Search Results for camp

...Sven Kramer Harun Farocki's silent film Respite (2007) presents footage from the Nazi camp at Westerbork that was commissioned by the camp's commander and filmed by its inmates. Using varying aesthetic strategies, including the insertion of on-screen commentary and the reuse of images while...

...Rüdiger Campe Georg Lukács’s argument of form and formation is traced from The Theory of the Novel to History and Class Consciousness , especially “Reification and the Consciousness of the Proletariat.” The concept of form in The Theory of the Novel is compared to the contemporary philosophy...

...David Gramling This article considers the Nazi concentration camps as sites of an epistemological collision between monolingualism and multilinguality—one that Holocaust studies has not come to full conceptual terms with. Gramling argues that this collision offers a primary, though undertheorized...

... in displaced persons (DP) camps in Allied-occupied Germany, Austria, and Italy survived because they had been “deported to life” from parts of Poland that came under Soviet control as a result of the Nazi-Soviet Pact, first in labor camps in the Soviet interior and then, with their release after the German...

...James A. Van Dyke This article examines the exiled German artist George Grosz's Interregnum , a print portfolio published in New York in 1936, in particular Grosz's depiction of the interrogation and torture of political prisoners such as Erich Mühsam in the concentration camps established after...

...David Bathrick The Hollywood director Billy Wilder was involved in three postwar films about Germany: a twenty-two-minute documentary about the concentration camps titled Death Mills (1945) that he edited; the other two, which he directed and coscripted, were the feature films A Foreign Affair...

...Manuel Köppen Claude Lanzmann's Sobibor (2001) and Romuald Karmakar's Land of Annihilation (2004) are contrasting cinematic documentaries that return the viewer to German concentration camps in Poland. While Lanzmann insists on the pathos of the primary witness, whose words, like the places...

... and ideas equally. The strongest critique of the Humboldt model came from the liberal camp (Dahrendorf) that wanted to modernize the German university by emphasizing the needs of the labor market. Parallels to the more recent American corporate university are briefly discussed at the end. © 2011 by New...

... versions of surviving Auschwitz are explicable by comparing and contrasting Levi's and Borowski's actual camp experience and the context under which they produced their testimonies. © 2012 by New German Critique, Inc. 2012 Shame and beyond Shame Timothy E...

... argues that Thalheim offers an alternative approach to the Holocaust through an innovative aesthetic treatment of the space of Auschwitz as both a historical and a contemporary site. Yet in his zeal to avoid duplicating iconic images of the camp, Thalheim fails to generate a new representational scheme...

...Siobhan Kattago Abstract As the war in Syria and the destruction of the Calais camp in France in 2016 bitterly demonstrate, declarations of human rights and asylum devolve into empty promises without a common sense of solidarity and an implicit understanding that we share responsibility...

... priest, Jean Bernard, who had been imprisoned in Dachau concentration camp since the previous May, was “freed” for a nine-day period, which he spent with his siblings at home in Luxem- burg. On February 25 he returned to the camp, and on August 5 he was fi nally released for good. In 1945 he...

... is already dead, and in “Dying Today” he argues that since Auschwitz fearing death means fearing worse than death, namely, the systematic production of the death-in-life that was the essence of the rationality of the camps (ND, 368–73). While it is evident that Adorno means his remarks to urge us...

... tells the story of Nelly Lenz, a Jewish singer who survives Auschwitz but on a death march in the last days of the camp sustains gunshot wounds that damage her face beyond recognition. After reconstructive surgery, she tries to find her husband, who, she subsequently and reluctantly learns, denounced...

... in line with the nature of memories from the concentration camp, which were mostly oral memories. The narrative functions as a reflector of the social memory of an “othered” and excluded minority within Austrian historiography, which are the memories of partisans in Slovenian Carinthia. 17 As a natural...

... of this multipart docudrama is followed by a brief shot of people in concentration camp uniforms performing heavy labor. The docudrama’s second part opens in a similar way, but the prisoners are faded out of the pic- ture as though they had dissolved into thin air (fi g. 1). The brevity of the shots...

... misconstrued. Rather than refer directly to the fate that awaits the Silbersteins, specifically, their likely death in one of the Aktion Reinhard death camps, in a Polish or Baltic ghetto, or in Auschwitz, the film alludes to it indirectly in the characters’ affective responses 3. Quotations...

... thinking on the basis of a central metaphor employed in Origins, that of the concentration camp as a place of 1. See Hannah Arendt, “A Reply,” Review of Politics 15 (1953): 79. Hereafter cited as R. Unless otherwise noted, all italics in this essay are mine. For a nuanced discussion...

... of the perpetrators’ potential for complexity. All this does not mean that perpetrator characters in Israeli fiction published prior to the eighties lack complexity. Major Kunda, the commandant of the Nazi labor camp in Moshe Shamir’s short story “The Second Stutter” (1945), stutters out orders for executions...

... . 18. Benjamin, “Storyteller,” 83 . 17. Taylor, Archive and the Repertoire , 4, 17 . 16. Benjamin, “Storyteller,” 91 . 15. See Hirsch and Stewart, “Introduction,” 262 . 14. Wolf, “Halfmoon Files,” 167 . These camps were identified as “show camps.” Tourists...