Missing the Holocaust:: My Father’S Account of Auschwitz from August 1943 to June 1944
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Jews: Holocaust Ethics, Representation, and the Grey Zone
Judging “Privileged” Jews: Holocaust Ethics, Representation, and the Grey Zone. Adam Brown. New York: Berghahn Books, 2013. Pp. 213. USD$85.00 cloth. Primo Levi wrote his final work, The Drowned and the Saved, in part to counter what he saw as the “Manichaean tendency” to simplify the history of the Holocaust into categories of “good” and “evil,” perpetrators and victims. For Levi, this tendency makes clear to future generations with whom they should side but at the cost of reducing the incredible complexity of human relations into a fable. Instead, Levi’s work portrays a world of moral ambiguity. Concentration camps and ghettos reveal not figures of pure good or evil but men and women who fall along a broad spectrum of morality which Levi terms the “grey zone.” Prisoners of the grey zone included those who occupied positions of “privilege,” or usefulness within the Nazi system. Levi himself was such a prisoner. In Auschwitz his background in chemistry placed him in a job that gave him access to resources which allowed him to survive; resources which were unavailable to scores of others, who all too often did not live to share their experiences. The grey zone complicates our judgments of the Holocaust. Questions of guilt and judgment within a world of reduced freedom and choice lead even Levi into a moral conundrum. While firm in his belief that those ultimately responsible for the horrors of the Holocaust should not be confused with their victims, Levi nevertheless struggles to accept a black-and-white representation of moral accountability. In the end, Levi arrives at the necessity of suspending mortal judgment altogether: “I know of no human tribunal to which one could delegate the judgment” (Levi, 44). -
Théoriser La Violence En Amérique Retour Sur Trente Ans D’Ethnographie
1208_0029_P_139_168_Bourgois_Q7:Mise en page 1 24/10/12 9:49 Page 139 Théoriser la violence en Amérique Retour sur trente ans d’ethnographie Philippe Bourgois A NTHROPOLOGUE travaillant depuis 1979 sur la violence, la pauvreté et les inégalités sociales, en Amérique centrale d’abord, puis aux États-Unis, j’ai craint, au fil des ans, d’être véritablement obsédé par la violence. Hélas, il est plus juste de dire que la violence s’est imposée à moi parce qu’elle est, et a toujours été, au cœur de l’organisation du pouvoir dans la vie quotidienne. L’ethnographe risque bien sûr de contribuer à un voyeurisme, une porno- graphie de la brutalité. Toutefois, le danger est plus grand encore de ne pas voir la violence ; bien souvent le discours anthropologique n’en tient pas compte alors qu’elle accable les populations étudiées. La violence est inéga- lement répartie dans le monde. La façon dont elle soutient différentes struc- tures de pouvoir et d’exploitation mérite d’être analysée et dénoncée. Hélas, si la violence physique directe se voit aisément, elle ne représente que la partie émergée de l’iceberg et masque bien souvent, aux yeux des chercheurs, des formes moins flagrantes – et variant insidieusement avec le temps – de coercition, de peur et d’assujettissement. En règle générale, ces déclinaisons de la violence ne sont pas perçues ou reconnues en tant que telles par les victimes et les auteurs de violences (qui bien souvent sont une seule et même personne). Pareil aveuglement légitime aux yeux de l’ensemble de la population les politiques publiques punitives qui infligent des souffrances aux plus vulnérables. -
Making Monsters in László Nemes' Son Of
2/20/2017 Making Monsters in László Nemes’ Son of Saul • Senses of Cinema Making Monsters in László Nemes’ Son of Saul Chari Larsson December 2016 Feature Articles Issue 81 Abstract >> http://sensesofcinema.com/2016/featurearticles/sonofsaul/ 1/21 2/20/2017 Making Monsters in László Nemes’ Son of Saul • Senses of Cinema But if I must continue to write, to look, to frame, to photograph, to show my pictures and think of all this, it is precisely to render such an incomplete phrase. It should rather say “It is unimaginable, therefore, I must imagine, in spite of all.” – Georges DidiHuberman1 A horror story, the face is a horror story – Gilles Deleuze and Felix Guattari2 In August 2015, French philosopher and art historian Georges DidiHuberman wrote an open letter to Hungarian director, László Nemes: Dear László Nemes, Your film, Son of Saul, is a monster. A necessary, coherent, beneficial, innocent monster.3 What are we to make of these opening lines? How does one create a monster? Written in the immediate aftermath of DidiHuberman’s viewing of the film, the letter is an intimate and emotional tribute to the director’s harrowing representation of extreme human misery set inside the gas chambers at AuschwitzBirkenau concentration and extermination camp in 1944. Nemes adds his voice to a long and contested history of philosophical debates concerning the relationship between the Holocaust and the status of the cinematic image. How can cinema do justice to representing the Holocaust? What role can images play, without trivialising or sentimentalising an event that is located at the limit of representation? Against this hegemonic line of thought, the discourse emphasising Holocaust unrepresentability has drawn increasing scrutiny, with younger generations of philosophers such as Georges DidiHuberman questioning the absolutism of the prohibition of representation. -
