Suchergebnisse

The Jewish Museum in Vilnius, founded in the autumn on 1944 upon the initiative of the Holocaust survivors, played a special place in the collective memory of Litvaks. It was the first and unique attempt in Eastern Europe to (publicly) present the massive killings of Jews by the Nazi and local collaborators, primarily by shooting, and by annihilating themat Nazi concentration camp gas chambers, the plunder of cultural and spiritual values, and the efforts of survivors to collect and preserve Jewish heritage remnants. The museum became a certain genius loci, that is, a lively place giving both material and mental meaning to the Jewish community, creating emotions, providing a certain sense of security and encouraging dialogue. Unfortunately, the Soviet government failed to understand the uniqueness of the museum and appreciate the importance of its activities. This memory institution was closed down in 1949, in the midst of an anti-Semitic campaign. The collections and exhibits accumulated in the museum were distributed to Lithuanian museums, archives and libraries. Thus, the Jewish history, culture and traditions and the very theme of mass murder of the Jews were pushed to the margins of history for the period of 40 years. (De)codable with double-memory standards, the so-called counter-memory of kitchen communities or reprocessed memory was rather wretchedly presented in public were maintained as a counterweight to the hegemonic narrative. It was under the influence of the latter that in September of 1989 the Lithuanian State Jewish Museum was restored. The first exhibition named "Catastrophe", mounted in the newly restored museum, was the only Holocaust exhibition in the former Soviet bloc countries. Later it was granted the status of a separate museum branch, called the Holocaust exposition. Renovated in 2010, the exhibition has retained the features of the post-war Jewish Museum exhibition. As such, it attracts a lot of visitors and encourages sustainable memory. The aim of the article is to introduce the circumstances related to the establishment of the post-war Jewish Museum in Vilnius, distinguishing its peculiarities by demonstrating the attempts and methods of the Holocaust survivors to publicly introduce the traumatic experiences of the community, as opposed to the discourse shaped by the Soviet regime, as well as showing the exclusivity of the memory institution itself in today's society.

The Jewish Museum in Vilnius, founded in the autumn on 1944 upon the initiative of the Holocaust survivors, played a special place in the collective memory of Litvaks. It was the first and unique attempt in Eastern Europe to (publicly) present the massive killings of Jews by the Nazi and local collaborators, primarily by shooting, and by annihilating themat Nazi concentration camp gas chambers, the plunder of cultural and spiritual values, and the efforts of survivors to collect and preserve Jewish heritage remnants. The museum became a certain genius loci, that is, a lively place giving both material and mental meaning to the Jewish community, creating emotions, providing a certain sense of security and encouraging dialogue. Unfortunately, the Soviet government failed to understand the uniqueness of the museum and appreciate the importance of its activities. This memory institution was closed down in 1949, in the midst of an anti-Semitic campaign. The collections and exhibits accumulated in the museum were distributed to Lithuanian museums, archives and libraries. Thus, the Jewish history, culture and traditions and the very theme of mass murder of the Jews were pushed to the margins of history for the period of 40 years. (De)codable with double-memory standards, the so-called counter-memory of kitchen communities or reprocessed memory was rather wretchedly presented in public were maintained as a counterweight to the hegemonic narrative. It was under the influence of the latter that in September of 1989 the Lithuanian State Jewish Museum was restored. The first exhibition named "Catastrophe", mounted in the newly restored museum, was the only Holocaust exhibition in the former Soviet bloc countries. Later it was granted the status of a separate museum branch, called the Holocaust exposition. Renovated in 2010, the exhibition has retained the features of the post-war Jewish Museum exhibition. As such, it attracts a lot of visitors and encourages sustainable memory. The aim of the article is to introduce the circumstances related to the establishment of the post-war Jewish Museum in Vilnius, distinguishing its peculiarities by demonstrating the attempts and methods of the Holocaust survivors to publicly introduce the traumatic experiences of the community, as opposed to the discourse shaped by the Soviet regime, as well as showing the exclusivity of the memory institution itself in today's society.

