Examines Levin's claims that the stage adaptation of Anne Frank's diary rejected a Jewish treatment of the work in favour of a play with a universal message. The text establishes the bias of the opposition to Levin and places the issue in the context of the wider cultural struggle of the 1950s.
This book explores portrayals of Anne Frank in American literature, where she is often invoked, if problematically, as a means of encouraging readers to think widely about persecution, genocide, and victimisation; often in relation to gender, ethnicity, and race. It shows how literary representations of Anne Frank in America over the past 50 years reflect the continued dominance of the American dramatic adaptations of Frank’s Diary in the 1950s, and argues that authors feel compelled to engage with the problematic elements of these adaptations and their iconic power. At the same time, though, literary representations of Frank are associated with the adaptations; critics often assume that these texts unquestioningly perpetuate the problems with the adaptations. This is not true. This book examines how American authors represent Frank in order to negotiate difficult questions relating to representation of the Holocaust in America, and in order to consider gender, coming of age, and forms of inequality in American culture in various historical moments; and of course, to consider the ways Frank herself is represented in America. This book argues that the most compelling representations of Frank in American literature are alert to their own limitations, and may caution against making Frank a universal symbol of goodness or setting up too easy identifications with her. It will be of great interest to researchers and students of Frank, the Holocaust in American fiction and culture, gender studies, life writing, young adult fiction, and ethics.
Most Holocaust scholars and survivors contend that the event was so catastrophic and unprecedented that it defies authentic representation in feature films. Yet it is precisely the extremity of 'the Final Solution' and the issues it raised that have fueled the cinematic imagination since the end of World War II. Recognizing that movies reach a greater audience than eyewitness, historical, or literary accounts, Lawrence Baron argues that they mirror changing public perceptions of the Holocaust over time and place. After tracing the evolution of the most commonly employed genres and themes in earlier Holocaust motion pictures, he focuses on how films from the l990s made the Holocaust relevant for contemporary audiences. While genres like biographical films and love stories about doomed Jewish-Gentile couples remained popular, they now cast Jews or non-Jewish victims like homosexuals in lead roles more often than was the case in the past. Baron attributes the recent proliferation of Holocaust comedies and children's movies to the search for more figurative and age-appropriate genres for conveying the significance of the Holocaust to generations born after it happened. He contends that thematic shifts to stories about neo-Nazis, rescuers, survivors, and their children constitute an expression of the continuing impact the Holocaust exerts on the present. The book concludes with a survey of recent films like Nowhere in Africa and The Pianist.
Since Henry Hudson landed on Manhattan in 1609, the peoples of the Netherlands and North America have been inextricably linked. Four Centuries of Dutch-American Relations, written by a team of nearly one hundred Dutch and American scholars, is the first book to offer a comprehensive history of this bilateral relationship. This volume covers the main paths of contacts, conflicts, and common plans, from the first exploratory contacts in the early seventeenth century to the intense and multifaceted exchanges in the early twenty-first. Based on the most up-to-date research, Four Centuries of Dutch-American Relations will be for years to come a valuable and much-used reference work for anyone interested in the history and culture of the United States and the Netherlands and the larger transatlantic interdependent framework in which they are embedded.
The Holocaust - the systematic attempted destruction of European Jewry and other 'threats' to the Third Reich from 1933 to 1945 - has been portrayed in fiction, film, memoirs, and poetry. Gene Plunka's study will add to this chronicle with an examination of the theatre of the Holocaust. Including thorough critical analyses of more than thirty plays, this book explores the seminal twentieth-century Holocaust dramas from the United States, Europe, and Israel. Biographical information about the playwrights, production histories of the plays, and pertinent historical information are provided, placing the plays in their historical and cultural contexts.
First published in 2001. This is the first substantial reference work in English on the various forms that constitute "life writing." As this term suggests, the Encyclopedia explores not only autobiography and biography proper, but also letters, diaries, memoirs, family histories, case histories, and other ways in which individual lives have been recorded and structured. It includes entries on genres and subgenres, national and regional traditions from around the world, and important auto-biographical writers, as well as articles on related areas such as oral history, anthropology, testimonies, and the representation of life stories in non-verbal art forms.
Review: "This encyclopedia offers an authoritative and comprehensive survey of the important writers and works that form the literature about the Holocaust and its consequences. The collection is alphabetically arranged and consists of high-quality biocritical essays on 309 writers who are first-, second-, and third-generation survivors or important thinkers and spokespersons on the Holocaust. An essential literary reference work, this publication is an important addition to the genre and a solid value for public and academic libraries."--"The Top 20 Reference Titles of the Year," American Libraries, May 2004
Charlotte Salomon's (1917-43) fantastical autobiography, Life? or Theater?, consists of 769 sequenced gouache paintings, through which the artist imagined the circumstances of the eight suicides in her family, all but one of them women. But Salomon's focus on suicide was not merely a familial idiosyncrasy. Nothing Happened argues that the social history of early-twentieth-century Germany has elided an important cultural and social phenomenon by not including the story of German Jewish women and suicide. This absence in social history mirrors an even larger gap in the intellectual history of deeply gendered suicide studies that have reproduced the notion of women's suicide as a rarity in history. Nothing Happened is a historiographic intervention that operates in conversation and in tension with contemporary theory about trauma and the reconstruction of emotion in history.