Interview with Philippe Bourgois
PERSPECTIVES: AN OPEN INTRODUCTION TO CULTURAL ANTHROPOLOGY Nina Brown, Thomas McIlwraith, Laura Tubelle de González The American Anthropological Association Arlington, VA Perspectives: An Open Introduction to Cultural Anthropology by Nina Brown, Thomas McIlwraith, Laura Tubelle de González is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted. Under this CC BY-NC 4.0 copyright license you are free to: Share — copy and redistribute the material in any medium or format Adapt — remix, transform, and build upon the material Under the following terms: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommercial — You may not use the material for commercial purposes. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. Anthropology in Our Moment in History: Interview with Philippe Bourgois Robert Borofsky, Hawaii Pacific University, Center for a Public Anthropology [email protected] How did you become an anthropologist? Discovering anthropology for me was like falling in love. I was a freshman in college and I knew nothing about the subject. I didn’t have a major. I took one of those big introductory classes in a large lecture hall because I was curious, but I didn’t really have any idea what anthropology might be. The very first lecture blew my mind. It was by an old- style style anthropologist talking about his fieldwork in the Amazon. -
JUST a GLASS: an Analysis of the Role of Alcohol in Konzentrationslager Auschwitz-Birkenau Dylan Sanderson
JUST A GLASS: An Analysis of the Role of Alcohol in Konzentrationslager Auschwitz-Birkenau Dylan Sanderson While the role of alcohol amongst perpetrators of the Holocaust has received some scholarly attention, little focus has been paid to its use within the Nazi concentration camp system specifically. Using Auschwitz-Birkenau as a case study, this paper draws on accounts from survivors, perpetrators, and civilians to demonstrate the presence of alcohol in various contexts of camp life and explore both who used it and for what purposes, from prisoners to guards and from barter good to accompaniment to the perpetration of violence. This paper both demonstrates the value of studying the role of alcohol within the camp and argues for the need to address this gap in the scholarship so as to better understand the lived experiences of those who composed the camp’s population and the perpetration of the Holocaust more generally, as well as identifying some specific areas likely warranting future research. Introduction In his account of the nearly five years he spent in Konzentrationslager Auschwitz- Birkenau, Anus Mundi, Wiesław Kielar details an interaction between Edward “Edek” Galiński—his friend and an accomplice in attempting to escape—and the Blockführer Pestek:1 “Just a glass, Herr Blockführer. A little glassful won’t hurt you. No one will notice, because everybody drinks.”2 The SS guard accepts, sharing a glass and conversation with Edek and Kielar. While it may come as a surprise, this is not the only documented instance of such an event occurring within the camp.3 Although likely not as ubiquitous as Galiński’s comment might suggest, the selection of sources concerning Auschwitz-Birkenau consulted for this paper indicates that alcohol was present in several different aspects of camp life—appearing in other contexts as seemingly unlikely as a shared drink between prisoners and an SS guard. -
Introduction Testimonies of Resistance Nicholas Chare and Dominic Williams R
Introduction Testimonies of Resistance Nicholas Chare and Dominic Williams R As the late director Claude Lanzmann and his editor Ziva Postec began to put some shape on the hundreds of hours of footage that he had filmed for Shoah (dir. Claude Lanzmann, France, 1985), it became clear to them that the central space around which their film should circle was the gas chamber.1 It was also clear that they could not, and should not, represent this space pictorially. Instead, it had to be evoked by testimony, that of the people who had worked around and in the chambers: the Sonderkommando (SK), or their equivalents, in Auschwitz, Chełmno and Treblinka. Lanzmann was therefore making the claim that these survivors in particular were central to an understanding of the entire period of persecution and mass murder of the Jewish people in Europe. Lanzmann’s approach placed itself in opposition to what had gone before: accounts of survival and life in the concentration camps, the use of archive footage taken by perpetrators and liberators. His new approach was to concentrate on what the witnesses of the gas chambers said, paying them closer atten- tion than they had been paid before.2 The SK had indeed been a group that had been given less consideration than might be expected. They were forced to labour at the heart of one of the killing centres of the Holocaust. At Auschwitz in particular, they witnessed, as they worked, hundreds of thousands of fellow Jews from all over Europe being brought into the crematorium buildings of Birkenau, tricked or forced into undressing and entering the gas chambers. -
