Focusing on the German effort to rehabilitate its international reputation in the wake of the Holocaust, this study examines German-American relations from the 1970s through 1990.
Lauren Yanofsky doesn't want to be Jewish anymore. Her father, a noted Holocaust historian, keeps giving her Holocaust memoirs to read, and her mother doesn't understand why Lauren hates the idea of Jewish youth camps and family vacations to Holocaust memorials. But when Lauren sees some of her friends, including Jesse, a cute boy she likes, playing Nazi war games, she is faced with a terrible choice: betray her friends or betray her heritage. Told with engaging humor, Lauren Yanofsky Hates the Holocaust isn't simply about making tough moral choices. It's about a smart, funny, passionate girl caught up in the turmoil of bad-hair days, family friction, changing friendships, love, and, yes, the Holocaust.
The Holocaust Short Story is the only book devoted entirely to representations of the Holocaust in the short story genre. The book highlights how the explosiveness of the moment captured in each short story is more immediate and more intense, and therefore recreates horrifying emotional reactions for the reader. The main themes confronted in the book deal with the collapse of human relationships, the collapse of the home, and the dying of time in the monotony and angst of surrounding death chambers. The book thoroughly introduces the genres of both the short story and Holocaust writing, explaining the key features and theories in the area. Each chapter then looks at the stories in detail, including work by Ida Fink, Tadeusz Borowski, Rokhl Korn, Frume Halpern, and Cynthia Ozick. This book is essential reading for anyone working on Holocaust literature, trauma studies, Jewish studies, Jewish literature, and the short story genre.
Honorable Mention, 2020 Best First Book Award presented by the Society for Cinema and Media Studies Claude Lanzmann's 1985 magnum opus, Shoah, is a canonical documentary on the Holocaust—and in film history. Over the course of twelve years, Lanzmann gathered 230 hours of location filming and interviews with survivors, witnesses, and perpetrators, which he condensed into a 91⁄2-hour film. The unused footage was scattered and inaccessible for years before it was restored and digitized by the United States Holocaust Memorial Museum. In An Archive of the Catastrophe, Jennifer Cazenave presents the first comprehensive study of this collection. She argues that the outtakes pose a major challenge to the representational and theoretical paradigms produced by the documentary, while offering new meanings of Shoah and of Holocaust testimony writ large. They lend fresh insight into issues raised by the film, including questions of resistance, rescue, refugees, and, above all, gender—Lanzmann's twenty hours of interviews with women make up a mere ten minutes of the finished documentary. As a rare instance of outtakes preserved during the predigital era of cinema, this unused footage challenges us to establish a new critical framework for understanding how documentaries are constructed and reshapes the way we view this key Holocaust film. To view the book trailer on YouTube, please go to: https://www.youtube.com/watch?v=bBjUWyAn55g
“Masterful...An indispensable warning for our own time.” —Samuel Moyn “Magisterial...Covers this dark history with insight and skill...A major intervention into our understanding of 20th-century Europe and the lessons we ought to take away from its history.” —The Nation For much of the last century, Europe was haunted by a threat of its own imagining: Judeo-Bolshevism. The belief that Communism was a Jewish plot to destroy the nations of Europe took hold during the Russian Revolution and quickly spread. During World War II, fears of a Judeo-Bolshevik conspiracy were fanned by the fascists and sparked a genocide. But the myth did not die with the end of Nazi Germany. A Specter Haunting Europe shows that this paranoid fantasy persists today in the toxic politics of revitalized right-wing nationalism. “It is both salutary and depressing to be reminded of how enduring the trope of an exploitative global Jewish conspiracy against pure, humble, and selfless nationalists really is...A century after the end of the first world war, we have, it seems, learned very little.” —Mark Mazower, Financial Times “From the start, the fantasy held that an alien element—the Jews—aimed to subvert the cultural values and national identities of Western societies...The writers, politicians, and shills whose poisonous ideas he exhumes have many contemporary admirers.” —Robert Legvold, Foreign Affairs
While fear and anxiety have historically been associated with authoritarian regimes, Frank Biess demonstrates the ambivalent role of these emotions in the democratization of West Germany, where fears and anxieties about the country's catastrophic past and uncertain future both undermined democracy and stabilized the emerging Federal Republic.
This book explores the diverse range of practical and theoretical challenges and possibilities that digital technologies and platforms pose for Holocaust memory, education and research. From social media to virtual reality, 360-degree imaging to machine learning, there can be no doubt that digital media penetrate practice in these fields. As the Holocaust moves beyond living memory towards solely mediated memory, it is imperative that we pay critical attention to the way digital technologies are shaping public memory and education and research. Bringing together the voices of heritage and educational professionals, and academics from the arts and humanities and the social sciences, this interdisciplinary collection explores the practicalities of creating digital Holocaust projects, the educational value of such initiatives, and considers the extent to which digital technologies change the way we remember, learn about and research the Holocaust, thinking through issues such as ethics, embodiment, agency, community, and immersion. At its core, this volume interrogates the extent to which digital interventions in these fields mark an epochal shift in Holocaust memory, education and research, or whether they continue to be shaped by long-standing debates and guidelines developed in the broadcast era.
Front cover -- Copyright -- Contents -- Introduction -- 1 "Tomorrow the World"--2 "Germany Belongs in the Western World"--3 "Your Post on the Frontier" -- 4 "The Anti-German Wave" -- 5 "We Refuse to Be'Good Germans' " -- 6 "The Hero Is Us" -- Conclusion -- Acknowledgments -- Notes -- Bibliography -- Index
Marcia, a guidance counselor helping pregnant teens, leads the perfect life. Her boyfriend won the approval of her Holocaust-survivor family. However, beneath the shiny surface lurks another reality.
A provocative look at the relationship between the far right and the American conservative movement from the 1930s to the end of the Cold War Since 2016, many commentators have expressed shock at the so-called rise of the far right in America at the expense of "responsible" and "respectable" conservatism. But is the far right an aberration in conservative politics? As David Austin Walsh shows, the mainstream conservative movement and the far right have been intertwined for nearly a century, and both were born out of a "right-wing popular front" linking racists, anti-Semites, and fascists in a broad coalition opposed to socialism, communism, and New Deal liberalism. Far from being outliers in the broader conservative coalition, these extremist elements were foundational in the creation of a right‑wing political culture centered around shared political enemies, a penchant for conspiracy theories, and a desire to restore America to its "authentic" pre-New Deal values. The popular front included Merwin Hart, a New York business lobbyist active in far-right circles who became a lobbyist for the Franco regime in Spain, the original "America First" movement, the movement to prevent Jewish immigration to the United States after World War II, the John Birch Society, the American Nazi Party, the George Wallace presidential campaign of 1968, the fight over the National Endowment for the Humanities, and Pat Buchanan's support of Nazi war criminal John Demjanjuk during the Reagan Administration. And connecting this disparate coalition was William F. Buckley, Jr., the editor of National Review and America's leading "responsible conservative."