The Jewish Museum in Vilnius, founded in the autumn on 1944 upon the initiative of the Holocaust survivors, played a special place in the collective memory of Litvaks. It was the first and unique attempt in Eastern Europe to (publicly) present the massive killings of Jews by the Nazi and local collaborators, primarily by shooting, and by annihilating themat Nazi concentration camp gas chambers, the plunder of cultural and spiritual values, and the efforts of survivors to collect and preserve Jewish heritage remnants. The museum became a certain genius loci, that is, a lively place giving both material and mental meaning to the Jewish community, creating emotions, providing a certain sense of security and encouraging dialogue. Unfortunately, the Soviet government failed to understand the uniqueness of the museum and appreciate the importance of its activities. This memory institution was closed down in 1949, in the midst of an anti-Semitic campaign. The collections and exhibits accumulated in the museum were distributed to Lithuanian museums, archives and libraries. Thus, the Jewish history, culture and traditions and the very theme of mass murder of the Jews were pushed to the margins of history for the period of 40 years. (De)codable with double-memory standards, the so-called counter-memory of kitchen communities or reprocessed memory was rather wretchedly presented in public were maintained as a counterweight to the hegemonic narrative. It was under the influence of the latter that in September of 1989 the Lithuanian State Jewish Museum was restored. The first exhibition named "Catastrophe", mounted in the newly restored museum, was the only Holocaust exhibition in the former Soviet bloc countries. Later it was granted the status of a separate museum branch, called the Holocaust exposition. Renovated in 2010, the exhibition has retained the features of the post-war Jewish Museum exhibition. As such, it attracts a lot of visitors and encourages sustainable memory. The aim of the article is to introduce the circumstances related to the establishment of the post-war Jewish Museum in Vilnius, distinguishing its peculiarities by demonstrating the attempts and methods of the Holocaust survivors to publicly introduce the traumatic experiences of the community, as opposed to the discourse shaped by the Soviet regime, as well as showing the exclusivity of the memory institution itself in today's society.

The Jewish Museum in Vilnius, founded in the autumn on 1944 upon the initiative of the Holocaust survivors, played a special place in the collective memory of Litvaks. It was the first and unique attempt in Eastern Europe to (publicly) present the massive killings of Jews by the Nazi and local collaborators, primarily by shooting, and by annihilating themat Nazi concentration camp gas chambers, the plunder of cultural and spiritual values, and the efforts of survivors to collect and preserve Jewish heritage remnants. The museum became a certain genius loci, that is, a lively place giving both material and mental meaning to the Jewish community, creating emotions, providing a certain sense of security and encouraging dialogue. Unfortunately, the Soviet government failed to understand the uniqueness of the museum and appreciate the importance of its activities. This memory institution was closed down in 1949, in the midst of an anti-Semitic campaign. The collections and exhibits accumulated in the museum were distributed to Lithuanian museums, archives and libraries. Thus, the Jewish history, culture and traditions and the very theme of mass murder of the Jews were pushed to the margins of history for the period of 40 years. (De)codable with double-memory standards, the so-called counter-memory of kitchen communities or reprocessed memory was rather wretchedly presented in public were maintained as a counterweight to the hegemonic narrative. It was under the influence of the latter that in September of 1989 the Lithuanian State Jewish Museum was restored. The first exhibition named "Catastrophe", mounted in the newly restored museum, was the only Holocaust exhibition in the former Soviet bloc countries. Later it was granted the status of a separate museum branch, called the Holocaust exposition. Renovated in 2010, the exhibition has retained the features of the post-war Jewish Museum exhibition. As such, it attracts a lot of visitors and encourages sustainable memory. The aim of the article is to introduce the circumstances related to the establishment of the post-war Jewish Museum in Vilnius, distinguishing its peculiarities by demonstrating the attempts and methods of the Holocaust survivors to publicly introduce the traumatic experiences of the community, as opposed to the discourse shaped by the Soviet regime, as well as showing the exclusivity of the memory institution itself in today's society.

