Suchergebnisse

This thesis argues that the act of recording the trial of Adolf Eichmann was an interpretation by director Leo Hurwitz, and that at the time it was recorded, and since then, the material has been used by different actors for different purposes. I examined the use made of that material by six individuals/countries: Leo Hurwitz, the accused, director Eyal Sivan, screenwriter Simon Block, West German presenters Joachim Besser and Peter Schier-Gribowsky, and the Israeli government under David Ben-Gurion. To understand the intent of Leo Hurwitz, footage of trial sessions was analyzed as were interviews with him by Professor Susan Slyomovics of UCLA and the work of Professors Sylvie Lindeperg and Annette Wieviorka. To see what Eichmann hoped to accomplish by his self-representation, his performance was analyzed using the work of Hajo Adam and Adam D. Galinsky. To appreciate the intention of Eyal Sivan, his writings, presentations, and interviews were examined as was his film The Specialist: A Modern Criminal Mind. Simon Block's dialogue for The Eichmann Show and interviews with him were also studied to see his intention. To gain an insight into the West Germany program showing the trial, the work of Judith Keilbach of Utrecht University, and the first eight broadcasts of the program Eine Epoche vor Gericht were considered. Finally, to get an overview of the aim of Israel in having the trial video-taped and broadcast, its history, and the work of writers like Ari Shavit, Amos Oz, Tom Segev, and Haim Gouri were studied. This research shows that all six actors used the tapes for different purposes. Hurwitz tried to show the dangers of fascism. Eichmann worked to present himself a law-abiding German. Eyal Sivan countered the narrative established by the original recording. Simon Block revealed the dynamics of the two people most concerned with capturing the trial for posterity. The presenters of Eine Epoche vor Gericht revealed a reformed Germany that was still aware of its past misdeeds, and finally the Israeli government made used the recording to educate others about the Holocaust, pull Israelis together, and substantiate Israel's right to exist.

Front Matter --Copyright page --Kontrafaktische Interventionen in die Zeit und ihre erinnerungskulturelle Funktion /Brigitte Obermayr, Riccardo Nicolosi and Nina Weller --Forking path narratives, Inkompossibilitäten, freischwebende Erinnerungen und Kristallbilder /Kay Kirchmann --Zeugnis und kontrafaktisches Erzählen /Magdalena Marszałek --Wiederholung als Intervention /Georg Witte --Wunschgeschichten /Brigitte Obermayr --Im ewigen Replay der Welten /Matthias Schwartz --Kontrafaktische (Nicht-)Existenz Polens /Małgorzata Sugiera --Vasilij Aksënovs Roman Ostrov Krym (Die Insel Krim) und die kulturgeschichtliche Dimension kontrafaktischen Erzählens in der Sowjetunion /Riccardo Nicolosi --Gestern wird Krieg sein /Nina Weller --Was wäre, wenn? /Alexander Prokhorov --Die Unmöglichkeit der Möglichkeiten /Gernot Howanitz --Vae victis! /Hans Richard Brittnacher --"Was ist denn echt an der Geschichte?" /Andreas Martin Widmann --Steampunk und Historie /Johannes Dillinger --An der Grenze zum Nichtexistenten /Il'ja Kukulin --Ungeschichte /Alexander Demandt --Back Matter --Dank.

This volume contends that young individuals across Europe relate to their country's history in complex and often ambivalent ways. It pays attention to how both formal education and broader culture communicate ideas about the past, and how young people respond to these ideas. The studies collected in this volume show that such ideas about the past are central to the formation of the group identities of nations, social movements, or religious groups. Young people express received historical narratives in new, potentially subversive, ways. As young people tend to be more mobile and ready to interrogate their own roots than later generations, they selectively privilege certain aspects of their identities and their identification with their family or nation while neglecting others. This collection aims to correct the popular misperception that young people are indifferent towards history and prove instead that historical narratives are constitutive to their individual identities and their sense of belonging to something broader than themselves