This book analyzes sensationalized Nazi and Holocaust representations in Anglo-American cultural and political discourses. Recognizing that this history is increasingly removed from contemporary life, it explains how irreverent representations can help rejuvenate the story for successive generations of new learners. Surveying seventy-five-years of transatlantic activities, the work erects counterposing categorizes of “constructive and destructive memorializing,” providing scholars with a new framework for elucidating both this history and its historicization.
"No subject poses a greater challenge to the moral imagination than the Holocaust, nor raises more complicated questions than its memorialization and its pedagogy. To clarify these tricky issues, Jeffrey Demsky brings the resources of an enduring and serious engagement, a tenacious appetite for the detritus of popular culture, and a flair for crisp and lively prose. Demsky's willingness to stalk the terrain of the most problematic expressions of Holocaust imagery is scrupulous and admirable". -Stephen J. Whitfield, Professor of American Studies (Emeritus), Brandeis University, Waltham, Massachusetts, USA "Jeffrey Demsky's Nazi and Holocaust Representations in Anglo-American Popular Culture makes a vital contribution to Holocaust Studies. Beginning with the 1945 Nuremberg Trials and concluding with the emergence of potentially incendiary modes of representation in the opening decades of the 21st century, Demsky makes convincing claims for the complex ways in which even the most problematic pop cultural discourses reframe and extend Holocaust memory". -Victoria Aarons, O.R. & Eva Mitchell Distinguished Professor of Literature, Trinity University, San Antonio, Texas, USA This book analyzes sensationalized Nazi and Holocaust representations in Anglo-American cultural and political discourses. Recognizing that this history is increasingly removed from contemporary life, it explains how irreverent representations can help rejuvenate the story for successive generations of new learners. Surveying seventy-five-years of transatlantic activities, the work erects counterposing categorizes of "constructive and destructive memorializing," providing scholars with a new framework for elucidating both this history and its historicization. Jeffrey Demsky is an Associate Professor of Political Science at San Bernardino Valley College (USA). His scholarship exists at the intersection of post-World War II western democratic history and Holocaust memorialization.
Holocaust vs. Popular Culture debates and deconstructs the binary responses to the representation of the Holocaust in European and non-European forms of Popular Culture. The binary is defined in terms of “incompatibility” between the Holocaust and Popular Culture on the one hand and the “universalization” of the Holocaust memory through Popular Culture on the other. The book does emphasize the anti-representation argument. Nevertheless, the authors make a case for a productive understanding of “Holocaust Popular Culture” as contributing to the expansion of Holocaust studies as well as cultural studies in the transnational context. The book theorizes Popular Culture in broad terms and highlights the diversity of Holocaust Popular Culture mainly but not exclusively produced in the twenty-first century. This interdisciplinary collection covers a wide variety of Popular Culture genres including language, literature, films, television shows, soap operas, music, dance, social media, advertisements, comics, graphic novels, videogames, and museums. It studies the (mis)representation of the Holocaust trauma, not only across genres but also across nations (Western and Asian) and generations (from testimonial remembrance to post-memory). This book will be of interest to students and scholars from a wide range of disciplines and subjects, including Popular Culture, Holocaust studies, cultural studies, genocide studies, postcolonial and transnational studies, media and film studies, visual culture, games studies, race and ethnicity studies, memory studies, and Jewish studies.
This collection brings together a range of perspectives on multimodal communication in intercultural interaction, bridging cognitive, social, and functional approaches towards promoting cross-disciplinary dialogues and taking research at the intersections of these fields into new directions. The volume assembles conversationalist, socially oriented, cognitive, and sensory approaches in considering culture as a dynamic construct, co-constituted and (re)negotiated among participants in interaction and filtering it through a multimodal lens, drawing on a range of examples, such as educational settings or online video platforms. Each chapter offers a unique perspective on "culture" and "intercultural," while also situating their own definitions of these labels against those of the other chapters. Taken together, the chapters form a fluid conversation on the nature of intercultural encounters in today’s globalizsd world, as digital environments intertwine with the physical mobility of people, encouraging researchers across these fields to adopt a more holistic multimodal perspective to approach intercultural interaction. This book will be of interest to students and scholars in intercultural communication, multimodality, sociolinguistics, cognitive and interactional linguistics, and semiotics.
Memory, while seemingly a thing of the past, has much to reveal in the present. With its focus on memory, War and Remembrance provides new viewpoints in the field of war representation. Bringing an interdisciplinary approach to discussions of the cultural memory of war, the collection focuses on narratives, either fictional or testimonial, that challenge ideological discourses of war. The acts of remembrance and of waging war are constantly evolving. A range of case studies – analyzing representations of war in art, film, museums, and literature from Nigeria, Australia, Sri Lanka, Canada, and beyond – questions our current approaches to memory studies while offering reinterpretations of established narratives. Throughout, a commitment to Indigenous perspectives, to examining the ongoing legacy of colonialism, and to a continued reckoning with the Second World War foregrounds what is often forgotten in the writing of a single, official history. War and Remembrance invites readers to cast a reflexive look at wars and conflicts past – some of them forgotten, others still vividly commemorated – the better to understand the cultural, political, and social stake of memory as a source of conflict and exchange, of resistance and opposition, and of negotiation and reconciliation.
Presenting the Middle East peace process as an extension of US foreign policy, this book argues that ongoing interventions justified in the name of ‘peace’ sustain and reproduce hegemonic power. With an interdisciplinary approach, this book questions the conceptualisation and general understanding of the peace process. The author reinterprets regional conflict as an opportunity for the US through which it seeks to achieve regional dominance and control. Engaging with the different stages and components of the peace process, he considers economic, military and political factors which both changed over time and remained constant. This book covers the US role of mediation in the region during the Cold War, the history and present state of US-Israel relations, Syria’s reputation as an opponent of ‘peace’ compared with its participation in peace negotiations, and the Palestinian-Israel conflict with attention to US involvement. The End of the Middle East Peace Process will primarily be of interest to those hoping to gain an improved understanding of key issues, concepts and themes relating to the Arab-Israeli conflict and US intervention in the Middle East. It will also be of value to those with an interest in the practicalities of peacebuilding.
Laughter After will appeal to a number of audiences—from students and scholars of Jewish and Holocaust studies to academics and general readers with an interest in media and performance studies.
Taking early 21st century Britain as a case study, Rethinking Holocaust Film Reception: A British Case Study presents an intervention into the scholarship on the representation of the Holocaust on film. Based on a study of audience responses to select films, Stefanie Rauch demonstrates that the reception of films about the Holocaust is a complex process that we cannot understand through textual analysis alone, but by also paying attention to individual reception processes. This book restores the agency of viewers and takes seriously their diverse responses to representations of the Holocaust. It demonstrates that viewers’ interpretative resources play an important role in film reception. Viewers regard Holocaust films as a separate genre that they encounter with a set of expectations. The author highlights the implications of Britain’s lessons-focused approach to Holocaust education and commemoration and addresses debates around the supposed globalization of Holocaust memory by unpacking the peculiar Britishness of viewers’ responses to films about the Holocaust. A sense of emotional connection or its absence to the Holocaust and its memory speaks to divisions along ethnic, generational, and national lines.
