2. THE VICTIM'S VOICE AND MELODRAMATIC AESTHETICS IN HISTORY1

Saul Friedländer's recent Nazi Germany and the Jews: The Years of Extermination offers a brilliant new literary mode for historical representation of extreme events such as the Holocaust. He has produced an authoritative historical narrative of the Holocaust, within which he integrates the victims' authentic voices, as recorded (mostly) in their contemporary writings. This article offers a comparative assessment of Friedländer's achievement with regard to the integration of Jewish sources into the historical account. It begins with a contextualization of Friedländer's book within a framework that compares the ways in which Jewish sources are addressed by different historiographical approaches. In the second part it seeks to contextualize analytically and critically Friedländer's concept of “disbelief”—a concept by which he defines the role of the “victims’ voices” in his narrative. I claim that in our current “era of the witness,” set within a culture addicted to the “excessive,” the voices of the victims and the witnesses appear to have lost their radical political and ethical force. They seem no longer to bear the excess of history, and can thus hardly claim to be the guardians of disbelief. Excess and disbelief have thus become the most commonplace cultural topos. In our current culture, I contend, the excessive voices of the victims have, to some extent, exchanged their epistemological, ontological, and ethical revolutionary function for an aesthetic one. They operate according to the pleasure principle in order to bring us, the consumers of Holocaust images, the most expected image of the “unimaginable,” which therefore generates a melancholic pleasure and involves the narrative in melodramatic aesthetics. The article concludes by briefly suggesting some guidelines for an alternative approach to the study of contemporary Jewish Holocaust sources.     

THE SYNTAX OF OBJECTS AND THE REPRESENTATION OF HISTORY: SPEAKING OF SLAVERY IN NEW YORK

The representation of history continues to evolve in the domain of museum exhibitions. This evolution is informed in part by the creation of new display methods—many of which depart from the traditional conventions used to achieve the "museum effect"—in part by an increased attention to the museum-visitor relationship. In this context the ethical force of bearing witness, at times a crucial aspect of the museum experience, has emerged as a particularly compelling issue. In seeking to represent and address atrocity, injustice, and the abrogation of human rights, museums have the potential to become "sites of conscience" and to encourage "historical consciousness." Through a series of three exhibitions devoted to slavery, the New-York Historical Society demonstrated how such sites can be constructed and how objects can be deployed to represent extreme or "limit cases." In this review/essay I investigate and interrogate these exhibitions, looking closely at the use of objects as a source of "indirect testimony" (Marc Bloch) and at the "dialogical situation" (Paul Ricoeur) that might arise in an encounter among objects, exhibit narratives, and visitors. Thinking in terms of point of view, I look at the variety of rhetorical platforms from which objects speak in these exhibitions; thinking in terms of syntax, I look at the effects of ordering and of the radical juxtaposition of objects; thinking in terms of irony, I look at the provocations of double-voiced narratives and at how objects are used to support those historical sentences.     

Legitimacy and the virtual battlefield: putting the first-person shooter on the witness stand

Although much has been written on the abilities of the first-person shooter to advance neo-orientalist themes and US imperial agendas through its aesthetics and narrative, the author argues that by exploiting the porous institutional boundaries between military planners and the video-game industry, the hyperrealist shooter becomes a formidable and formative middle ground not only in reshaping understanding of and access to the nebulous and furtive world of discreet war, but also in filling its legitimacy gap.     

浅谈我国刑事证人保护制度

证人是刑事诉讼活动的重要参与人,证人的证言是诉讼活动中广泛使用的证据种类。然而,在现实中,刑事证人出庭作证却有一定的难度,其主要原因在于证人的权益没有得到有效的保护,这就会严重影响到刑事诉讼活动的顺利进行。对此,本文从建立证人保护制度的意义入手,对我国刑事证人保护的对象、机构以及相关程序和措施做简要分析和论证。     

THE EPISTEMIC AND MORAL ROLE OF TESTIMONY1

My aim in this article is to provide a critical‐productive appreciation of witness testimony that avoids the false and crooked dichotomies that pervade contemporary philosophy of history and historical theory. My specific, pragmatist approach combines the recent accounts of Hayden White about “witness literature” with the “generative‐performative” consideration of testimony by Martin Kusch. The purpose is to appreciate, in a non‐foundationalist way, the epistemic and moral role of testimony in the constitution of the representation of the recent past. To achieve this I examine the assumed epistemic and political privilege of the testimonies of survivors of state terrorism from the recent past, and I draw on insights of three of the most relevant survivor witnesses: Primo Levi, Victor Klemperer, and Pilar Calveiro. The essay tries to avoid both an epistemic and a moral posture based on something like “the privileged victim's perspective,” and instead approaches the specific analysis of production and circulation of witness discourse in terms of its contribution to the constitution of the past. That is, it recommends that one look at witness testimony not as an attempt to return to the past but as an action in the present. The result in so doing is to follow some recent results discussed in the new epistemology of witness testimony, which insist that: first, trust in testimony is an irreducible function of the acceptance of knowledge (this means that testimonies should not be treated as secondary sources of knowledge or as parasitical on experience and reason); and second, the production‐circulation of testimonies does not function only in the context of justification but is also legitimately constitutive of knowledge.     

晚清时期待质人证问题

晚清时期待质人证问题表现为非法羁押手段长期存在,无限期羁押现象极其普遍,待质人证瘐毙数量极大等特点。导致待质人证问题形成的原因主要包括中央与地方相关政策严重脱节,政府权力体系设置难以适应社会发展的要求,相关立法及救济程序缺失等等。清末法制改革前后清政府尽管采取了一系列措施,但却并未能够合理有效地解决这一社会问题。     

The Green Matzevah

ABSTRACT

This article examines the extent to which historical memory, including the symbolism of Auschwitz-Birkenau, can be considered not only in terms of its close connections to both Polish and Jewish national and political imaginaries, but also in terms of its entanglements with survivors’ memories of nature. I analyse the presence of the post-camp space of Auschwitz-Birkenau in Helena Birenbaum’s poetic testimonies. This is a space that has often been described as tainted and contaminated while being treated as a lifeless “landscape of death” and cemetery. Readings of Birenbaum’s testimonial poetry alongside archival and field research conducted at the Auschwitz-Birkenau Memorial and Museum have enabled me to talk about grey and green camp’s landscape. I have sought to demonstrate that such spaces function in Auschwitz testimonies under the cover of metaphorical constructions and poetic images that I call “the green matzevah,” that contain significant analytical and empirical potential. I explore how the camp’s dead grey zones have over the years turned into green matzevahs, i.e. terrain that has experienced post-traumatic curating by invasion of plants. I argue that drawing attention to the world of nature as represented in testimonies can expand knowledge of the camp, challenging the martyrological framing that prevailed under communism and help to imagine how to preserve a memory of this place when there are no human witnesses.