Photographing Anthropologists Photographing Cultures Nirmala Jayaraman Union College - Schenectady, NY
Union College Union | Digital Works Honors Theses Student Work 6-2013 Photographing Anthropologists Photographing Cultures Nirmala Jayaraman Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Anthropology Commons, and the Photography Commons Recommended Citation Jayaraman, Nirmala, "Photographing Anthropologists Photographing Cultures" (2013). Honors Theses. 683. https://digitalworks.union.edu/theses/683 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. Photographing Anthropologists Photographing Cultures By Nirmala Jayaraman ******** Submitted in partial fulfillment Of the requirements for Honors in the Department for Anthropology UNION COLLEGE March, 2013 ABSTRACT Nirmala Jayaraman, Photographing Anthropologists Photographing Cultures. Department of Anthropology, March, 2013. My thesis explores how anthropologists use photography as a research method in capturing cultural realities different from their own. This was a library-based research study where coding and semiotic analysis were used to investigate photographs from anthropologists and my term abroad experience of photographing another culture in Vietnam, fall 2011. This analysis specifically looks at the photographs of Branislaw Malinowski’s fieldwork in the Trobriand Islands during the early 1900’s, of Margaret Mead’s fieldwork in a Balinese village during the 1930’s and 1940’s, and of Philippe Bourgois’ fieldwork in a San Francisco inner-city homeless community during the 1990’s. Over time, the camera lens shift from focusing on the anthropologist’s authoritative position to balancing objective and subjective lens’ to finally acknow- ledging the presence of multiple subjectivities both in front of and behind the camera. -
Representations of the Holocaust: the Grey Zone, Maus, and Shoah
Representations of the Holocaust: The Grey Zone, Maus, and Shoah. Wendy Creed One wonders how the Holocaust will be remembered in the coming decades when those who survived the tragic event or were witness to it are no longer with us. This is a dilemma facing historians of the Holocaust today, whose primary task is to give the future as accurate an account of the past as is as possible. Related to this are implications of representation. How one should represent the Holocaust based on witness testimony to the future is an area of immense debate. Many feel that, there is no way the Holocaust can be represented, in such a way that it begins to show what life was like for those who lived through it and even those who did not. While there are many surviving documents from the Holocaust, the most important source are witness testimony.1 It is from these that representations have been and will continue to be made. It is the message that these representations leave with their audience that is central to this paper, because it is this message that will be left to the future. As more representations are made there is a greater risk that there may emerge a distorted or asymmetrical narrative of the Holocaust. Although it would be possible for anyone learning about the Holocaust to look at numerous accounts of testimony in order to try and get a more balanced picture, in today’s world with popular culture’s increased influence, it seems more likely that they would rather “see” the story of the Holocaust, rather than read about it. -
Introduction to Socio-Cultural Anthropology Prof
Introduction to Socio-Cultural Anthropology Prof. Erik Harms (Links to an external site.) Department of Anthropology (Links to an external site.) : 10 Sachem Street (Links to an external site.), Room 120 erik.harms@ya Course Meetings: Office Hours: TBD • • M,W,F, 9:10 -11:15 • Online -- on zoom Section Scheduling Doodle: Course Description: This course is an introduction to socio-cultural anthropology, the study of human society and culture. Anthropologists write ethnographies based on long-term intensive fieldwork and participant observation and also theorize broadly about “big questions” associated with human sociality: How do cultural models and belief systems influence the ways people interact in social settings? How does power work? What binds people together and what leads to conflict? And so on. This course will introduce students to some of the major themes in modern anthropological