East German Film and the Holocaust, Elizabeth Ward
Àâòîð: Jampol Justinian Íàçâàíèå: The East German Handbook ISBN: 383656520X ISBN-13(EAN): 9783836565202 Èçäàòåëüñòâî: Taschen Ðåéòèíã: Öåíà: 5313.00 ð. Íàëè÷èå íà ñêëàäå: Îæèäàåòñÿ ïîñòóïëåíèå.
Îïèñàíèå: For 40 years, the Cold War dominated the world stage. East and West Germany stood at the frontlines of the global confrontation, symbolized by the infamous Berlin Wall, which separated lovers, friends, families, coworkers, and compatriots. The Wende Museum in Los Angeles, California, is named after the period of change immediately following the wall's destruction.
It was established in 2002 to study the visual and material culture of the former Eastern Bloc, and, with physical and psychic distance, to foster multiple perspectives on this multilayered history that continues to shape our world. This encyclopedic volume features around 2,000 items from its extraordinary collections. Based on our XL-sized volume, this edition includes a full spectrum of art, archives, and artifacts from socialist East Germany: official symbols and dissident expressions, the spectacular and the routine, the mass-produced and the handmade, the funny and the tragic.
Accompanying these remnants of a now-vanished world are texts from scholars and specialists from across Europe, Canada, and the United States, with themes ranging from the secret police to sexuality, from monuments to mental-mapping. More than 800 pages, featuring around 2,000 objects. A smaller, more accessible version of our XL-sized volume, the most comprehensive overview of GDR visual and material culture to date.
Several dozen images of everyday life and public events from the most famous GDR photographers. Special two-language edition featuring texts both in English and German. From November 18, 2017, visit the Wende Musem at its expanded campus in Culver City's Armory Building, a site originally created in preparation for World War III but re-designed by Michael Boyd, Christian Kienapfel, and Benedikt Taschen to welcome its 100,000+ collection of artifacts.
Îïèñàíèå: This volume offers a comprehensive account of how the Nazis conducted the Holocaust throughout the scattered towns and villages of Poland and the Soviet Union. It covers more than 1,150 sites, including both open and closed ghettos. Regional essays outline the patterns of ghettoization in 19 German administrative regions. Each entry discusses key events in the history of the ghetto; living and working conditions; activities of the Jewish Councils; Jewish responses to persecution; demographic changes; and details of the ghetto's liquidation. Personal testimonies help convey the character of each ghetto, while source citations provide a guide to additional information. Documentation of hundreds of smaller sites—previously unknown or overlooked in the historiography of the Holocaust—make this an indispensable reference work on the destroyed Jewish communities of Eastern Europe.
Since its completion in 1955, Alain Resnais’s Night and Fog (Nuit et Brouillard) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, identified on his return in 1945 as the ‘concentrationary universe’ which, now actualized, might release its totalitarian plague any time and anywhere? What kind of memory does the film create to warn us of the continued presence of this concentrationary universe? This international collection re-examines Resnais’s benchmark film in terms of both its political and historical context of representation of the camps and of other instances of the concentrationary in contemporary cinema. Through a range of critical readings, Concentrationary Cinema explores the cinematic aesthetics of political resistance not to the Holocaust as such but to the political novelty of absolute power represented by the concentrationary system and its assault on the human condition.
Îïèñàíèå: Places Holocaust films from Anne Frank to Schindler`s List to Jojo Rabbit in historical and artistic perspective, and discusses them through many lenses: historically, chronologically, thematically, sociologically, geographically and individually.
Speaking the Unspeakable in Postwar Germany is an interdisciplinary study of a diverse set of public speeches given by major literary and cultural figures in the 1950s and 1960s. Through close readings of canonical speeches by Hannah Arendt, Theodor W. Adorno, Ingeborg Bachmann, Martin Buber, Paul Celan, Uwe Johnson, Peter Szondi, and Peter Weiss, Sonja Boos demonstrates that these speakers both facilitated and subverted the construction of a public discourse about the Holocaust in postwar West Germany. The author’s analysis of original audio recordings of the speech events (several of which will be available on a companion website) improves our understanding of the spoken, performative dimension of public speeches.
Speaking the Unspeakable in Postwar Germany emphasizes the social constructedness of discourse, experience, and identity, but does not neglect the pragmatic conditions of aesthetic and intellectual production—most notably, the felt need to respond to the breach in tradition caused by the Holocaust. The book thereby illuminates the process by which a set of writers and intellectuals, instead of trying to mend what they perceived as a radical break in historical continuity or corroborating the myth of a "new beginning," searched for ways to make this historical rupture rhetorically and semantically discernible and literally audible.
Àâòîð: Boos Sonja Íàçâàíèå: Speaking the Unspeakable in Postwar Germany ISBN: 0801453607 ISBN-13(EAN): 9780801453601 Èçäàòåëüñòâî: Wiley EDC Ðåéòèíã: Öåíà: 17846.00 ð. Íàëè÷èå íà ñêëàäå: Åñòü ó ïîñòàâùèêà Ïîñòàâêà ïîä çàêàç.
