Pub Date : 2023-06-22DOI: 10.1080/25785648.2023.2198857
Christine Schmidt, Daniel P. Stone
ABSTRACT In June 1947, the World Jewish Congress (WJC) launched an exhibition in London titled ‘Search for the Scattered.’ Some of the materials on display were loaned to the WJC by the United Nations Relief and Rehabilitation Administration (UNRRA)’s Central Tracing Bureau (CTB), the predecessor to the International Tracing Service (ITS). The exhibition presented a detailed accounting of the vital work of both the CTB and the WJC. This paper argues, on the basis of the limited documentation that remains, that the ‘Search for the Scattered’ exhibition was a site of postwar knowledge production and transnational exchange that served a practical purpose: facilitating searching by addressing visitors as potential enquirers and reproducing the material culture of the search for visitors to view, read, handle, and understand. Like lists of names that were posted in DP camps, the exhibition can also be read as an early marker of the emotive power of name lists; in Leora Auslander’s words, commemorative markers of ‘a shared fate and common tragedy.’ Although tracing work has been infrequently a focus in the historiography of the Holocaust, the staging of this exhibition demonstrates early recognition of the significance of the WJC’s and CTB’s tracing work and the need for its wider acknowledgement, and suggests the reconstructive and restorative nature of the search itself.
{"title":"Exhibiting the Missing: The World Jewish Congress’ London Exhibition of 1947, ‘Search for the Scattered’","authors":"Christine Schmidt, Daniel P. Stone","doi":"10.1080/25785648.2023.2198857","DOIUrl":"https://doi.org/10.1080/25785648.2023.2198857","url":null,"abstract":"ABSTRACT In June 1947, the World Jewish Congress (WJC) launched an exhibition in London titled ‘Search for the Scattered.’ Some of the materials on display were loaned to the WJC by the United Nations Relief and Rehabilitation Administration (UNRRA)’s Central Tracing Bureau (CTB), the predecessor to the International Tracing Service (ITS). The exhibition presented a detailed accounting of the vital work of both the CTB and the WJC. This paper argues, on the basis of the limited documentation that remains, that the ‘Search for the Scattered’ exhibition was a site of postwar knowledge production and transnational exchange that served a practical purpose: facilitating searching by addressing visitors as potential enquirers and reproducing the material culture of the search for visitors to view, read, handle, and understand. Like lists of names that were posted in DP camps, the exhibition can also be read as an early marker of the emotive power of name lists; in Leora Auslander’s words, commemorative markers of ‘a shared fate and common tragedy.’ Although tracing work has been infrequently a focus in the historiography of the Holocaust, the staging of this exhibition demonstrates early recognition of the significance of the WJC’s and CTB’s tracing work and the need for its wider acknowledgement, and suggests the reconstructive and restorative nature of the search itself.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129958294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/25785648.2023.2206290
Anastasiia Simferovska
ABSTRACT This article explores the case of an alleged plagiarism of Holocaust staple artistic images by two different artists on opposite sides of the WWII frontlines. From 1941–1944, Zinovii Tolkachev (1904–1977), a Soviet artist on a military mission, and Henryk Beck (1896–1946), a Holocaust survivor and artist in hiding, had created at least two pairs of identical works. Tolkachev’s images, included in his 1944 series ‘Majdanek’ became known as the earliest artistic representation of the Holocaust in East European art. Identical images created by Henryk Beck three years prior to those of Tolkachev remained unbeknownst to the general public until recently. By providing a comparative analysis of Tolkachev’s and Beck’s personal biographies, war-time itineraries, and artistic language, this essay seeks to reenact the historical circumstances for a possible encounter between the two artists, to identify the genuine author, and to understand the underlying personal motifs for this plagiarism. Bringing my analysis beyond the images’ iconography and visual semantics, I conceptualize these works of art as complex Holocaust texts bridging personal testimony, material culture, military history, Holocaust resistance, cultural geography, and art studies. A story of a migrating Holocaust image, the case of Beck-Tolkachev challenges our knowledge of Polish, Ukrainian, Russian, and Jewish artists’ relations during the war and reveals methodological uncertainties in dealing with the artistic legacy of the Holocaust.