Der Band versammelt Essays zu Hannah Arendt, H.G. Adler, David Rousset und anderen sowie historische Studien zur deutschen Besatzung in Frankreich, zur Rolle Ernst Jüngers in Paris und eine Fallgeschichte über mangelnde Aufklärung von NS-Verbrechen in der alten Bundesrepublik. "Im historisch-politischen Diskurs setzte sich Ende der 1990er Jahre ein "Erfolgsnarrativ" durch, die Rede von der erfolgreichen Demokratisierung der Bonner Republik auf der Grundlage von Vergessen und Verdrängung und unter Integration der alten Parteigenossen und NS-Täter. Um die Jahrtausendwende begann eine Entwicklung, die auch international zu beobachten war, die aber in Deutschland besonders ausgeprägt war. Während in rechtsintellektuellen Milieus noch beklagt wurde, die "obsessive" Erinnerung an den Holocaust führe zu einer deutschen Geschichtslosigkeit und erschwere die Bildung einer gesamtdeutschen Identität, hatten Politiker längst begriffen, welchen Vorteil ein kollektives Schuldeingeständnis bot. Die Instrumentalisierung des Holocaust für politische Zwecke wurde Programm. Seither dient die Vergangenheitsbewältigung der moralischen Selbstvergewisserung, nach außen hin als Ausweis, dass wir besser bewältigen als andere und ihnen Lehren erteilen können." (Aus dem Vorwort von Ahlrich Meyer)

Enkelinnen und Enkel von Auschwitz-Überlebenden, geboren zwischen 1969 und 2002, erzählen von ihren Grosseltern, wie in ihren Familien über deren schreckliche Erlebnisse gesprochen wurde und welche Bedeutung die Familiengeschichte für das eigene Leben hat. Rezension (ekz): In diesem Band schildern 16 Enkelinnen und Enkel von Auschwitz-Überlebenden, geboren zwischen 1969 und 2002, wie die Biografie ihrer Grosseltern ihr Leben geprägt hat. Diese wurden als Jüdinnen und Juden verfolgt, aber auch als Sinti und Gegner des Nationalsozialismus. Die Texte in der Ich-Form entstanden auf der Grundlage von Interviews, die die Autorin und Journalistin Andrea von Treuenfeld mit ihnen führte (vgl. "Erben des Holocaust", 2017). Sie erzählen vom Schicksal ihrer Grosseltern, von ihrem Verhältnis zu ihnen, davon, wie in der Familie über den Holocaust gesprochen wurde, von der eigenen Auseinandersetzung mit der Familiengeschichte. Eingeleitet wird das Buch von einem Abriss der Geschichte des KZ Auschwitz. Kurze Texte zu verschiedenen Aspekten der Auseinandersetzung mit dieser und der Erinnerung an diese Geschichte seit 1945 durchziehen den Band. Mit einem Glossar und einer Bibliografie im Anhang. - Ein anschaulich geschriebenes, berührendes Buch, das Angehörige der Dritten Generation mit ganz unterschiedlichen Familienhintergründen zu Wort kommen lässt. (2)

Intro -- Vorwort -- Holocaust und Holocaust-Erinnerung -- Israel -- 1897 - Der erste zionistische Kongress -- 1945 - Nach der Shoah -- 1948 - Die Staatsgründung -- 1967 - Der sogenannte Sechstagekrieg -- 2018 - Die dystopische Gegenwart -- Nachtrag -- Deutschland -- 2005 - Zwischen Israelkritik und Antisemitismus -- 2018 - Hitlers verlängerter Arm -- Deutsche Politik -- Die jüdischen Gemeinden -- Die Bild-Zeitung -- Israelsolidarität und ideologisierter Antisemitismus-Vorwurf -- Miszellen -- Erinnerung und Gedenken als kollektive Strategie -- Zionismus und Antisemitismus -- Einsichten -- Antisemitismus - links -- Natalie Portman -- Deutschland trägt Kippa -- Karikatur -- Schlussbemerkung -- (Anti-)Deutsche Zustände -- Die Rechtswende von Linken im Täterland und ihr Verrat am humanistischen Judentum - eine Ideologiekritik -- I. »Antideutsche« Ideologie und deutsche Realität -- II. Konkret für deutsche Interessen -- III. Ideologische Grauzone -- IV. Rechtsfront mit »den Juden« -- V. Tanz auf den Gräbern mit dem »Rächer-Juden« -- VI. Hetzjagden auf jüdische Linke -- VII. Pathische Projektionen -- VIII. Epilog -- Anmerkungen

