Not Just a 'Dating Game': Origins of the Holocaust at Auschwitz in the Light of Witness Testimony

Historians now view Auschwitz as marginal to the origins ofthe Holocaust. In a surprising volte-face from a generationago, Historians now accept what can be called a ‘transformationnarrative’. That is, most accounts cast Auschwitz, notas first mover, but as late comer to the destruction of theEuropean Jews. This fits a much larger historiographical movementattributing the Final Solution to a local initiative withina disorganized, even ‘debureaucratized’ German state.Once again, this departs completely from, say, Raul Hilbergor Hannah Arendt, who defined the Holocaust as a crime uniqueto modern, organized society. Thus, in the case of Auschwitz,what some have come to ridicule as the ‘dating game’—thealmost obsessive attempt to identify a precise microchronologyof the final solution—has larger implications. It cutsto the heart of whether we see the Holocaust as a crime of amodern, dynamic industrial state or as a haphazard initiative. This article uses testimony from the three most relevant professionalgroups that built the genocidal factories of Auschwitz to reassessthe current consensus. Contrary to the ‘transformationnarrative’, little evidence supports the argument thatthe SS and its independent contractors were somehow divorcedfrom efforts to mechanize genocide from Minsk to Lublin to Oswiecimin the autumn of 1941. The testimony as a whole—drawnfrom civilian managers, SS architects, and prisoner-engineers—leaveslittle doubt that the new crematoria of Birkenau were intendedfrom the beginning (that is, from October 1941) as gas chambers.The ‘transformation narrative’, ironically enough,finds support in only one account: the internally contradictoryand almost desperate testimony given by one former SS architectat his own trial. To put a fine point on it, the ‘transformationnarrative’ hews most closely to a dubious defence narrativegiven by a perpetrator, in which neither his lawyers nor hisfellow defendants placed much credence.     

SS-Unterscharführer Adolf Storms and the massacre of Hungarian-Jewish forced labourers in Deutsch Schützen

Adolf Storms was not hard to find in the summer of 2008. He was listed in the German telephone book. The former SSUnterscharführer, who had been a member of the Waffen-SS Panzer Division Wiking, was accused, along with two other SS men, of having shot to death at least fifty-seven Hungarian-Jewish forced labourers on 29 March 1945 in Deutsch Schützen, a village close to the Austrian-Hungarian border. Immediately after that massacre, he allegedly executed a Jew – a man, name unknown, who could not walk any further – by shooting him from behind. Adolf Storms had lived in Duisburg under his true name since the late 1940s. In 2008, the author interviewed Storms and two Hitler Jugend (HJ) leaders who also took part in this crime, and three Jews who survived the massacre. In 2009, Storms was charged with murder and as an accessory to murder in Düsseldorf. In June 2010, shortly before the decision for the trial to commence, he died at the age of ninety-one. This case study scrutinizes the intersection of ideology, Nazi morality, motivation and situational factors in perpetrating massacres. It also analyses how the judicial system in Austria dealt with this crime.     

PHOTOGRAPHS, SYMBOLIC IMAGES, AND THE HOLOCAUST: ON THE (IM)POSSIBILITY OF DEPICTING HISTORICAL TRUTH

Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the "limits of representation." Nevertheless there are many photographs "showing" the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as "evil." Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth.     

Traumatic echoes of memories in child survivors' narratives of the Holocaust: the Polish experiences of Michał Głowiński and Henryk Grynberg

Drawing upon the important contribution brought by literary testimonies to humanitarian work delineated by Susan Rubin Suleiman (2002) and Leigh Gilmore (2011), this paper analyses two Polish Jewish authors' autobiographical narratives, Micha? G?owiński's The Black Seasons (1999) and Henryk Grynberg's The Jewish War (1965) and Victory (1993), as instances of literary child-witnessing the Holocaust. The two authors' narratives represent two different cases of child survivors' testimonies given their situation during the Second World War: G?owiński being encamped in the Warsaw Ghetto, Grynberg living in hiding. The author argues that their narratives present the case of child survivors whose Holocaust experiences and aftermath memories in Communist Poland spring from their primarily scattered and painful memories foregrounding the importance of vulnerable lenses. In light of this, the main question the author addresses is: to what degree do these children's war memories take specific stances as a function of the age they were during the Holocaust and their location (either being encamped or living in hiding)? The main contention of the paper is that Second World War children's literary testimonies contribute to present-day scholarship by their complex understanding of the multi-faceted character of humans whose specific bulwarks are the simultaneous exposing and acknowledgement of individual occlusions, ambivalences, limitations or randomness.     