{"title":"A Plagiarized Testimony?: Authorship, Legacy, and the Holocaust Art of Henryk Beck and Zinovii Tolkachev","authors":"Anastasiia Simferovska","doi":"10.1080/25785648.2023.2206290","DOIUrl":"https://doi.org/10.1080/25785648.2023.2206290","url":null,"abstract":"ABSTRACT This article explores the case of an alleged plagiarism of Holocaust staple artistic images by two different artists on opposite sides of the WWII frontlines. From 1941–1944, Zinovii Tolkachev (1904–1977), a Soviet artist on a military mission, and Henryk Beck (1896–1946), a Holocaust survivor and artist in hiding, had created at least two pairs of identical works. Tolkachev’s images, included in his 1944 series ‘Majdanek’ became known as the earliest artistic representation of the Holocaust in East European art. Identical images created by Henryk Beck three years prior to those of Tolkachev remained unbeknownst to the general public until recently. By providing a comparative analysis of Tolkachev’s and Beck’s personal biographies, war-time itineraries, and artistic language, this essay seeks to reenact the historical circumstances for a possible encounter between the two artists, to identify the genuine author, and to understand the underlying personal motifs for this plagiarism. Bringing my analysis beyond the images’ iconography and visual semantics, I conceptualize these works of art as complex Holocaust texts bridging personal testimony, material culture, military history, Holocaust resistance, cultural geography, and art studies. A story of a migrating Holocaust image, the case of Beck-Tolkachev challenges our knowledge of Polish, Ukrainian, Russian, and Jewish artists’ relations during the war and reveals methodological uncertainties in dealing with the artistic legacy of the Holocaust.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128890851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/25785648.2023.2197759
Magdalena Waligórska, Y. Weizman, Alexander Friedman, I. Sorkina
ABSTRACT This article looks at the initial return of Holocaust survivors to six shtetls: Izbica and Biłgoraj in eastern Poland; Iŭje and Mir in western Belarus; and Berezne and Brody in western Ukraine. Focusing on the period between the liberation in 1944 and the end of this phase of the first returns in 1948, we investigate the strategies that the returning survivors adopted to keep safe, reclaim their property, and confront their implicated neighbors. Based on oral testimonies of the survivors, as well as archival materials, yizkor bikher (memorial books), and our own oral history interviews, the article offers a comparative perspective on the predicament of Holocaust survivors in the immediate aftermath of World War II, identifying life choices and strategies that were common on both sides of the Polish–Soviet border, and national specifics that uniquely shaped the experience of the Jewish returnees in postwar Poland, Belarus, and Ukraine.
{"title":"Holocaust Survivors Returning to their Hometowns in the Polish-Belarusian-Ukrainian Borderlands, 1944–1948","authors":"Magdalena Waligórska, Y. Weizman, Alexander Friedman, I. Sorkina","doi":"10.1080/25785648.2023.2197759","DOIUrl":"https://doi.org/10.1080/25785648.2023.2197759","url":null,"abstract":"ABSTRACT This article looks at the initial return of Holocaust survivors to six shtetls: Izbica and Biłgoraj in eastern Poland; Iŭje and Mir in western Belarus; and Berezne and Brody in western Ukraine. Focusing on the period between the liberation in 1944 and the end of this phase of the first returns in 1948, we investigate the strategies that the returning survivors adopted to keep safe, reclaim their property, and confront their implicated neighbors. Based on oral testimonies of the survivors, as well as archival materials, yizkor bikher (memorial books), and our own oral history interviews, the article offers a comparative perspective on the predicament of Holocaust survivors in the immediate aftermath of World War II, identifying life choices and strategies that were common on both sides of the Polish–Soviet border, and national specifics that uniquely shaped the experience of the Jewish returnees in postwar Poland, Belarus, and Ukraine.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128709047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-09DOI: 10.1080/25785648.2023.2168939
J. Grabowski, Shira Klein
ABSTRACT This essay uncovers the systematic, intentional distortion of Holocaust history on the English-language Wikipedia, the world’s largest encyclopedia. In the last decade, a group of committed Wikipedia editors have been promoting a skewed version of history on Wikipedia, one touted by right-wing Polish nationalists, which whitewashes the role of Polish society in the Holocaust and bolsters stereotypes about Jews. Due to this group’s zealous handiwork, Wikipedia’s articles on the Holocaust in Poland minimize Polish antisemitism, exaggerate the Poles’ role in saving Jews, insinuate that most Jews supported Communism and conspired with Communists to betray Poles (Żydokomuna or Judeo–Bolshevism), blame Jews for their own persecution, and inflate Jewish collaboration with the Nazis. To explain how distortionist editors have succeeded in imposing this narrative, despite the efforts of opposing editors to correct it, we employ an innovative methodology. We examine 25 public-facing Wikipedia articles and nearly 300 of Wikipedia’s back pages, including talk pages, noticeboards, and arbitration cases. We complement these with interviews of editors in the field and statistical data gleaned through Wikipedia’s tool suites. This essay contributes to the study of Holocaust memory, revealing the digital mechanisms by which ideological zeal, prejudice, and bias trump reason and historical accuracy. More broadly, we break new ground in the field of the digital humanities, modelling an in-depth examination of how Wikipedia editors negotiate and manufacture information for the rest of the world to consume.