"A meticulous account of the fascinating, convoluted and sometimes ugly publishing history of the world's most famous diary. Karen Bartlett's book is all the more relevant at a time of untruths and fake news." – Caroline Moorehead, bestselling author of Village of Secrets: Defying the Nazis in Vichy France *** When Otto Frank unwrapped his daughter's diary with trembling hands and began to read the first pages, he discovered a side to Anne that was as much a revelation to him as it would be to the rest of the world. Little did Otto know he was about to create an icon recognised the world over for her bravery, sometimes brutal teenage honesty and determination to see beauty even where its light was most hidden. Nor did he realise that publication would spark a bitter battle that would embroil him in years of legal contest and eventually drive him to a nervous breakdown and a new life in Switzerland. Today, more than seventy-five years after Anne's death, the diary is at the centre of a multi-million-pound industry, with competing foundations, cultural critics and former friends and relatives fighting for the right to control it. In this insightful and wide-ranging account, Karen Bartlett tells the full story of The Diary of Anne Frank, the highly controversial part it played in twentieth-century history, and its fundamental role in shaping our understanding of the Holocaust. At the same time, she sheds new light on the life and character of Otto Frank, the complex, driven and deeply human figure who lived in the shadows of the terrible events that robbed him of his family, while he painstakingly crafted and controlled his daughter's story.
The Book of Deuteronomy depicts Moses addressing Israel before hisown death as he imagines that some day in the future children willask their parents to explain the meaning of the “testimonies, statutes,and judgments” (Deuteronomy 6:20) that are the foundation of thecovenant that binds Israel to its God. He thus frames in specificallyJewish terms the same set of haunting intimations that all thoughtfulpeople bring to the contemplation of their own lives—and, indeed,to life itself: the sense that being alive can or should mean morethan merely not being dead; that the contemplation of even the mostbanal features of daily life can yield rich insight about the nature ofexistence; and the feeling that life itself can be understood as a kindof scrim that might allow us to see through it to the secrets andmysteries that lie beyond.That set of hopeful suppositions inspires moderns just as stronglyand enticingly as it did the ancients. Yet, the specific question of whatit actually means for this or that part of life to mean anything at allother than what it overtly is (or, at least, appears to be) does not seemto have exerted anywhere near as siren a call on our ancient forebearsas it does on us moderns. Still, as we seek meaning in the world andin our lives, it behooves us to ponder the meaning of meaning as well.These twin notions—that life has meaning beyond what the2 Martin S. Cohencasual observer can see easily, and that the effort to uncover anddecipher that meaning can be profound enough to be spirituallytransformational—have animated the contributors to this volume, astheir work demonstrates just how meaningful the search for meaningcan be. Some have approached this from a spiritual point of view,grounding themselves in traditional biblical, talmudic, or mysticalsources. Others have framed their efforts in political terms or in deeplypersonal ones. And still others have attempted to consider the issuethrough the lens of modern philosophical inquiry. But regardless ofthe specific perspective of any individual author, all have in commonthe deep-seated conviction that life bears meaning…and that thatmeaning can best be discovered not by spending a lifetime hoping formomentary satori but rather by standing on the shoulders of fellowtravelers from earlier eras, and from that slightly elevated vantagepoint seeing just a bit further than they could or did. For almost allof our authors, then, the search for meaning is best understood as anon-going, intergenerational effort that links the seekers of all agesto each other through the contemplation of earlier efforts to mineprofundity and significance from the quarry of human life itself. It is,at best, a slow march forward!As readers will see from the Table of Contents, the ancient Bookof Kohelet has served several of our authors as the framework for theirinterpretive work. (Kohelet is the Hebrew name of the biblical bookalso known as Ecclesiastes, which name is derived from the Greektranslation of the work.) Others have chosen to grapple with thequestion Moses imagined future Jewish children eventually puttingto their parents as they wondered what the commandments actually“mean” in terms of the larger picture of Israelite culture and Jewishlife in our own day. Still others have addressed the search for meaningin life today by taking into account the question of human suffering,considering the issue both generally as a philosophical challenge and3 Prefacemore specifically with reference to the Shoah.Taken all together, the contributors to this volume have put forththe notion that life is ennobled, not trivialized, by the contemplativeeffort to seek meaning in the ebb and flow of life’s experiences…andparticularly in those life-experiences related to the service of God.And yet, for all they are united in that conviction, our authors in thisvolume of the Mesorah Matrix series are nonetheless a diverse group:older and younger women and men, North Americans and Israelisliving at home and abroad, seasoned scholars and newly-mintedrabbis and teachers. They are teachers and researchers trained indifferent schools of thought and affiliated with different movementsand institutions within the mosaic of Jewish life that characterizesthe House of Israel as it enters, by its own reckoning, the final quarterof the fifty-eighth century. They are a varied lot, our authors. But inmany ways, they are are, all of them, cut from the same cloth.Our authors work with the original sources and generally presentthem in their own translations. Citations of “NJPS” refer to thecomplete translation of Scripture first published under the titleTanakh: The Holy Scriptures by the Jewish Publication Society inPhiladelphia in 1985. In this volume, as in all books in the MesorahMatrix series, the four-letter name of God is generally representedby “the Eternal” or “Eternal God.” Authors who are specificallydiscussing the actual four-letter name, on the other hand, mayoccasionally depart from this usage in order to more clearly makethe point of their argument. .I would like to take this opportunity to acknowledge the othersenior editors of the Mesorah Matrix series: David Birnbaum andRabbi Benjamin Blech, as well as Rabbi Saul J. Berman, our associateeditor. They and our able staff have all supported me as I’ve laboredto bring this volume to fruition and I am grateful to them all.As always, I must also express my gratitude to the men and4 Martin S. Cohenwomen, and particularly to the lay leadership, of the synagogueI serve as rabbi: the Shelter Rock Jewish Center in Roslyn, NewYork. Possessed of the unwavering conviction that their rabbi’s bookprojects are part and parcel of his service to them—and, throughthem, to the larger community of those interested in learning aboutJudaism through the medium of the well-written word—they areremarkably supportive of my literary efforts as author and editor. Iam in their debt, and I am therefore very pleased to acknowledgethat debt formally here and wherever I publish my own work or thework of others.