The Holocaust and the birth of Israel in British,Swedish and Finnish press discourse, 1947–1948

This article examines the way in which the Holocaust was linked to the process of the birth of Israel between 1947 and 1948 in the mainstream British, Swedish and Finnish press. By utilising a framework of comparative cultural history, this essay seeks to understand why different countries responded to the suffering of the Jews during the Second World War in such diverse ways. This essay also seeks to question the popular belief that the two events were intimately linked, and that the link was recognised in a straightforward manner. Hence, the study argues that although the press coverage sometimes managed to establish the connection between the two events, more typically the news was domesticated. In other words, the news had a transcendental and meta-historical character, working as an extension to each country's own self-understanding of Jews, Zionism and the Holocaust.     

SUCCESS,TRUTH, AND MODERNISM IN HOLOCAUST HISTORIOGRAPHY: READING SAUL FRIEDLÄNDER THIRTY‐FIVE YEARS AFTER THE PUBLICATION OF METAHISTORY1

This essay provides a close reading of Saul Friedländer's exceptionally successful comprehensive history of the Holocaust from the theoretical perspective of Hayden White's philosophy of history. Friedländer's The Years of Extermination has been celebrated as the first synthetic history of the “Final Solution” that acknowledges the experiences of the victims of Nazi genocide. But Friedländer has not simply added the voices of the victims to a conventional historical account of the Holocaust. Instead, by displacing linear notions of time and space and subtly deconstructing conventional concepts of causality, he has invented a new type of historical prose that performs rather than analyzes the victims' point of view. Friedländer's innovation has particularly radical consequences for the construction of historical explanations. On the one hand, Friedländer explicitly argues that anti‐Semitism was the single most important cause of the Holocaust. On the other hand, his transnational, multifaceted history of the “Final Solution” provides a wealth of data that escapes the conceptual grasp of his explicit model of causation. Friedländer chooses this radically self‐reflexive strategy of historical representation to impress on the reader the existential sense of disbelief with which the victims experienced Nazi persecution. To Friedländer, that sense of disbelief constitutes the most appropriate ethical response to the Holocaust. Thus the narratological analysis of The Years of Extermination reveals that the exceptional quality of the book, as well as presumably its success, is the result of an extraordinarily creative act of narrative imagination. Or, put into terms developed by White, who shares Friedländer's appreciation of modernist forms of writing, The Years of Extermination is the first modernist history of the Holocaust that captures, through literary figuration, an important and long neglected reality of the “Final Solution.”     

Symposium on Pope Pius XII and the Holocaust in Italy

The articles published in this section of JMIS were given at a symposium held early in 2001 on the role of Pope Pius XII in the rescue of Jews in Italy during the Holocaust. The discussion focuses on recent books on the subject by Susan Zuccotti and Ronald J. Rychlak. In the articles published here the authors and the panelists discuss the historical record (sources, facts and interpretations) and the nature of the obligations of the Papacy and the Catholic Church in the circumstances of the Second World War and the German occupation of Italy after the fall of Fascism.     

THE HOLOCAUST IS OVER?

Alon Confino has issued a desideratum to other historians that they should bring questions and insights from cultural history to bear on the study of the Holocaust. Taking the work of Saul Friedländer as his point of departure, Confino nonetheless sets out on a path different from Friedländer's. He turns away from the goal of “integrated history” and instead seeks to investigate the realm of German culture, understood as encompassing much more than just Nazi ideology. By analyzing how the Holocaust has come to be perceived as unprecedented, as a rupture in human history, and furthermore by treating Jewish victims' sense of disbelief as an artifact of the past, one that has continued to inform unduly the historical understanding of the Holocaust up to the present day, historians will be able to account anew for what made the persecution and extermination of Jews imaginable and thus possible. With Confino's approach, a major historiographical question resurfaces, however: namely, what place an analysis of non‐Germans should occupy in the history of the Holocaust, and in particular what place should be accorded to Jewish voices? This essay argues that we cannot make sense of why Germans supported and carried out the Holocaust without also considering Jewish contemporaneous perspectives and imaginings.     