16 jüdische Frauen, die während der NS-Zeit als Kinder oder Jugendliche Deutschland verlassen haben und nach dem Holocaust aus dem Exil wieder zurückkehrten, erzählen aus ihrem Leben, wie sie Vertreibung, Exil und Rückkehr ins Land der Täter erlebt haben. Rezension: Nur wenige Jüdinnen und Juden kehrten nach dem Holocaust wieder nach Deutschland zurück. Die Journalistin und Autorin Andrea von Treuenfeld (vgl. "In Deutschland eine Jüdin, eine Jeckete in Israel", 2012) hat mit 16 jüdischen Frauen gesprochen, die sich nach der Emigration aus den unterschiedlichsten Gründen wieder hier niederliessen. Sie erzählen von ihrer Kindheit und Jugend in Deutschland, Verfolgung, und Flucht, dem Leben im Exil und der Rückkehr - nicht selten auf Umwegen - nach Deutschland. Sie lassen uns teilhaben an ihren Gefühlen, als sie als Kinder und Jugendliche ihre Heimat verlassen mussten, an ihrer Auseinandersetzung mit der Tatsache, wieder im Land der Täter zu leben. Treuenfeld hat die Berichte der Frauen nicht kommentiert oder historisch eingeordnet und kaum bearbeitet, sondern deren authentischen Ton bewahrt. Zahlreiche Fotos, eine Übersicht über die wichtigsten Massnahmen der Nationalsozialisten gegen Juden in der NS-Zeit und ein Glossar ergänzen diesen lesenswerten Band. (2)

Chapter 17 Rabbis Making Role Models: German-Jewish Middlebrow LiteratureChapter 18 Schnitzlerâ#x80;#x99;s Vienna: Waltz or Go-Go?; Chapter 19 Rereading Freudâ#x80;#x99;s Moses (Again); Chapter 20 Erich Auerbachâ#x80;#x99;s Exile and the Motion of Mimesis; Part six: The End; Chapter 21 Hitlerâ#x80;#x99;s Viennese Waltz; Chapter 22 The Führer Furor; Chapter 23 Holocaust Imponderables; Chapter 24 Racism: Coded as Culture?; Chapter 25 Gender Unbender: Pierre Bourdieu and the Enigmatic Durability of Bad Values; Chapter 26 The Paradoxes of Holocaust Literature: A Guide for the Darkly Perplexed; Acknowledgments; Bibliography

This article discusses fascism with a particular focus on Hindutva—the present day variety of fascism. It also touches upon various political fascist systems over the last 100 years and analyzes the conditions under which mass murder occurs. There is a huge outpouring of books on this subject, the vast majority of which is about the holocaust under Adolf Hitler, the German Der Führer. Jewish writings on this subject dominate this literature. Comparatively, there is a tiny number of books on the holocaust of the American Indians, despite the fact that somewhere between 50 to 90 million people died in roughly 100 years.

Julia Bernstein introduces the publication of three interviews from the archive of the Shoah Visual History Foundation founded by Steven Spielberg in 1994. Located on the premises of the University of Southern California, the archive currently includes about 52,000 interviews with Holocaust survivors. Bernstein has selected and translated three interviews with Polish Jews, who had been deported to the inner territories of the USSR after the Soviet annexation of parts of Poland in 1939, and thus escaped the Holocaust. She introduces the archive and explains her choice of the documents, two of which she has translated from English into Russian.