Challenging the Perpetrators' Narrative: a Critical Reading of The
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Holocaust Awareness Week
HOLOCAUST AWARENESS WEEK JANUARY 23-26, 2017 The College of Social Sciences and Humanities, the Holocaust Awareness Committee, and the Northeastern Humanities Center invite you to a series of commemorative and educational events that reflect on the Holocaust's legacy in the 21st century. Personal Confrontations With the Past northeastern.edu/hac ABOUT HOLOCAUST AWARENESS WEEK The Holocaust Awareness Committee at Northeastern University publicly remembers the Holocaust each year, not only as historical fact and a memorial to its millions of victims, but also as a warning that the horrors of the past must never be repeated. The programs that we present bear witness to the Holocaust's events and explore issues arising out of the war of extermination against Jews and other groups targeted by the Nazis. Speakers ask how lessons learned from the Holocaust can be applied to our own historical moment. SCHEDULE OF EVENTS Northeastern Holocaust Commemoration The Portraitist: Wilhelm Brasse and Photography Ethics in Auschwitz Alison Campbell The Search for Meaning: Survivors' Children and Their Choice of a Life in the Law Rose Zoltek-Jick Monday, January 23 4:30 - 6 p.m. Cabral Center 40 Leon Street Reception to follow. Philip N. Backstrom, Jr. Survivor Lecture Series A Talk with Holocaust Survivor Anna Ornstein Tuesday, January 24 12:30 - 2 p.m. Raytheon Amphitheater 120 Forsyth Street Lunch will be served. Bill Giessen Film Screening What Our Fathers Did: A Nazi Legacy Followed by Q&A with Philippe Sands, Screenwriter Moderated by Professor Natalie Bormann Wednesday, January 25 5:30 - 7:30 p.m. Raytheon Amphitheater 120 Forsyth Street Hors d'oeuvres will be served during the film. -
Aftermath: Accounting for the Holocaust in the Czech Republic
Aftermath: Accounting for the Holocaust in the Czech Republic Krista Hegburg Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERISTY 2013 © 2013 Krista Hegburg All rights reserved Abstract Aftermath: Accounting for the Holocaust in the Czech Republic Krista Hegburg Reparations are often theorized in the vein of juridical accountability: victims of historical injustices call states to account for their suffering; states, in a gesture that marks a restoration of the rule of law, acknowledge and repair these wrongs via financial compensation. But as reparations projects intersect with a consolidation of liberalism that, in the postsocialist Czech Republic, increasingly hinges on a politics of recognition, reparations concomitantly interpellate minority subjects as such, instantiating their precarious inclusion into the body po litic in a way that vexes the both the historical justice and contemporary recognition reparatory projects seek. This dissertation analyzes claims made by Czech Romani Holocaust survivors in reparations programs, the social work apparatus through which they pursued their claims, and the often contradictory demands of the complex legal structures that have governed eligibility for reparations since the immediate aftermath of the war, and argues for an ethnographic examination of the forms of discrepant reciprocity and commensuration that underpin, and often foreclose, attempts to account for the Holocaust in contemporary Europe. Table of Contents Acknowledgments ii Introduction 1 Chapter 1 18 Recognitions Chapter 2 74 The Veracious Voice: Gypsiology, Historiography, and the Unknown Holocaust Chapter 3 121 Reparations Politics, Czech Style: Law, the Camp, Sovereignty Chapter 4 176 “The Law is Such as It Is” Conclusion 198 The Obligation to Receive Bibliography 202 Appendix I 221 i Acknowledgments I have acquired many debts over the course of researching and writing this dissertation. -
PDF Presentation