{"title":"Wikipedia’s Intentional Distortion of the History of the Holocaust","authors":"J. Grabowski, Shira Klein","doi":"10.1080/25785648.2023.2168939","DOIUrl":"https://doi.org/10.1080/25785648.2023.2168939","url":null,"abstract":"ABSTRACT This essay uncovers the systematic, intentional distortion of Holocaust history on the English-language Wikipedia, the world’s largest encyclopedia. In the last decade, a group of committed Wikipedia editors have been promoting a skewed version of history on Wikipedia, one touted by right-wing Polish nationalists, which whitewashes the role of Polish society in the Holocaust and bolsters stereotypes about Jews. Due to this group’s zealous handiwork, Wikipedia’s articles on the Holocaust in Poland minimize Polish antisemitism, exaggerate the Poles’ role in saving Jews, insinuate that most Jews supported Communism and conspired with Communists to betray Poles (Żydokomuna or Judeo–Bolshevism), blame Jews for their own persecution, and inflate Jewish collaboration with the Nazis. To explain how distortionist editors have succeeded in imposing this narrative, despite the efforts of opposing editors to correct it, we employ an innovative methodology. We examine 25 public-facing Wikipedia articles and nearly 300 of Wikipedia’s back pages, including talk pages, noticeboards, and arbitration cases. We complement these with interviews of editors in the field and statistical data gleaned through Wikipedia’s tool suites. This essay contributes to the study of Holocaust memory, revealing the digital mechanisms by which ideological zeal, prejudice, and bias trump reason and historical accuracy. More broadly, we break new ground in the field of the digital humanities, modelling an in-depth examination of how Wikipedia editors negotiate and manufacture information for the rest of the world to consume.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116724139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/25785648.2022.2163803
Saul Friedländer, Dan David, E. Picciotto
Academic Affiliations − Graduate Institute of International and Development Studies, Geneva, Emeritus, 1964–1988 − The Hebrew University of Jerusalem, Department of International Relations and Department of History, 1969–1975 − Tel Aviv University, Department of History, Maxwell Cummings Chair in Modern European History, Emeritus, 1976–2001 − UCLA, Department of History, The 1939 Society Chair for Holocaust Studies, Distinguished Professor Emeritus, 1988–2011
{"title":"Saul Friedländer Curriculum Vitae and Bibliography","authors":"Saul Friedländer, Dan David, E. Picciotto","doi":"10.1080/25785648.2022.2163803","DOIUrl":"https://doi.org/10.1080/25785648.2022.2163803","url":null,"abstract":"Academic Affiliations − Graduate Institute of International and Development Studies, Geneva, Emeritus, 1964–1988 − The Hebrew University of Jerusalem, Department of International Relations and Department of History, 1969–1975 − Tel Aviv University, Department of History, Maxwell Cummings Chair in Modern European History, Emeritus, 1976–2001 − UCLA, Department of History, The 1939 Society Chair for Holocaust Studies, Distinguished Professor Emeritus, 1988–2011","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115210481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/25785648.2022.2153974
S. Subrahmanyam
ABSTRACT The long-term historical demography of India is a highly intractable subject, due to a lack of reliable statistical data. Nevertheless, in recent decades, it has become increasingly common in popular and journalistic circles (including Le Figaro and The New York Times) to resort to the term ‘genocide’ in order to claim that a very large number of people were systematically killed in the process of the Islamic conquest of the area (c. 1000–1800 CE). This short essay examines the fragile basis of this claim, as well as the ideological programs underlying it. Effectively, such an abuse cheapens the term and devalues historical situations when genocide really occurred, including the Shoah.