Îïèñàíèå:
Speaking the Unspeakable in Postwar Germany is an interdisciplinary study of a diverse set of public speeches given by major literary and cultural figures in the 1950s and 1960s. Through close readings of canonical speeches by Hannah Arendt, Theodor W. Adorno, Ingeborg Bachmann, Martin Buber, Paul Celan, Uwe Johnson, Peter Szondi, and Peter Weiss, Sonja Boos demonstrates that these speakers both facilitated and subverted the construction of a public discourse about the Holocaust in postwar West Germany. The author’s analysis of original audio recordings of the speech events (several of which will be available on a companion website) improves our understanding of the spoken, performative dimension of public speeches.
Speaking the Unspeakable in Postwar Germany emphasizes the social constructedness of discourse, experience, and identity, but does not neglect the pragmatic conditions of aesthetic and intellectual production—most notably, the felt need to respond to the breach in tradition caused by the Holocaust. The book thereby illuminates the process by which a set of writers and intellectuals, instead of trying to mend what they perceived as a radical break in historical continuity or corroborating the myth of a "new beginning," searched for ways to make this historical rupture rhetorically and semantically discernible and literally audible.
Îïèñàíèå: Judenjagd, hunt for the Jews, was the German term for the organized searches for Jews who, having survived ghetto liquidations and deportations to death camps in Poland in 1942, attempted to hide "on the Aryan side." Jan Grabowski's penetrating microhistory tells the story of the Judenjagd in Dabrowa Tarnowska, a rural county in southeastern Poland, where the majority of the Jews in hiding perished as a consequence of betrayal by their Polish neighbors. Drawing on materials from Polish, Jewish, and German sources created during and after the war, Grabowski documents the involvement of the local Polish population in the process of detecting and killing the Jews who sought their aid. Through detailed reconstruction of events, this close-up account of the fates of individual Jews casts a bright light on a little-known aspect of the Holocaust in Poland.
Àâòîð: Ward Elizabeth Íàçâàíèå: East German Film and the Holocaust ISBN: 1789207479 ISBN-13(EAN): 9781789207477 Èçäàòåëüñòâî: Berghahn Ðåéòèíã: Öåíà: 16988.00 ð. Íàëè÷èå íà ñêëàäå: Åñòü ó ïîñòàâùèêà Ïîñòàâêà ïîä çàêàç.
Îïèñàíèå:
East Germany’s ruling party never officially acknowledged responsibility for the crimes committed in Germany’s name during the Third Reich. Instead, it cast communists as both victims of and victors over National Socialist oppression while marginalizing discussions of Jewish suffering. Yet for the 1977 Academy Awards, the Ministry of Culture submitted Jakob der L?gner – a film focused exclusively on Jewish victimhood that would become the only East German film to ever be officially nominated. By combining close analyses of key films with extensive archival research, this book explores how GDR filmmakers depicted Jews and the Holocaust in a country where memories of Nazi persecution were highly prescribed, tightly controlled and invariably political.
Îïèñàíèå: This book about the reparations issue (“shilumim” in Hebrew) brings together selected protocols of all debates held regarding conducting negotiations with Germany. This is the first book documenting confidential protocols lately opened to the public. With the elaborate introduction by Yehiam Weitz, this book will serve as a basic textbook for an important chapter not only in Israeli and German history, but also in post-war history in general.
Íàçâàíèå: Art of war ISBN: 1787073831 ISBN-13(EAN): 9781787073838 Èçäàòåëüñòâî: Peter Lang Ðåéòèíã: Öåíà: 16901.00 ð. Íàëè÷èå íà ñêëàäå: Åñòü ó ïîñòàâùèêà Ïîñòàâêà ïîä çàêàç.
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War and trauma are fundamental human experiences and central to German history, especially in the twentieth century. Since the First World War, which some Germans celebrated as the chance to annihilate the old culture to make space for a new one, German art has been implicated in war. War and trauma cause extreme conditions that can be negative and destructive, including deprivation or dislocation, and emotional and psychological stress. Paradoxically, war and trauma can also lead to positive outcomes, such as deepening interpersonal relationships, intellectual insights, and new, unforeseen opportunities.
The central concerns of the volume are the multivalent aspects of art that respond to war. It begins by considering art conceived of and executed in response to the First World War on the centennial anniversary of that event. The volume goes on to examine art in the wake of the Holocaust and artistic responses to more recent conflict, such as the Vietnam War. The essays in this volume explore a variety of media - including paintings by Otto Dix and Gerhard Richter, Holocaust photography by Heimrad Backer, and sculpture by Emy Roeder, Gela Forster, and Renee Sintenis - to chart the complex relationship between art and war in both its documentary and analytical functions.
Îïèñàíèå: The rich history of the German rabbinate came to an abrupt halt with the November Pogrom of 1938. The need to leave Germany became clear and many rabbis made use of the visas they had been offered. Their resettlement in Britain was hampered by additional obstacles such as internment, deportation, enlistment in the Pioneer Corps. But rabbis still attempted to support their fellow refugees with spiritual and pastoral care. The refugee rabbis replanted the seed of the once proud German Judaism into British soil. New synagogues were founded and institutions of Jewish learning sprung up, like rabbinic training and the continuation of “Wissenschaft des Judentums.” The arrival of Leo Baeck professionalized these efforts and resulted in the foundation of the Leo Baeck College in London. Refugee rabbis now settled and obtained pulpits in the many newly founded synagogues. Their arrival in Britain was the catalyst for much change in British Judaism, an influence that can still be felt today.