Hoecker/Auschwitz Albums Photo Analysis Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Auschwitz-Birkenau Located in German-occupied Poland, Auschwitz consisted of three camps including a killing center. The camps were opened over the course of nearly two years, 1940-1942. Auschwitz closed in January 1945 with its liberation by the Soviet army. More than 1.1 million people died at Auschwitz, including nearly one million Jews. Those who were not sent directly to gas chambers were sentenced to forced labor. The Auschwitz complex differed from the other Nazi killing centers because it included a concentration camp and a labor camp as well as large gas chambers and crematoria at Birkenau constructed for the mass murder of European Jews. Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Hoecker/Auschwitz Albums Photo Analysis United States Holocaust Memorial Museum Auschwitz Album The "Auschwitz Album" specifically depicts the arrival of Hungarian Jews and the selection process that the SS imposed upon them. Lili Jacob (later Zelmanovic Meier), was deported with her family to Auschwitz in late May 1944 from Bilke (today: Bil'ki, Ukraine), a small town which was then part of Hungary. -
Web of Performance: an Ensemble Workbook
Web of Performance An Ensemble Workbook Edited by Monica Prendergast & Will Weigler UVic Theatre 2018 Web of Performance book.qxp_Web of Performance 2018 book 2018-06-04 6:13 PM Page 3 Web of Performance An Ensemble Workbook Edited by Monica Prendergast & Will Weigler UVic Theatre 2018 Web of Performance book.qxp_Web of Performance 2018 book 2018-06-04 6:13 PM Page 4 Copyright © 2018 by Monica Prendergast, Will Weigler, Robert Birch, This book is released under a Creative Commons Attribution 4.0 Trudy Pauluth-Penner, Sandra Chamberlain-Snider, Kathy Bishop, International (CC BY-NC-SA 4.0) license, except as excluded in the Colleen Clement List of Images. This means that you are free to copy, display, perform, and modify this book, as long as you distribute any Published in Canada by University of Victoria modified work on the same terms. If anyone wants to distribute Victoria, BC V8P 5C2 modified works under other terms you must contact [email protected] [email protected] for permission first. Under this license, anyone who distributes or modifies this book, in whole or in part, should properly attribute Cover image: “Spider Web” by sethink on pixabay.com, CC0. the book as follows: Book design by Rayola Creative Prendergast, M, & Weigler, W. (Eds). Web of performance: An Printed and bound by University of Victoria on 100% post-consumer ensemble workbook. Victoria, BC: University of Victoria. This book is content recycled paper published by the University of Victoria under a CC BY-NC-SA 4. 0 International license. For questions about this book, please contact the Copyright and Scholarly Communications Office, University of Victoria Libraries at [email protected] Download this book for free at: http://dspace.library.uvic.ca/handle/1828/3857 Library and Archives Canada Cataloguing in Publication Web of performance : an ensemble workbook / edited by Monica Prendergast & Will Weigler. -
Young American Journalists in Germany and Poland International Summer Academy the Faces of Justice Auschwitz Album Revisited
O Ś WIĘ CIM ISSN 1899-4407 PEOPLE CULTURE HISTORY YOUNG AMERICAN JOURNALISTS IN GERMANY AND POLAND INTERNATIONAL SUMMER ACADEMY THE FACES OF JUSTICE AUSCHWITZ ALBUM REVISITED no. 31 July 2011 Oś—Oświęcim, People, History, Culture magazine, no. 31, July 2011 EDITORIAL BOARD: Oś—Oświęcim, People, History, Culture magazine EDITORIAL Last month, the Jewish Center host- Their authors were Rodryg Romer, Site? Gerhard Hausmann, a lecturer ed FASPE project participants, on his daughter Elżbieta, and her fi ancé at this German institution, answers which we reported in the previous Maksymilian Lohman, who were im- this question in an interview in this issue of the monthly. Among them prisoned in Auschwitz in 1943. Fam- Oś. were young journalists as well as ily members of the former prisoners students from the Columbia Univer- donated these priceless heirlooms. We also invite you to visit the ex- Editor: sity in New York. In this issue of Oś, Within this Oś, we also summarize hibition at the International Youth Paweł Sawicki we are publishing their texts, which the fi rst International Summer Acad- Meeting Center. For the fi rst time Editorial secretary: were the effect of the ten-day pro- emy, which was prepared for teach- in Poland, the works of Pat Mercer Agnieszka