Jewish Survivors and Descendants of Survivors of Nazi Genocide Unequivocally Condemn the Massacre of Palestinians in Gaza
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Alternate History – Alternate Memory: Counterfactual Literature in the Context of German Normalization
ALTERNATE HISTORY – ALTERNATE MEMORY: COUNTERFACTUAL LITERATURE IN THE CONTEXT OF GERMAN NORMALIZATION by GUIDO SCHENKEL M.A., Freie Universität Berlin, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (German Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Guido Schenkel, 2012 ABSTRACT This dissertation examines a variety of Alternate Histories of the Third Reich from the perspective of memory theory. The term ‘Alternate History’ describes a genre of literature that presents fictional accounts of historical developments which deviate from the known course of hi story. These allohistorical narratives are inherently presentist, meaning that their central question of “What If?” can harness the repertoire of collective memory in order to act as both a reflection of and a commentary on contemporary social and political conditions. Moreover, Alternate Histories can act as a form of counter-memory insofar as the counterfactual mode can be used to highlight marginalized historical events. This study investigates a specific manifestation of this process. Contrasted with American and British examples, the primary focus is the analysis of the discursive functions of German-language counterfactual literature in the context of German normalization. The category of normalization connects a variety of commemorative trends in postwar Germany aimed at overcoming the legacy of National Socialism and re-formulating a positive German national identity. The central hypothesis is that Alternate Histories can perform a unique task in this particular discursive setting. In the context of German normalization, counterfactual stories of the history of the Third Reich are capable of functioning as alternate memories, meaning that they effectively replace the memory of real events with fantasies that are better suited to serve as exculpatory narratives for the German collective. -
Over 300 Survivors and Descendants of Survivors and Victims of the Nazi Genocide Condemn Israel’S Assault on Gaza
Over 300 Survivors and Descendants of Survivors and Victims of the Nazi Genocide Condemn Israel’s Assault on Gaza Jewish survivors and descendants of survivors and victims of Nazi genocide unequivocally condemn the massacre of Palestinians in Gaza As Jewish survivors and descendants of survivors and victims of the Nazi genocide we unequivocally condemn the massacre of Palestinians in Gaza and the ongoing occupation and colonization of historic Palestine. We further condemn the United States for providing Israel with the funding to carry out the attack, and Western states more generally for using their diplomatic muscle to protect Israel from condemnation. Genocide begins with the silence of the world. We are alarmed by the extreme, racist dehumanization of Palestinians in Israeli society, which has reached a fever-pitch. In Israel, politicians and pundits in The Times of Israel and The Jerusalem Post have called openly for genocide of Palestinians and right-wing Israelis are adopting Neo-Nazi insignia. Furthermore, we are disgusted and outraged by Elie Wiesel’s abuse of our history in these pages to justify the unjustifiable: Israel’s wholesale effort to destroy Gaza and the murder of more than 2,000 Palestinians, including many hundreds of children. Nothing can justify bombing UN shelters, homes, hospitals and universities. Nothing can justify depriving people of electricity and water. We must raise our collective voices and use our collective power to bring about an end to all forms of racism, including the ongoing genocide of Palestinian people. We call for an immediate end to the siege against and blockade of Gaza. -
Book of Abstracts