WHY PHOTOGRAPHY MATTERS TO THE THEORY OF HISTORY

Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell us about the Shoah, Didi-Huberman shows that they can offer important insights into the difficulties and the possibilities of apprehending some aspects of the past.
Fried shows that contemporary photographic work has taken on the ambitions of high modernism by accepting the challenge of "to-be-seenness." Photography as a "historical practice" does not escape from the difficulties of evidence and of the "constructed" nature of historical understanding; photography functions neither as a pure trace of the past, nor as a mere invitation to spectacle.     

Life Is Beautiful : four riddles,three answers

Four riddles occur in the dialogue of Roberto Benigni's 1998 film, La vita è bella ( Life Is Beautiful ). Solutions to the first three are provided almost as soon as they are uttered, but a fourth riddle, spoken at the film's climax, remains unanswered. Exploring possible meanings of the fourth riddle illuminates the film's meaning. Although the riddles may seem to be relatively unimportant bantering between two of the major characters (Guido, the Italian Jew, and Captain Lessing, a German Nazi officer and physician), they are critical to the unfolding of the plot and significant in the portrayal of the two characters who employ them. Most importantly, they act as condensed expressions of the film's themes, complementing and giving deep texture to its narrative expression of the same ideas. Through the riddles and other folk and children's genres - such as game and folktale - La vita è bella asserts not only that art helps us survive, but that the humblest art is the daily weapon against the most formidable attacks on the human spirit.     

Affective spaces,sensuous engagements: in quest of a synaesthetic approach to ‘dark memorials’

Although relatively recent, the concepts of ‘dark tourism’, ‘difficult heritage tourism’ and ‘Holocaust tourism’ have already been approached from historical, cultural, sociological, anthropological and managerial perspectives. The article offers a philosophical inquiry of ‘dark attractions’, inspired by Deleuze and Guattari’s work on aesthetics, with an aim of divorcing the term ‘dark tourism’ from its typically negative valance. It makes use of a synaesthetic understanding of experience and relies on an enlarged idea of perception conceptualised as a dynamic continuity between bodily/affective and intellectual cognitive faculties that are activated in the vibrant interaction with the architectural landscape of the ‘dark site’. The emphasis on immediate perception necessarily implies formulation of a concept of ‘affective aesthetics’ which refers to bodily process, a vital movement that triggers the subject’s passionate becoming-other, where ‘becoming’ stands for an intensive flow of affective (micro)perceptions. Such an approach sheds a different light on ‘Holocaust tourism’ and the ‘pleasures’ associated therewith, especially because it provides an explanation to a situation (common at many Holocaust memorials) when visitors are pleased, or positively affected, with representation/image/expression of sadness/atrocity. The synaesthetic operations of ‘dark attractions’ will be briefly illustrated with an example of the Holocaust memory site in Be??ec, Poland.     

‘Dissidence’ in Holocaust Memorials in Literature: Jáchym Topol’s The Devil’s Workshop (Chladnou zemí)

Abstract

Established Czech precedent has made the town of Terezín an important literary symbol of Holocaust memory, used in the 1960s to construct myths of Czech innocent victimhood. Jáchym Topol’s novel, The Devil’s Workshop (2009), returns to the theme with great originality, avoiding such myths by using a compromised first-person Czech narrator, who is involved in setting up ‘dissident’ commemorative museums at Terezín and in Belarus. These draw on documented accounts of real atrocities for their authenticity. Competitive in national terms, commercialized, and ethically compromised, they are finally, arguably inevitably, silenced. Topol’s ‘truth-telling’ is discussed in the context of Theodor W. Adorno’s criticism of committed Holocaust literature, Benedict Anderson’s interpretation of museums as commercialized constructions of nationality, and Timothy Snyder’s historical account of the killings in Eastern Europe; the ambiguous pessimism of his novel stands up well to criticism and, it is argued, has lessons even for historians of the Holocaust.     

Surviving the Holocaust: Emil Utitz’s ‘As-If Technique’

ABSTRACT

The aim of this article is to present the work of Emil Utitz, the Czech-German Jewish philosopher and psychologist, who was also a survivor of Theresienstadt. The power of the imagination and its intensification by the daily reality of the concentration camp was central to Utitz’s conception of life, which reveals the influence of the then popular ideas of Hans Vaihinger, and especially his theory of the importance of the human ability to act as though something was true. More specifically, the article reconstructs and contextualizes Utitz’s thought along two axes: the Kantian philosophical tradition, and Viktor Frankl’s and Hans Günther Adler’s conceptions of the Holocaust experience.