Juskowiak-Sawicka gram. To start with, we have chosen ers from abroad by the International Hutchens are on display. In total this Editorial board: general refl ections and descriptions Center for Education about Ausch- includes twenty-fi ve reproductions Bartosz Bartyzel Wiktor Boberek of the entire visit, as well as a text witz and the Holocaust; as well as of oil paintings, which are an artis- Jarek Mensfelt written by Eugene Kwibuka from report on a visit to the Memorial tic and literary interpretation from Olga Onyszkiewicz Rwanda, who, in a particularly emo- Site by members of the International the infamous Auschwitz Album. -
I.G. Farben's Petro-Chemical Plant and Concentration Camp at Auschwitz Robert Simon Yavner Old Dominion University
Old Dominion University ODU Digital Commons History Theses & Dissertations History Summer 1984 I.G. Farben's Petro-Chemical Plant and Concentration Camp at Auschwitz Robert Simon Yavner Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/history_etds Part of the Economic History Commons, and the European History Commons Recommended Citation Yavner, Robert S.. "I.G. Farben's Petro-Chemical Plant and Concentration Camp at Auschwitz" (1984). Master of Arts (MA), thesis, History, Old Dominion University, DOI: 10.25777/7cqx-5d23 https://digitalcommons.odu.edu/history_etds/27 This Thesis is brought to you for free and open access by the History at ODU Digital Commons. It has been accepted for inclusion in History Theses & Dissertations by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. 1.6. FARBEN'S PETRO-CHEMICAL PLANT AND CONCENTRATION CAMP AT AUSCHWITZ by Robert Simon Yavner B.A. May 1976, Gardner-Webb College A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS HISTORY OLD DOMINION UNIVERSITY August 1984 Approved by: )arw±n Bostick (Director) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Robert Simon Yavner 1984 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT I.G. FARBEN’S PETRO-CHEMICAL PLANT AND CONCENTRATION CAMP AT AUSCHWITZ Robert Simon Yavner Old Dominion University, 1984 Director: Dr. Darwin Bostick This study examines the history of the petro chemical plant and concentration camp run by I.G. -
Whole Dissertation Hajkova 3
Abstract This dissertation explores the prisoner society in Terezín (Theresienstadt) ghetto, a transit ghetto in the Protectorate Bohemia and Moravia. Nazis deported here over 140, 000 Czech, German, Austrian, Dutch, Danish, Slovak, and Hungarian Jews. It was the only ghetto to last until the end of Second World War. A microhistorical approach reveals the dynamics of the inmate community, shedding light on broader issues of ethnicity, stratification, gender, and the political dimension of the “little people” shortly before they were killed. Rather than relegating Terezín to a footnote in narratives of the Holocaust or the Second World War, my work connects it to Central European, gender, and modern Jewish histories. A history of victims but also a study of an enforced Central European society in extremis, instead of defining them by the view of the perpetrators, this dissertation studies Terezín as an autarkic society. This approach is possible because the SS largely kept out of the ghetto. Terezín represents the largest sustained transnational encounter in the history of Central Europe, albeit an enforced one. Although the Nazis deported all the inmates on the basis of their alleged Jewishness, Terezín did not produce a common sense of Jewishness: the inmates were shaped by the countries they had considered home. Ethnicity defined culturally was a particularly salient means of differentiation. The dynamics connected to ethnic categorization and class formation allow a deeper understanding of cultural and national processes in Central and Western Europe in the twentieth century. The society in Terezín was simultaneously interconnected and stratified. There were no stark contradictions between the wealthy and majority of extremely poor prisoners. -
Informationen Zur Politischen Bildung/Izpb