BOOK OF ABSTRACTS BOOK OF ABSTRACTS BOOK OF ABSTRACTS KISMIF Convenors International Conference Keep it Simple, Make it Fast! Andy Bennett and Paula Guerra Underground Music Scenes and DIY Cultures 8-11 July 2014 KISMIF Organizing Committee Faculty of Arts of the University of Porto and Andy Bennett, Augusto Santos Silva, Carles Feixa, Casa da Música – Porto, Portugal José Machado Pais, Luís Fernandes, Manuel Loff, Paula Abreu, Paula Guerra, Pedro Costa and Publisher Rui Telmo Gomes. Faculdade de Letras da Universidade do Porto (Faculty of Arts of the University of Porto) – Porto, Portugal KISMIF Executive Commission Ana Oliveira, João Queirós, Paula Abreu, Paula Guerra, ISBN Pedro Quintela, Rui Telmo Gomes, Tânia Moreira, Teresa 978-989-8648-26-6 Velásquez and Vítor Massa. Editors KISMIF Volunteers Paula Guerra, Andy Bennett (Supervising Editors) Alexandra Ferreira Carvalho, Ana Luísa Aguiar, Ana Rita Tânia Moreira Ribeiro, Ana Silva, Andreia Marques, Andreia Pinheiro, Ângela Pinto, Bárbara Pereira, Beatriz Duarte, Bernardo Edition Guerra, Bruna Gonçalves, Catarina Barbosa, Catarina KISMIF Conference and Faculty of Arts of the University Pinho, Catarina Ribeiro Figueiredo, Cláudia Alves, Daniela of Porto Oliveira, Diana Ferreira, Diana Silva, Diogo Cardoso, Diogo Guedes Vidal, Diogo Ribeiro, Eduardo da Silva, Eliana Design Frazão, Fátima Soares, Francisco Reis, Gil Fesch, Inês Rita Araújo and Marta Borges Guimarães, Inês Pereira, Inês Pinto, Inês Ramos Marques, Isabel Magalhães, Jennifer Moody, Jéssica Cardoso, Photos Joana Carvalho, -
Arbeiten Am Archiv. Die Künstlerin Tanya
DEUTSCHLANDFUNK – Köln Redaktion Hintergrund Kultur Redakteurin Ulrike Bajohr Feature Arbeiten am Archiv – Die Künstlerin Tanya Ury Von Astrid Nettling Regie: Burkhard Reinartz Urheberrechtlicher Hinweis Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Die Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in §§ 44a bis 63a Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © - unkorrigiertes Exemplar - Sendung: Freitag, 23. Januar 2015, 20.10 - 21.00 Uhr 1 Musik A) CD, Tanya Ury: Das Fundament hat nur darauf gewartet zusammenzubrechen. 01 O-Ton (1) (Tanya Ury): Man geht davon aus, wenn man Sachen an ein Archiv leiht, dass da nichts geschehen wird. Diese Vorstellung, dass das weg ist, ist ein furchtbarer Verlust für mich. Wenn es um meine Familiengeschichte geht, dann geht es um eine jüdische Familie, man hat versucht, sie zu vernichten und war jetzt nicht vorsichtig genug, und eine andere Art Vernichtung ist wieder geschehen. Sprecherin (1): Am 03. März 2009 stürzt das Historische Archiv der Stadt Köln in sich zusammen. Fast der gesamte Bestand aus über 1200 Jahren Stadt-, Regional- und Kirchengeschichte rutscht in den riesigen Krater, der durch Bauarbeiten für die neue U-Bahn unmittelbar neben dem Archivgebäude entstanden war. 02 O-Ton (2) (Tanya Ury): Das Stichwort 'Archiv' und 'Archivieren' wurde mir erst absolut klar bewusst, als ich und meine Familie die Familienpapiere und andere persönliche Sachen der Stadt Köln geliehen habe, also, Historisches Archiv der Stadt Köln, und als das eingestürzt ist. Ansage: Arbeiten am Archiv – Die Künstlerin Tanya Ury. Feature von Astrid Nettling Sprecherin (2) (Tanya Ury, Die Gehängten, 1): Ein großer Teil meiner Familie stammt aus Köln. -
Call for Proposals for the Hans and Lea Grundig Prize 2017
Call for Proposals for the Hans and Lea Grundig Prize 2017 A diasporist lives and paints in two or more societies at once. Diasporic art is contradictory at its heart, being both internationalist and particularist. It can be inconsistent, which is a major blasphemy against the logic of much art education, because life in Diaspora is often inconsistent and tense; schismatic cont- radiction animates each day. (R.B. Kitaj’s “Diasporist Manifesto”, 1988) A prize named in commemoration of the artists Hans Grundig (1901–1958) and Lea Grundig (1906–1977), under the patronage of the Rosa Luxemburg Foundation will be awarded for artistic and art historical achievement, as well as for achievement in the communication of art. The category Artistic Projects welcomes completed and already exhibited contemporary contributions that reflect on R.B. Kitaj’s diasporist philosophy: contradiction, resistance, migration, flight, and exile — ever more people live in different societies concurrently and venture art that in its radicalness is political. The category Art Historical Works welcomes research that focuses on the analysis and exploration of the diasporic in the work of artists who have personally experienced persecution and enforced exile. Especi- ally welcome are contributions on the themes “Proletarian Revolutionary Art”, “Verism in the 20th cen- tury”, “Exile Art in Palestine/Israel”, as well as “Jewish Artists in Divided Postwar Germany”. The category Communication of Art welcomes submissions addressing curatorial projects that have pro- moted, and continue to promote the communication of research and works concerned with socio-critical art practices of the 20th and 21st century. This prize has been granted biannually since 2015. -
