“我是一台录音机。我是一个邮筒。:简·卡斯基的访谈

Dawn Skorczewski, D. Stone
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摘要

Jan Karski是波兰流亡政府的信使,他秘密进入华沙犹太区和伊兹比卡中转营,观察那里的苦难。他仔细记录了他的访问,周游世界,告诉各国领导人他所看到的。卡斯基是大屠杀最重要的目击者之一,他的经历被无数次记录在案。然而,到目前为止,还没有对Karski的访谈进行比较研究。卡斯基的英雄故事版本在多大程度上有所不同?这有关系吗?这个案例告诉我们关于大屠杀“名人见证”的什么?在本文中,我们追溯了一个众所周知的大屠杀故事的变化,以说明即使是一个非常完善的故事,分为三个完善的小故事,也会因收集叙述的存档机构和进行每次采访的采访者而发生重大变化。我们的调查显示了档案对口述证词和叙事历史的影响。这些影响总是口头证词设置的一部分,但在像Karski这样的知名受访者的情况下,他们在不同的背景下作证了很多次,他们尤其明显。在17年的时间里,在非常不同的机构和一般的环境中,Karski的证词说明了内部的异质性,这是他作为一个人、一个知识分子和一个证人的发展所不可或缺的,以及“外部”的异质性,这是由采访机构和采访者的方法塑造的。我们从大屠杀证词的“接触区”研究Karski采访的制作,以确定他的故事细节如何随着听众的变化而变化。尽管有人认为卡斯基的“表演”随着时间的推移变得越来越呆板,但我们发现恰恰相反:他变得更加活跃,自信,并且在他最后一次采访时,准备好完全扮演“名人证人”的角色。
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‘I Was a Tape Recorder. I Was a Mailing Box.’: Jan Karski’s Interviews
ABSTRACT Jan Karski, a courier for the Polish government in exile, secretly entered the Warsaw ghetto and transit camp Izbica to observe the suffering there. Making a careful record of his visit, he traveled the world to tell its leaders what he had witnessed. Karski is one of the most significant witnesses of the Holocaust, whose experiences have been documented innumerable times. To date, however, no comparative study exists of Karski’s interviews. To what extent do Karski’s versions of his heroic story differ? Does it matter? What does this case teach us about Holocaust ‘celebrity witnessing’? In this article, we trace shifts in a well-known Holocaust narrative to illustrate how even a very well-established story, divided into three well-established smaller stories, changes significantly depending on the archiving institution that collects the account and the interviewers who conduct each interview. Our investigation demonstrates the effects of the archive on oral testimony and narrative history. These effects are always part of the oral testimony setting, but in the case of well-known interviewees such as Karski, who have testified a number of times in different contexts, they are especially evident. Conducted over a seventeen-year period in very different institutional and generic settings, Karski’s testimonies illustrate both internal heterogeneity, integral to his own development as a person, an intellectual, and a witness, and ‘external’ heterogeneity, shaped by the interviewing institution and the interviewer’s methodology. We study the production of Karski’s interviews from ‘the contact zone’ of Holocaust testimony to identify how the details of his story shift in relation to his listener. Although it has been suggested that Karski’s ‘performances’ become more wooden over time, we find the opposite: that he becomes more animated, sure of himself, and, by the time of his last interview, ready to fully inhabit the role of the ‘celebrity witness.’
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