{"title":"Inventing a ‘Genocide’: The Political Abuses of a Powerful Concept in Contemporary India","authors":"S. Subrahmanyam","doi":"10.1080/25785648.2022.2153974","DOIUrl":"https://doi.org/10.1080/25785648.2022.2153974","url":null,"abstract":"ABSTRACT The long-term historical demography of India is a highly intractable subject, due to a lack of reliable statistical data. Nevertheless, in recent decades, it has become increasingly common in popular and journalistic circles (including Le Figaro and The New York Times) to resort to the term ‘genocide’ in order to claim that a very large number of people were systematically killed in the process of the Islamic conquest of the area (c. 1000–1800 CE). This short essay examines the fragile basis of this claim, as well as the ideological programs underlying it. Effectively, such an abuse cheapens the term and devalues historical situations when genocide really occurred, including the Shoah.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116997948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/25785648.2022.2153427
O. Bartov
ABSTRACT This essay offers some reflections on the links between Saul Friedländer’s notion of writing an integrated history of the Holocaust, as articulated and practiced in his magnum opus, Nazi Germany and the Jews, published between 1997 and 2007, and my own attempt to write a first-person account of the history and destruction of a single Galician town in Anatomy of a Genocide: The Life and Death of a Town Called Buczacz (2018). Both approaches, I suggest, are intimately linked to personal and vicarious biographical experiences, eloquently expressed in Friedländer’s acclaimed 1978 memoir, When Memory Comes, and forming the backbone of my recent study, Tales from the Borderlands: Making and Unmaking the Galician Past (2022), which applies a first-person approach to the history of the region in the centuries preceding the violence of the world wars. Such works, I argue, highlight the importance of understanding traumatic historical events both by way of conventional analyses of causes, events, and consequences, and as experienced by those subjected to history’s fury. In other words, this article stressed the need to view the event not only from above, but also from below; not just from the center, but also from the margins; not merely with detachment, but also with empathy; and not strictly from without the event, but also from within: that is, looking as directly as one can at the face of the Gorgon, as Primo Levi has written, through its reflection in the shield that protects us from self-annihilation.
{"title":"Between Integrated and First-Person History: Writing the Holocaust from Within","authors":"O. Bartov","doi":"10.1080/25785648.2022.2153427","DOIUrl":"https://doi.org/10.1080/25785648.2022.2153427","url":null,"abstract":"ABSTRACT This essay offers some reflections on the links between Saul Friedländer’s notion of writing an integrated history of the Holocaust, as articulated and practiced in his magnum opus, Nazi Germany and the Jews, published between 1997 and 2007, and my own attempt to write a first-person account of the history and destruction of a single Galician town in Anatomy of a Genocide: The Life and Death of a Town Called Buczacz (2018). Both approaches, I suggest, are intimately linked to personal and vicarious biographical experiences, eloquently expressed in Friedländer’s acclaimed 1978 memoir, When Memory Comes, and forming the backbone of my recent study, Tales from the Borderlands: Making and Unmaking the Galician Past (2022), which applies a first-person approach to the history of the region in the centuries preceding the violence of the world wars. Such works, I argue, highlight the importance of understanding traumatic historical events both by way of conventional analyses of causes, events, and consequences, and as experienced by those subjected to history’s fury. In other words, this article stressed the need to view the event not only from above, but also from below; not just from the center, but also from the margins; not merely with detachment, but also with empathy; and not strictly from without the event, but also from within: that is, looking as directly as one can at the face of the Gorgon, as Primo Levi has written, through its reflection in the shield that protects us from self-annihilation.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121651602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/25785648.2022.2159145