thinking about culture, symbolism, and social structure; power and human agency (or “free will”); sex and gender; race and ethnicity; economic relations, commoditization and gift exchange; cosmology and belief systems; and other topics. In addition to introducing students to highlights in the history of anthropological thought, students will read several recent ethnographies exploring the lives of urban drug users, Wall Street i-bankers, and others. Course Goals: 1. To learn the broad scope and methods of socio-cultural anthropology through cross-cultural analysis of Western and non-Western cultures, including the student’s own. 2. To learn concepts, terminology, and methods related to the comparative study of different forms of social organization, economic systems, and processes of cultural change. 3. To sample anthropological research methods via course projects. -
Confronting Anthropological Ethics: Ethnographic Lessons from Central America
Confronting Anthropological Ethics: Ethnographic Lessons from Central America Philippe Bourgois Journal of Peace Research, Vol. 27, No. 1. (Feb., 1990), pp. 43-54. Stable URL: http://links.jstor.org/sici?sici=0022-3433%28199002%2927%3A1%3C43%3ACAEELF%3E2.0.CO%3B2-5 Journal of Peace Research is currently published by Sage Publications, Ltd.. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/sageltd.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Wed Jun 13 16:26:11 2007 0Journal of Peace Research, vol. 27, no. 1, 1990. pp. 43-54 Confronting Anthropological Ethics: Ethnographic Lessons from Central America* PHILIPPE BOURGOIS Department of Anthropology, San Francisco State University The concern with ethics in North American cultural anthropology discourages political economy research on unequal power relations and other 'dangerous' subjects. -
SIUE Fall 2013 ANTH 408: HISTORY of ANTHROPOLOGICAL
SIUE Fall 2013 ANTH 408: HISTORY OF ANTHROPOLOGICAL THOUGHT Section 001 MWF 1:00-1:50 Peck 2405 Professor Nancy Lutz Office: Peck 1224 Office phone: 650-2746 Office hours: MWF 2:00-3:00 or by appointment E-mail: [email protected] Course Description: An introduction to the history of anthropological methods, theories, and ideas, focusing primarily on the history of American cultural anthropology. Includes major topics, people and ideas that have shaped the history of anthropology from the early twentieth century (1900) to the present. This course is designed as a bridge course between undergraduate and graduate level anthropology. As such, it will be run primarily as a seminar (as are most courses at the graduate level), with the bulk of material being provided through readings and discussion rather than through lectures or PowerPoints. In many cases, students will be asked to try to figure out the major points and ideas themselves, and present them to the rest of the class, with the instructor as back-up, rather than the instructor providing all the information. Course Requirements: There are three required parts to this course: Three in-class essay exams, 3 x 100 = 300 points One research term paper (approx.10 pages), 1 x 100 = 100 points OR Five article reports (2 pages each), 5 x 20 = 100 points Attendance (40 out of 44 days) 40 x 1 = 40 points + 10 pts. Participation = 50 points Grades will be based on a total of 450 points as follows: 405-450 points = A (= 90%) 360-404.5 points = B (= 80%) 315-359.5 points = C (= 70%) 270-314.5 points = D (= 60%) 0-269.5 points = F (= below 60%) Exams will consist of a choice of long (approx. -
The Kapo on Film: Tragic Perpetrators and Imperfect Victims
Washington and Lee University School of Law Washington & Lee University School of Law Scholarly Commons Scholarly Articles Faculty Scholarship 2018 The Kapo on Film: Tragic Perpetrators and Imperfect Victims Mark A. Drumbl Washington and Lee University School of Law, [email protected] Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlufac Part of the Film and Media Studies Commons, Holocaust and Genocide Studies Commons, Human Rights Law Commons, and the Military, War, and Peace Commons Recommended Citation Mark A. Drumbl, The Kapo on Film: Tragic Perpetrators and Imperfect Victims, 6 Griffith J.L. & Human Dignity 229 (2018). This Article is brought to you for free and open access by the Faculty Scholarship at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Scholarly Articles by an authorized administrator of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. GRIFFITH JOURNAL OF LAW & HUMAN DIGNITY GRIFFITH JOURNAL OF LAW & HUMAN DIGNITY Editor-in-Chief Leanne Mahly Executive Editors Vanessa Antal Jacklin Molla Alexandria Neumann Editors Mark Batakin Gian Chung Ana-Catarina De Sousa Elizabeth Danaher Rebecca Durbin Jessica Farrell Charlotte Fitzgerald Danyon Jacobs Ashleigh Leake Dillon Mahly Lisa Neubert Consulting Executive Editor Dr Allan Ardill Volume 6 Issue 1 2018 Published in August 2018, Gold Coast, Australia by the Griffith Journal of Law & Human Dignity ISSN: 2203-3114 CONTENTS THERESE