tionella moderniteten. Samtidigt som Melvin Charney var snärjd av sin samtids tolkning- ar lyckades han fånga ett allmänt tillstånd i efterkrigsvärlden: nazis- mens allestädesnärvaro. Dubbelexponeringen av det emblematiska förintelselägret mot en fond av funktionalistisk efterkrigsarkitek- tur var verkningsfull. Historiens spår, så kan vi tyda det, måste pas- sera genom nazisternas helvetesport för att leda vidare in i vår tid. Eller omvänt: när efterkrigstidens européer blickar tillbaka på sitt nära förflutna ser de silhuetterna av Auschwitz. 10 prolog Melvin Charney ställde de stora frågorna om förbindelserna mel- lan då och nu, mellan Tredje riket och Efterkrigseuropa, mellan den nazistiska erfarenheten och den postnazistiska världen. Om dessa stora frågor handlar denna bok. 1. Nazismen och det tjugonde århundradet Det skulle bli bättre än de gångna, vårt tjugonde sekel. Nu hinner det inte visa det, dess år är räknade, dess gång ostadig, dess andhämtning kort. Redan har för mycket hänt som inte skulle hända, och det som skulle ske, det skedde inte. Ur Wisława Szymborska, »Det slutande seklet« (1986) 13 George Rodger/Time & Life Pictures/Getty images Pictures/Getty & Life Rodger/Time George Det skulle dröja länge innan efterkrigseuropéerna gick till botten med nazismens brott. Här en ögonblicksbild från Bergen­Belsen 1945. blickfånget för denna studie står frågan om erfarenheterna av nazismen och den sensmoral de gav upphov till. Nationalso- I cialismens ursprung, manifestationer och organisationsformer är inte föremål för analys. Undersökningen inriktas
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