"Princess Marie Adelheid of Lippe-Biesterfeld was a rebellious young writer who became a fervent Nazi. Heinrich Vogeler was a well-regarded artist who was to join the German Communist Party. Ludwig Roselius was a successful businessman who had made a fortune from his invention of decaffeinated coffee. What was it about the revolutionary climate following World War I that induced three such different personalities to collaborate in the production of a slim volume of poetry -- entitled Gott in mir -- about the indwelling of the divine within the human? Lionel Gossman's study situates this poem in the ideological context that made the collaboration possible. The study also outlines the subsequent life of the Princess who, until her death in 1993, continued to support and celebrate the ideals and heroes of National Socialism"--Publisher's description.
Between 1918 and 1921 an estimated 100,000 Jewish people were killed, maimed or tortured in pogroms in Ukraine. Hundreds of Jewish communities were burned to the ground and hundreds of thousands of people were left homeless and destitute, including orphaned children. A number of groups were responsible for these brutal attacks, including the Volunteer Army, a faction of the Russian White Army. The Pogroms in Ukraine, 1918-19: Prelude to the Holocaust is a vivid and horrifying account of the atrocities committed by the Volunteer Army, written by Nokhem Shtif, an eminent Yiddish linguist and social activist who joined the relief efforts on behalf of the pogrom survivors in Kiev. Shtif’s testimony, published in 1923, was born from his encounters there and from the weighty archive of documentation amassed by the relief workers. This was one of the earliest efforts to systematically record human rights atrocities on a mass scale. Originally written in Yiddish and here skillfully translated and introduced by Maurice Wolfthal, The Pogroms in Ukraine, 1918-19 brings to light a terrible and historically neglected series of persecutions that foreshadowed the Holocaust by twenty years. It is essential reading for academics and students in the fields of human rights, Jewish studies, Russian and Soviet studies, and Ukraine studies. Maurice Wolfthal has also written the award-winning translation of Bernard Weinstein’s The Jewish Unions in America, also published by Open Book Publishers.
Newly arrived in New York in 1882 from Tsarist Russia, the sixteen-year-old Bernard Weinstein discovered an America in which unionism, socialism, and anarchism were very much in the air. He found a home in the tenements of New York and for the next fifty years he devoted his life to the struggles of fellow Jewish workers. The Jewish Unions in America blends memoir and history to chronicle this time. It describes how Weinstein led countless strikes, held the unions together in the face of retaliation from the bosses, investigated sweatshops and factories with the aid of reformers, and faced down schisms by various factions, including Anarchists and Communists. He co-founded the United Hebrew Trades and wrote speeches, articles and books advancing the cause of the labor movement. From the pages of this book emerges a vivid picture of workers’ organizations at the beginning of the twentieth century and a capitalist system that bred exploitation, poverty, and inequality. Although workers’ rights have made great progress in the decades since, Weinstein’s descriptions of workers with jobs pitted against those without, and American workers against workers abroad, still carry echoes today. The Jewish Unions in America is a testament to the struggles of working people a hundred years ago. But it is also a reminder that workers must still battle to live decent lives in the free market. For the first time, Maurice Wolfthal’s readable translation makes Weinstein’s Yiddish text available to English readers. It is essential reading for students and scholars of labor history, Jewish history, and the history of American immigration.
This is the first book that engages with the history of diagrams in physical, evolutionary, and genetic anthropology. Since their establishment as scientific tools for classification in the eighteenth century, diagrams have been used to determine but also to deny kinship between human groups. In nineteenth-century craniometry, they were omnipresent in attempts to standardize measurements on skulls for hierarchical categorization. In particular the ’human family tree’ was central for evolutionary understandings of human diversity, being used on both sides of debates about whether humans constitute different species well into the twentieth century. With recent advances in (ancient) DNA analyses, the tree diagram has become more contested than ever―does human relatedness take the shape of a network? Are human individual genomes mosaics made up of different ancestries? Sommer examines the epistemic and political role of these visual representations in the history of ‘race’ as an anthropological category. How do such diagrams relate to imperial and (post-)colonial practices and ideologies but also to liberal and humanist concerns? The Diagrammatics of 'Race' concentrates on Western projects from the late 1700s into the present to diagrammatically define humanity, subdividing and ordering it, including the concomitant endeavors to acquire representative samples―bones, blood, or DNA―from all over the world. Contributing to the ‘diagrammatic turn’ in the humanities and social sciences, it reveals connections between diagrams in anthropology and other visual traditions, including in religion, linguistics, biology, genealogy, breeding, and eugenics.
This is the first full-scale biography, in any language, of a towering figure in German and European Romanticism: August Wilhelm Schlegel whose life, 1767 to 1845, coincided with its inexorable rise. As poet, translator, critic and oriental scholar, Schlegel's extraordinarily diverse interests and writings left a vast intellectual legacy, making him a foundational figure in several branches of knowledge. He was one of the last thinkers in Europe able to practise as well as to theorise, and to attempt to comprehend the nature of culture without being forced to be a narrow specialist. With his brother Friedrich, for example, Schlegel edited the avant-garde Romantic periodical Athenaeum; and he produced with his wife Caroline a translation of Shakespeare, the first metrical version into any foreign language. Schlegel's Lectures on Dramatic Art and Literature were a defining force for Coleridge and for the French Romantics. But his interests extended to French, Italian, Spanish and Portuguese literature, as well to the Greek and Latin classics, and to Sanskrit. August Wilhelm Schlegel is the first attempt to engage with this totality, to combine an account of Schlegel’s life and times with a critical evaluation of his work and its influence. Through the study of one man's rich life, incorporating the most recent scholarship, theoretical approaches, and archival resources, while remaining easily accessible to all readers, Paulin has recovered the intellectual climate of Romanticism in Germany and traced its development into a still-potent international movement. The extraordinarily wide scope and variety of Schlegel's activities have hitherto acted as a barrier to literary scholars, even in Germany. In Roger Paulin, whose career has given him the knowledge and the experience to grapple with such an ambitious project, Schlegel has at last found a worthy exponent.