Turks, Jews, and Other Germans in Contemporary Art an Introduction
peter chametzky Turks, Jews, and Other Germans in Contemporary Art An Introduction The urge to migrate is no less “natural” than the urge to settle. Kwame Anthony Appiah One might argue, in fact, that it is simply irresponsible for European states to continue to allow significant segments of their populations to be driven by nostalgia for homogeneity. There is no longer room to pretend that European countries will return to some imagined, idealized state of ethnic and cultural sameness. Rita Chin ich werde deutsch ch werde deutsch (I become German) provides the provocative Ititle for a series begun in 2008 of large-scale, staged photographs by German photographer Maziar Moradi. Born in Tehran in 1975, Moradi’s series 1979 told the story of his own family’s experience in and emigra- tion from Islamic revolutionary Iran and won the German Photographic Society’s biennial Otto Steinert Prize in 2007. In Ich werde deutsch each image presents a transitional moment, now experienced in Germany, within extended geopolitical narratives of migration not limited to the artist’s family or to Iran. Moradi has described the series: I become German tells the stories of young migrants who have left their homelands and begun a new life in Germany, but through their families have grown up with a different cultural background. I’ve collected stories from these young people with a migration background (Menschen mit Migrationshintergrund) from childhood to adulthood . They relate problems . but also positive experiences and transformations . This project is a continuation of my work about my family, 1979 . but this time it’s about the next genera- tion, their children.1 655 THE MASSACHUSETTS REVIEW Peter Chametzky Many of the photographs in Ich werde deutsch depict single, contem- plative figu es in evocative settings. -
Recordando a Barbárie Para Libertar Ou Oprimir: Usos E Abusos Mnemônicos Do Nazismo Fabio Bacila SAHD∗ Resumo
São Paulo, U nesp , v. 11 , n. 1, p. 238 -261 , janeiro -junho, 2015 ISSN – 1808 –1967 Recordando a barbárie para libertar ou oprimir: usos e abusos mnemônicos do nazismo Fabio Bacila SAHD ∗∗∗ Resumo: O genocídio perpetrado pelo nazismo ocupa um lugar destacado na história do século XX como paradigma da barbárie. Nessa condição, tornou-se também um expediente discursivo muito utilizado para legitimar ou estigmatizar (“nazificar”) certos agentes e causas. O presente trabalho historiciza e explora representações concorrentes das atrocidades nazistas, analisando como se constitui em capital simbólico mobilizado para justificar ou condenar as ações do Estado israelense que, por sua vez, busca se afirmar como porta-voz de todas as vítimas do holocausto. O artigo apresenta os primeiros usos dessa memória e os principais críticos de sua manipulação discursiva. Na sequência o enfoque recai sobre uma dimensão pouco explorada da questão: as evocações do nazismo para condenar a ocupação e certas ações israelenses, dos anos 1940 até 2014. Ao final, esse uso específico é contraposto à bibliografia especializada sobre modernidade, holocausto e barbárie. Palavras-chave: Holocausto. Memória. Israel. Ocupação israelense. ‘Indústria do Holocausto’. Remembering the barbarity to liberate or oppress: mnemonic uses and abuses of Nazi Abstract: The Nazi genocide occupies a prominent place in the history of the twentieth century, being the paradigm of barbarity. In this condition, it also became a discursive device often used to legitimize or stigmatize ("nazificate") certain agents and causes. This work turns into history and exploits concurrent representations of Nazi atrocities, analyzing it as a symbolic capital mobilized to justify or condemn the actions of the Israeli state, which in turn seeks to assert itself as the spokesman of all the victims of the Holocaust. -