Informationen 316 zur politischen Bildung / izpb 3/2012 Nationalsozialismus: Krieg und Holocaust 2 Nationalsozialismus: Krieg und Holocaust Inhalt Krieg und Holocaust ....................................................................... 4 Der Weg in den Krieg ......................................................................5 Außenpolitische Erfolge ......................................................................... 5 Wille zum Krieg .........................................................................................9 Hitler-Stalin-Pakt .................................................................................... 12 Krieg und Besatzung in Ost- und Westeuropa .......... 16 Siedlung und Vertreibung ...................................................................19 Kriegsalltag und Widerstand in Deutschland ........................... 20 Besetzung Westeuropas .......................................................................22 Luftkrieg gegen Großbritannien ..................................................... 24 Vernichtungskrieg gegen die Sowjetunion ..................................25 Massenmord und Holocaust ..................................................33 Krankenmord ............................................................................................33 Deportationen ......................................................................................... 36 Mord an den polnischen Juden .........................................................41 Wannsee-Konferenz ...............................................................................42 -
Untitled
The Journal of Perpetrator Research (JPR) is an Issue Editors inter-disciplinary, peer-reviewed, open access Dr Susanne C. Knittel (Utrecht University) journal committed to promoting the scholarly Dr Stéphanie Benzaquen-Gautier study of perpetrators of mass killings, political (University of Nottingham) violence, and genocide. The journal fosters scholarly discussions General Editors about perpetrators and perpetratorship across Dr Susanne C. Knittel (Utrecht University) the broader continuum of political violence. Dr Emiliano Perra (University of Winchester) JPR does not confine its attention to any Dr Uğur Ümit Üngör (Utrecht University) particular region or period. Instead, its mission is to provide a forum for analysis of perpetrators Advisory Board of genocide, mass killing and political violence Dr Stephanie Bird (UCL) via research taking place within the fields of Dr Tomislav Dulic (Uppsala University) history, criminology, law, forensics, cultural Prof. Mary Fulbrook (UCL) studies, sociology, anthropology, philosophy, Prof. Alexander L. Hinton (Rutgers University) memory studies, psychology, politics, litera- Prof. A. Dirk Moses (University of Sydney) ture, film studies and education. In providing Prof. Alette Smeulers (University of Tilburg) this interdisciplinary and cross-disciplinary Prof. Sue Vice (University of Sheffield) space the journal moves academic research on Prof. James Waller (Keene State College) this topic beyond, and between, disciplinary boundaries to provide a forum in which robust Copyeditor and interrogative research and cross-curricular Sofía Forchieri (Utrecht University) discourse can stimulate lively intellectual en- gagement with perpetrators. Layout & Typesetting JPR thus not only addresses issues related Sofía Forchieri (Utrecht University) to perpetrators in the past but also responds Dr Kári Driscoll (Utrecht University) to present challenges. -
The Auschwitz Album Brochure
THETHE AUSCHWITZAUSCHWITZ ALBUMALBUM TheThe storystory ofof aa transporttransport American Society for Yad Vashem THE AUSCHWITZ ALBUM he “Auschwitz Album” exhibit is based on an T album, which is the only surviving visual evidence of the process of mass murder at Auschwitz-Birkenau. It is a unique document donated to Yad Vashem by Lili Jacob-Zelmanovic Meier. The Exhibition created by Yad Vashem was first pre- sented at the United Nations in New York in January 2005 in observance of the 60th Anniversary of the liberation of Auschwitz. The photos were taken at the end of May or begin- ning of June 1944, either by Ernst Hofmann or by Bernhard Walter, two SS men whose task was to take ID photos and fingerprints of inmates (not Jews who were sent directly to the gas chambers). The photos show the arrival