Children of Dutch Nazi collaborators

This article looks into what happened to the children of Dutch Nazi collaborators after the liberation of the Netherlands in May 1945. The author first outlines the historical context in which these children lived and the manner in which they recounted and recorded their memories much later. In combination with new archival research on social-welfare policy and ‘re-education’ of former National Socialist youth, this puts the discourse that dominated the Dutch debate, that is, the discourse of the ‘innocent child’ harshly punished by society, in a different light. The framework of the innocent child being punished by a cruel society obscured our view of experiences that did not fit this mould. Furthermore, it made the values and norms that were current during the reconstruction period disappear from the picture: the bad memories of children of collaborators partly originate in policy that was considered normal in those days. This, however, should not obscure the impact of the vulnerable social position which these children experienced after the war.     

Act and idea in the Nazi Genocide

The opening reference to masturbation in Jonathan Swift’s Gulliver’s Travels (1726) provides evidence of not only an embedded cultural commentary on the masturbatory tendencies of modernity but also specific contempt for the novel as a masturbatory literary form. The same point is made elsewhere in Swift’s poetry and his parody of the erotic scene of female masturbation that continued to be a staple of amatory fiction. Yet the same body of writing reveals Swift’s recognition that he too was guilty of producing literary fuel for masturbation, as were the Ancients themselves whose works continued to invite a sexualized response from readers. As such, Swift reveals an ironic point of agreement with female authors of amatory fiction such as Delarivier Manley and Eliza Haywood, who represent instances of the poetry of the Ancients being put precisely to this use, providing tacit excuse for their own erotically charged writing. In his later notorious diagnosis of Swift as a chronic masturbator literary physician Thomas Beddoes is arguably responding at least in part to Swift’s own sense of entrapment within masturbatory modernity.     

Nazi Leaders,Members, and Voters

ALBERT HOURANI. The Emergence of the Modern Middle East. Berkeley: University of California Press, 1981. Pp. 263. $30 (US); ELIE KEDOURIE, Islam in the Modern World and Other Studies. New York: Holt, Rinehart and Winston, 1980. Pp. 332. $17.95 (US).     

Alfred Rosenberg. Nazi theoriest of the holocaust

The centuries-long evolution of the iconography of Niccolò Machiavelli is itself a chapter in the history of Machiavelli’s reputation. As intuited by one of his foremost biographers, Oreste Tommasini, portraits of the Florentine are probably best considered as visual expressions of philosophical and literary anti-Machiavellism, which exercised, in their own way, a negative influence on the reception and interpretations of his writings. The Machiavelli who we have seen represented over the course of history in paintings, prints, and engravings may be nothing more, therefore, than a Machiavellian persona: the visual translation of a conventional and stereotypical interpretation, which considers the author of The Prince to be the champion of a politics based on duplicity, cunning, deceit, and guile. This essay examines the origins and dissemination over the centuries of ‘La Testina’, one of the most celebrated and widely publicized portraits of Machiavelli. The conclusion, after comparing all of the extant variants of this portrait, is that it is an unfaithful and invented graphic representation of Machiavelli, whose fortunes in publishing and in the collective imagination have kept pace with the spread of a demonizing interpretation of Machiavelli, the master of evil, well-rooted even today in mass popular culture.