65 Bad Consciences: Projecting Israel's Racist
Free Associations: Psychoanalysis and Culture, Media, Groups, Politics Nos. 81-82, Spring 2021 ISSN: 2047-0622 URL: http://www.freeassociations.org.uk/ Bad Consciences: Projecting Israel's racist-settler aggression onto Labour Party “Antisemitism” Les Levidow1 Introduction An antisemite used to be a person who disliked Jews. Now it is a person whom Jews dislike. - Hajo Meyer, Holocaust survivor Figure 1: Demonstration against the Labour Party leadership: ‘Zero tolerance for antisemitism’, Parliament Square, March 2018. Credit: Steve Parkins/Rex/Shutterstock During 2016-19 there were persistent high-profile allegations that Britain’s Labour Party had ‘endemic antisemitism’, causing ‘hurt to the Jewish community.’ In the dominant narrative, moreover, antisemitism was being tolerated or even condoned by Jeremy Corbyn’s Left-wing leadership. The Labour Party was thereby ‘institutionally antisemitic.’ It must ‘hold Corbyn to account’, as demanded at a March 2018 protest (Figure 1). To ensure ‘a safe space for Jews’, the Party had to strengthen and intensify its disciplinary procedures. Escalating the allegations, in July 2018 the UK’s three Jewish newspapers published a joint statement, ‘United We Stand’. It warned that a Corbyn-led Labour government would ‘pose an existential threat to Jewish life’ in the UK. The leadership had shown ‘contempt for Jews and Israel’ (JC, 2018; Figure 2). 1Acknowledgements: This article expands the author’s talk at a conference, ‘Psychoanalysis and the Public Sphere: Social Fault Lines’, session on ‘Palestine/Israel: Psychoanalytic Perspectives’, 26 September 2020. The article extends insights by Jewish pro-Palestine activists about the greater political attacks that they have faced in recent years. -
2009 Joint Conference of the National Popular Culture and American Culture Associations
2009 Joint Conference of the National Popular Culture and American Culture Associations April 8 – 11, 2009 New Orleans Marriott Delores F. Rauscher, Editor & PCA/ACA Conference Coordinator Michigan State University Wiley-Blackwell Editor: Elna Lim Additional information about the PCA/ACA available at www.pcaaca.org 2 Table of Contents The 2008 National Conference Popular Culture Association & American Culture Association Area Chairs ..................................5 PCA/ACA Board Members.........................................................13 Officers........................................................................................13 Executive Officers.......................................................................13 Past & Future Conferences..........................................................14 Conference Papers For Sale; Benefits Endowment.....................15 Exhibit Hours ..............................................................................15 Business & Board Meetings........................................................16 Film Screenings...........................................................................18 Tours, Get-Togethers, Receptions, & Dinners............................22 Special Sessions ..........................................................................24 SCHEDULE OVERVIEW:............................................................32 DAILY SCHEDULE: ....................................................................52 Wednesday, 12:30 P.M. – 2:00 P.M. .........................................52 -
Ury Desmarais
REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS_CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE Publication details, including open access policy and instructions for contributors: http://imaginations.csj.ualberta.ca “Interview” Tanya Ury & Claude Desmaris May 21, 2012 To Cite this Article: Ury, Tanya and Claude Desmarais. “Interview” Imaginations 3:1 (2011): Web (date ac- cessed) 4-9. DOI: 10.17742/IMAGE.stealimage.3-1.3 To Link to this article: http://dx.doi.org/10.17742/IMAGE.stealimage.3-1.3 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. TANYA URY IMAGINATIONS INTERVIEW Army surplus, on the other hand, is an inexpensive way to dress and what’s more, lends the wearer a look that WITH ARTIST TANYA URY suggests power and standing. I have photographed such clothing being worn on the streets internationally for Q: Fading into the Foreground depicts the everyday the ongoing Fading into the Foreground series and it wear of camouflage; does this represent to you a is often the marginalised, road workers, who wear decontextualization of war and violence? You spoke camouflage, not as a fashion statement, but because it of your shock and horror witnessing the display of is durable and cheap to purchase. -
1 Chapter Four the End of the War to Sit in Broadway
"My Life as a Fish," by Alfred G. Meyer, © 2000. All rights reserved. Chapter Four The End of the War To sit in Broadway, Worcestershire, for three months while exciting battles were being fought in France was very frustrating. One by one my fellow soldiers and officers received assignments and left for the Continent. Would my turn ever come? Broadway is a charming old village, one of the principal tourist attractions of southern England. Situated on the edge of the Cotswolds, it has quaint little houses with thatched roofs, a village church dating back to Norman times, and a fancy hotel, the Ligon Arms, that must have been a noble manor in earlier centuries. Up in the nearby hills there are towns and villages even quainter; time seems to have passed them by. Evesham, with its narrow streets and pleasant river embankment, is within bicycling distance. So is Stratford-on-Avon with its Shakespeare theater; and even Cheltenham, a well kept town where many retired army officers choose to live, is not too far. But who wants to explore quaint villages and towns when there is a war to be fought? I managed to visit my brother Rolf in Manchester once or twice, and he and his wife visited me in Broadway. In Cheltenham I attended a piano concert by Salomon, and in Stratford I met with my father’s favorite fraternity brother and saw a performance of “The Merchant of Venice.” Once I had some official business at the Field Interrogation Division near Southamptom. FID, it was joked, really was an abbreviation for “francs into dollars” because so many German prisoners came with large sums of money in their pockets which their interrogators took from them. -
The Winners of the 2015 Hans and Lea Grundig Prize
The winners of the 2015 Hans and Lea Grundig Prize The Rosa-Luxemburg-Stiftung opened the 2015 Hans-and-Lea-Grundig-Prize for entries in autumn 2014. The jury has now awarded the prize to Olga Jitlina, an artist from St. Petersburg; Lith Bahlmann and Matthias Reichelt, a curator and journalist, both from Berlin; and to a project at Bauhaus University Weimar that was coordinated by Ines Weizman, an architectural theorist. The jury was co-chaired by Dr Eva Atlan, curator of the Jewish Museum in Frankfurt, and Dr Eckhart Gil- len, an art historian and curator from Berlin; it also consisted of Professor Irene Dölling, Henning Heine, Professor Ladislav Minarik, Dr Rosa von der Schulenburg, Oliver Sukrow, Dr Angelika Timm and Tanya Ury. The Rosa-Luxemburg-Stiftung awards the prize in memory of Hans and Lea Grundig for services to art, aesthetics and art mediation. Hans Grundig (1901–1958) was an anti-fascist artist from Dresden who was banned from working under the Nazis, arrested numerous times, and held between 1940 and 1944 in Sachsenhausen Concentration Camp. Lea Grundig (1906–1977) was repeatedly arrested by the Nazis be- fore leaving for exile to Palestine from 1939 until 1948. The prize was first awarded by Lea Grundig at the University of Greifswald in 1972, but the award only continued until 1996. In 2011, the Rosa-Luxemburg- Stiftung took over the competition from the University of Greifswald. In 2012, the prize was awarded to Oliver Sukrow, whose master’s thesis at the University of Greifswald focused on a historical-critical analysis of Lea Grundig’s controversial function as president of the East German Association of Visual Artists from 1964 to 1970.