D. Porat
ABSTRACT The following essay titled ‘When Memory Comes, Where Memory Leads’ is included in the first section of the Festschrift collected in honor of Saul Friedländer upon his 90th birthday. It is an attempt to present his two autobiographic volumes, published in 1978 when he was 46 years old and in 2016 when he was 85 years old. Friedländer tells his life story in an open, candid manner, sharing with the reader a deep discrepancy between two seemingly contradicting levels. On one level, he reflects on the evolution of his academic work and the circumstances that gave birth to his best-known books after years of distancing himself from any possible connection to the history of the Holocaust and the Nazi regime. Eventually, he became a world-renowned scholar of these two vast issues, and his books were translated into a host of languages upon publication, with numerous prizes bestowed upon him. On the other level – the personal one – he mercilessly details his lifelong, deep-seated fear of being abandoned, the loss of his parents, wandering among Catholic institutions, constant changes of his first name as an obstacle on his way to building a solid identity, personal crises, and years-long treatment, operations, and medications. Alongside being a francophone and an atheist, the deep-down core of his identity, as he defines it, is being a Jew bearing the indelible mark left by the Holocaust. Despite this, the books he authored became milestones, especially his magnum opus, the two-volume Nazi Germany and the Jews, a masterpiece combining personal testimonies with documentation, depicting the full picture of German-occupied and controlled countries during World War II while offering insights that help understand the innermost feelings of Jews at the time.
{"title":"When Memory Comes, Where Memory Leads","authors":"D. Porat","doi":"10.1080/25785648.2022.2159145","DOIUrl":"https://doi.org/10.1080/25785648.2022.2159145","url":null,"abstract":"ABSTRACT The following essay titled ‘When Memory Comes, Where Memory Leads’ is included in the first section of the Festschrift collected in honor of Saul Friedländer upon his 90th birthday. It is an attempt to present his two autobiographic volumes, published in 1978 when he was 46 years old and in 2016 when he was 85 years old. Friedländer tells his life story in an open, candid manner, sharing with the reader a deep discrepancy between two seemingly contradicting levels. On one level, he reflects on the evolution of his academic work and the circumstances that gave birth to his best-known books after years of distancing himself from any possible connection to the history of the Holocaust and the Nazi regime. Eventually, he became a world-renowned scholar of these two vast issues, and his books were translated into a host of languages upon publication, with numerous prizes bestowed upon him. On the other level – the personal one – he mercilessly details his lifelong, deep-seated fear of being abandoned, the loss of his parents, wandering among Catholic institutions, constant changes of his first name as an obstacle on his way to building a solid identity, personal crises, and years-long treatment, operations, and medications. Alongside being a francophone and an atheist, the deep-down core of his identity, as he defines it, is being a Jew bearing the indelible mark left by the Holocaust. Despite this, the books he authored became milestones, especially his magnum opus, the two-volume Nazi Germany and the Jews, a masterpiece combining personal testimonies with documentation, depicting the full picture of German-occupied and controlled countries during World War II while offering insights that help understand the innermost feelings of Jews at the time.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133162716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/25785648.2022.2153428
P. Mendes-Flohr
ABSTRACT The title of the essay alludes to Friedländer’s Holocaust memoir of 1979. Lament – unabashedly lachrymose – evoked by the memory of Auschwitz resists and implicitly questions the politicization of Holocaust commemoration. Furthermore, lamentation defies both theological and secular explanations of the Holocaust as defiling and vitiating the depth of our grief, and paradoxically our hope-against-hope that the evil that continues to haunt the human family will be ultimately vanquished.