“From one April to another”: remembering and acknowledging the Holocaust in the poetry of Michael Longley

Michael Longley has written and spoken of the responsibility to commemorate the Holocaust in a manner which is free from historical or political distortion. This article will consider his poetry about the Holocaust in the light of these statements, arguing that the epigraph in Gorse Fires (1991) from the work of Paul Celan provides an indication of Longley's strategy. The close association of elegy and botanical life in Longley's work manifests in the reconfiguration of remembrance poppies in relation to Celan and the Holocaust. The article discusses Longley's work in relation to Ireland's refugee policies during the Second World War, with recourse to the poems “Buchenwald Museum” and “Poppies”. Finally, the article considers Longley's personal link to the Holocaust through his friend Helen Lewis. The representation of the Holocaust in Longley's poetry is always associated with other traumatic events and this article extracts the threads which entangle Longley's evocations of historical violence.     

NOTES ON CAMPS,OR, COUNTERFACTUAL FÜHRERS AND THE STRUCTURE OF THE JOKE

In this review essay I explore the dynamics of “normalization” in historical and fictional depictions of the National Socialist past, examining both the “organic” normalization of catastrophic events through the passage of time, and efforts to normalize the Nazi past through aesthetics. Focusing on Gavriel Rosenfeld's Hi, Hitler: How the Nazi Past is Being Normalized in Contemporary Culture, I argue against many dimensions of Rosenfeld's account of normalization, particularly his claim that aesthetic normalization can undermine our moral judgments regarding the Holocaust. Drawing on Sigmund Freud on jokes, and Susan Sontag on Camp aesthetics, I argue that every effort to normalize the Holocaust, especially ones that work through humor and jokes (a major topic of Rosenfeld's book), actually maintain the Holocaust's status as a series of historical events resistant to “normalization.” If “normalization” is a process through which extraordinary, or morally charged, historical events lose their moral charge, then aesthetic efforts to normalize the Holocaust actually reinscribe the special moral status that Rosenfeld believes they erase.     

The Dialectic of Enlightenment revisited

This reflection critically interrogates Adorno and Horkheimer’s 1944 much-admired Dialectic of Enlightenment, addressing its contextual and ideological origins, its philosophical biases and theoretical assumptions, and the nature of its emphases and omissions as the work sought to grasp the barbarism of the time. It also highlights a rather overlooked publication detail which ideally should have given the authors pause to somewhat revise their provocative views and positions, but in practice did not.     

Making sense of Marx

It is this question which occupied Hannah Arendt throughout most of her life, and which will form the crux of this article. I wish to explore whether critical thought holds the potential to rescue us from the crisis of the ‘moral point of no return’, by allowing us to recognise it. Arendt, and later Zygmunt Bauman, call for critical thinking as a way out of evil. Critical thought being something that they conflate with morality. They both attempt to demonstrate the decline of morality and its separation from legality/rationality under modernity. Bauman needs these assumptions to show how cold rationality eclipses morality and his subsequent appeal to persistent, but not socially grounded individual morality as remedy. For Arendt, the perceived lack of thought by the ‘perpetrators’ lays the foundation of her call to critical thinking as remedy; but similarly heralds a process of pure ethics. This article argues that although they both argue for more morality, morality cannot in fact disappear.     

The Significance of the Christian-Jewish Dialogue and Holocaust Studies for Catholic Ethics

Abstract

When I survey the vast field of literature on social ethics, including that from progressive Christian scholars, I find little, if any, recognition that the positive development in the understanding of the Christian-Jewish relationship these past forty years have any relevance for shaping Christian perspectives on social ethics today. In this presentation I share some reflections on various areas of study within the context of the Christian-Jewish dialogue, especially the experience of the Holocaust, which in my judgment do make an important difference in the way we present Christian thinking on social ethical questions. The positive impact of the Hebrew Scriptures is one important area as is the enhanced understanding of law in the Hebrew Scriptures and in Judaism generally. Also of significance is the growing body of literature linking Jesus positively to the Jewish tradition of his time, including in terms of his moral teaching. The same holds true for new studies on Paul's positive relationship to Judaism. Finally the Holocaust provides us with important links to contemporary moral issues such as genocide and human rights.