of Hungarian Jews from Carpatho- Ruthenia. Many of them came from the Berehov Ghetto, which itself was a collecting point for Jews from several other small towns. Eighteen-year-old Lili Jacob and her family were among these 3,500 deportees. Upon arriving at Auschwitz, Lili was sent to Dora, a Nazi slave labor camp 400 miles to the west, where she was eventually liberated by the Americans. While searching for warm clothing inside an abandoned German barracks, Lili came across a photograph album. Upon opening the album, Lili found familiar images of her family and friends, members of the doomed Auschwitz transport. It is extraordinary to think that out of hundreds of thousands of families who arrived at Birkenau, Lili uncovered such personal images of her transport, her family and her friends. -
Holocaust Representations and the Testimony of Images
WI BEY T NESS O TH REBECKA REBECKA ND THOR KA E TZ HOLOCAUST REPRESENTATION AND THE TESTIMONY OF IMAGES THREE FILMS BY YAEL HERSONSKI HARUN FAROCKI AND EYAL SIVAN WITNESS BEYOND BEYOND T REBECKA REBECKA H T KAT H E O Z R HOLOCAUST REPRESENTATION AND THE TESTIMONY OF IMAGES THREE FILMS BY YAEL HERSONSKI HARUN FAROCKI EYAL SIVAN FOR SAM AND ISIDOR PRELUDE 1–3 9–13 WHAT IS A WITNESS? 15–23 AN EVENT WITHOUT AN IMAGE 23–24 WHEN NO WITNESSES ARE LEFT 24–28 IMPOSSIBLE REPRESENTATIONS 28–31 IMAGE AS WITNESS 32–36 GESTIC THINKING 36–39 RESITUATED IMAGES AND THE QUESTION OF FRAME 39–43 STILL IMAGES 45-69 BRESLAUER AT WORK IN WESTERBORK, 1944. 45 A FILM UNFINISHED BY YAEL HERSONSKI 46–55 RESPITE BY HARUN FAROCKI 56–63 THE SPECIALIST BY EYAL SIVAN 64–69 ARCHIVAL WORK 71–72 THE STATUS OF ARCHIVAL IMAGES 73–76 ARCHIVAL STORIES 1: DAS GHETTO AND A FILM UNFINISHED 76–80 ARCHIVAL STORIES 2: THE WESTERBORK MATERIAL AND RESPITE 80–83 ARCHIVAL STORIES 3: RECORDING THE EICHMANN TRIAL AND THE SPECIALIST 84–86 5 STRUCTURING FRAMES 87–88 AGENCY AND ANALYSIS 88–91 THE HOW OF THE IMAGE 91–95 OVERCOMING AESTHETIC DISTANCE 96–99 TRUTHS IN NON-TRUSTWORTHY IMAGES 100–104 REFLEXIVITY AND EXPOSURE 104–107 VOICE, TEXT, AND NARRATION 109–110 VERBAL AND PICTORIAL WITNESSING 110–115 SOUNDS OF SILENCE AND COMMOTION 115–117 SHOWING INSTEAD OF TELLING 117–119 VISUALIZING TESTIMONY 120–123 THE PERPETRATOR AS WITNESS 125–126 THE NAZI GAZE 126–129 THE PERPETRATOR IN FOCUS 129–132 REMOVING THE WITNESS 132–137 HAPPY IMAGES OF THE CAMP 137–141 THE TESTIMONY OF IMAGES 143–144 TESTIMONY -
Transformations of Photo and Film in Post-Holocaust Art. the Case Of
ZSÓFIA BÁN IIlDE AND SEEK: TRANSFORMATIONS OF PHOTO AND FILM 1N POST-HOLOCAUST ART THE CASE OF FATELESS, THE FILM The representation of the Holocaust has been a frequent, even prominent, topic of theoretical discussion in the United States and Western Europe in the past 15-20 years. By contrast, in the East-Central European region the topic has been treated more or less as a taboo before the political transition in 1989. As many of the post-socialist countries have not properly confronted and worked through this part oftheir history (or have only started the process), it was not until fairly recently that the relevant work of collective memory has started to reveal itself in the farm of exhibitions, memorials or sites of memory, art works, and film. Even the few literary examples that existed previously were not canonical works, a fact proved, for instance, by the wider audience's relative unfamiliarity with Imre Kertész's works, including his groundbreaking novel, Fatelessness (1975), a centerpiece of the oeuvre for which he was awarded the Nobel Prize for Literature in 2002.1 ln what follows, I wish to discuss problems of the visual representation of the Holocaust within the context of this historical and political belatedness that continues to have a significant impact on contemporary politics, discourse and events in the region. I will focus primarily on the example of Fateless, the film based on Kertész's novel,2 in the context of some comparable examples from Hungarian or European art. My main concern is how the medium of (documentary) photography and film is transformed into another medium for artistic purposes, and what happens aesthetically when this transformation takes place.