This collection represents a tool to broaden and deepen our geographical, institutional, and historical understanding of the term totalitarianism. Is totalitarianism only found in ‘other’ societies? How come, then, it emerged historically in ‘ours’ first? How come it developed in so many countries either in Western Europe (Italy, Germany, Portugal, and Spain) or under implicit Western forms of coercion (Latin America)? How do relations between individual(s), mass and the visual arts relate to totalitarian trends? These are among the questions this book asks about totalitarianism. The volume does not impose a ‘one size fits all’ interpretation, but opens new spaces for debate on the connection between the visual arts and mass-culture in totalitarian societies. From the Mediterranean to Scandinavia, from Western Europe to Latin America, from the fascism of the early 20th century to contemporary forms of totalitarian control, and from cinema to architecture, the chapters included in TotArt bring expertise, historical sensibility and political awareness to bear on this varied range of phenomena. This collection offers international contributions on visual, performing and plastic arts. The chapters range from examination of comics to study of YouTube videos and American newsreels, from Italian, Spanish, Portuguese, and Uruguayan cinemas to more contemporary American films and TV series, from painters and sculptors to the study of urban spaces.
Ukrainian-born Yankev Leshchinsky (1876-1966) was the leading scholarly and journalistic analyst of Eastern European Jewish socioeconomic and political life from the 1920s to the 1950s. Known as “the dean of Jewish sociologists” and “the father of Jewish demography,” Leshchinsky published a series of insightful and moving essays in Yiddish on Polish Jewry between 1927 and 1937. Despite heightened interest in interwar Jewish communities in Poland in recent years, these essays (like most of Leshchinsky’s works) have never been translated into English. The Last Years of Polish Jewry helps to rectify this situation by translating some of Leshchinsky’s key essays. A thoughtful Introduction by Robert Brym provides the context of the author’s life and work. The essays in this volume, based on years of research and first-hand observation, focus on the period 1935-37. The rise of militant Polish nationalism and the ensuing anti-Jewish boycotts and pogroms; the increasing exclusion of Jews from government employment and the universities; the destitution, hunger, suicide, and efforts to emigrate that characterized Jewish life; the psychological toll taken by mass uncertainty and hopelessness—all this falls within the author’s ambit. Few works in English have the range and depth of Leshchinsky’s essays on the last years of the three million Polish Jews who were to perish at the hand of the Nazi regime. This book will be of interest to researchers and students of Eastern European history and society, especially those with an interest in Eastern Europe’s Jewish communities on the brink of the Holocaust.
Towards the end of the nineteenth century, Germany's bourgeois elites became enthralled by the civilization of Renaissance Italy. As their own country entered a phase of critical socioeconomic changes, German historians and writers reinvented the Italian Renaissance as the onset of a heroic modernity: a glorious dawn that ushered in an age of secular individualism, imbued with ruthless vitality and a neo-pagan zest for beauty. The Italian Renaissance in the German Historical Imagination is the first comprehensive account of the debates that shaped the German idea of the Renaissance in the seven decades following Jacob Burckhardt's seminal study of 1860. Based on a wealth of archival material and enhanced by more than one hundred illustrations, it provides a new perspective on the historical thought of Imperial and Weimar Germany, and the formation of a concept that is still with us today.
This book examines Nazi Germany's expansion, population management and establishment of a racially stratified society within the Reichsgaue (Reich Districts) of Wartheland and Danzig-West Prussia in annexed Poland (1939-1945) through a colonial lens. The topic of the Holocaust has thus far dominated the scholarly debate on the relevance of colonialism for our understanding of the Nazi regime. However, as opposed to solely concentrating on violence to investigate whether the Holocaust can be located within wider colonial frameworks, Rachel O'Sullivan utilizes a broader approach by investigating other aspects, such as discourses and fantasies related to expansion, settlement, 'civilising missions' and Germanisation, which were also intrinsic to Nazi Germany's rule in Poland. The resettlement of the ethnic Germans-individuals of German descent who lived in Eastern Europe until the outbreak of the Second World War-forms a main focal point for this study's analysis and investigation of colonial comparisons. The ethnic German resettlement in the Reichsgaue laid the foundations for the establishment and enforcement of German society and culture, while simultaneously intensifying the efforts to control Poles and remove Jews. Through this case study, O'Sullivan explores Nazi Germany's dual usage of inclusionary policies, which attempted to culturally and linguistically integrate ethnic Germans and certain Poles into German society, and the contrasting exclusionary policies, which sought to rid annexed Poland of 'undesirable' population groups through segregation, deportation and murder. The book compares these policies - and the tactics used to implement them - to colonial and settler colonial methods of assimilation, subjugation and violence.
Agnon’s Story is the first complete psychoanalytic biography of the Nobel-Prize-winning Hebrew writer S.Y. Agnon. It investigates the hidden links between his stories and his biography. Agnon was deeply ambivalent about the most important emotional “objects” of his life, in particular his “father-teacher,” his ailing, depressive and symbiotic mother, his emotionally-fragile wife, whom he named after her and his adopted “home-land” of Israel. Yet he maintained an incredible emotional resiliency and ability to “sublimate” his emotional pain into works of art. This biography seeks to investigate the emotional character of his literary canon, his ambivalence to his family and the underlying narcissistic grandiosity of his famous “modesty.”