{"title":"When Memory Comes: Let the Tears Flow","authors":"P. Mendes-Flohr","doi":"10.1080/25785648.2022.2153428","DOIUrl":"https://doi.org/10.1080/25785648.2022.2153428","url":null,"abstract":"ABSTRACT The title of the essay alludes to Friedländer’s Holocaust memoir of 1979. Lament – unabashedly lachrymose – evoked by the memory of Auschwitz resists and implicitly questions the politicization of Holocaust commemoration. Furthermore, lamentation defies both theological and secular explanations of the Holocaust as defiling and vitiating the depth of our grief, and paradoxically our hope-against-hope that the evil that continues to haunt the human family will be ultimately vanquished.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123925015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/25785648.2022.2159649
M. Rovner
ABSTRACT Internationally acclaimed artist, Michal Rovner, writes about her works on the Holocaust and the influence of Saul Friedländer’s book The Years of Extermination on her work. Rovner’s Living Landscape is the opening exhibit at the Yad Vashem Holocaust History Museum, and it deals with the subject of the Jewish world that was lost. Rovner was faced with massive amounts of documentation, and she conveys her challenge to connect fragments of these materials into one coherent piece that represents the different dimensions of Jewish life, both religious and secular, and how it was spread over a vast physical geographical space, a world that is hard to comprehend. From this vantage point, Rovner looks at the immense challenges of the historian Saul Friedländer, standing in front of an overwhelming, seemingly impossible mission, trying to cover and document the years of war and extermination, being brave enough to face the horrors, the almost blinding subject, and forming the most important road map for humanity. Rovner’s acknowledgment of Friedländer’s significant decision to give weight and presence to the experience and voice of the individual is emphasized here. Rovner goes on to describe how Friedländer’s book The Years of Extermination accompanied her and drew her even deeper into the subject of the Holocaust while she was creating Traces of Life, an installation in Auschwitz dedicated to the Jewish children murdered in the Shoah.
国际知名艺术家迈克尔·罗夫纳(michael Rovner)讲述了她关于大屠杀的作品，以及索尔Friedländer的书《灭绝年代》对她作品的影响。罗夫纳的《生活景观》是亚德瓦谢姆大屠杀历史博物馆的开幕展览，它涉及的主题是失落的犹太世界。Rovner面对着大量的文件，她传达了她的挑战，将这些材料的碎片连接成一个连贯的片段，代表犹太人生活的不同维度，包括宗教和世俗，以及它是如何在一个巨大的自然地理空间中传播的，一个难以理解的世界。从这个有利的角度，罗夫纳审视了历史学家索尔Friedländer所面临的巨大挑战，站在一个势不可挡的，看似不可能完成的任务面前，试图掩盖和记录多年的战争和灭绝，勇敢地面对恐怖，这个几乎令人眼花缭乱的主题，并形成了人类最重要的路线图。Rovner对Friedländer给予个人经验和声音的重要性和存在的重要决定的认可在这里得到了强调。Rovner继续描述Friedländer的书《灭绝的岁月》如何陪伴着她，并在她创作《生命的痕迹》(Traces of Life)时，将她更深入地带入了大屠杀的主题，这是一件在奥斯威辛集中营献给在大屠杀中被谋杀的犹太儿童的装置作品。
{"title":"Reading Friedländer in Auschwitz","authors":"M. Rovner","doi":"10.1080/25785648.2022.2159649","DOIUrl":"https://doi.org/10.1080/25785648.2022.2159649","url":null,"abstract":"ABSTRACT Internationally acclaimed artist, Michal Rovner, writes about her works on the Holocaust and the influence of Saul Friedländer’s book The Years of Extermination on her work. Rovner’s Living Landscape is the opening exhibit at the Yad Vashem Holocaust History Museum, and it deals with the subject of the Jewish world that was lost. Rovner was faced with massive amounts of documentation, and she conveys her challenge to connect fragments of these materials into one coherent piece that represents the different dimensions of Jewish life, both religious and secular, and how it was spread over a vast physical geographical space, a world that is hard to comprehend. From this vantage point, Rovner looks at the immense challenges of the historian Saul Friedländer, standing in front of an overwhelming, seemingly impossible mission, trying to cover and document the years of war and extermination, being brave enough to face the horrors, the almost blinding subject, and forming the most important road map for humanity. Rovner’s acknowledgment of Friedländer’s significant decision to give weight and presence to the experience and voice of the individual is emphasized here. Rovner goes on to describe how Friedländer’s book The Years of Extermination accompanied her and drew her even deeper into the subject of the Holocaust while she was creating Traces of Life, an installation in Auschwitz dedicated to the Jewish children murdered in the Shoah.","PeriodicalId":422357,"journal":{"name":"The Journal of Holocaust Research","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129074904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：