Ethics Art And Representations Of The Holocaust

The American-Jewish philosopher Berel Lang has left an indelible impression on an unusually broad range of fields that few scholars can rival. From his earliest innovations in philosophy and meta-philosophy, to his ground-breaking work on representation, historical writing, and art after Auschwitz, he has contributed original and penetrating insights to the philosophical, literary, and historical debates on ethics, art, and the representation of the Nazi Genocide. In honor of Berel Lang’s five decades of scholarly and philosophical contributions, the editors of Ethics, Art and Representations of the Holocaust invited seventeen eminent scholars from around the world to discuss Lang’s impact on their own research and to reflect on how the Nazi genocide continues to resonate in contemporary debates about antisemitism, commemoration and poetic representations. Resisting what Alvin Rosenfeld warned as “the end of the Holocaust”, the essays in this collection signal the Holocaust as an event without closure, of enduring resonance to new generations of scholars of genocide, Jewish studies, and philosophy. Readers will find original and provocative essays on topics as diverse as Nietzsche’s reputed Nazi leanings, Jewish anti-apartheid activists in South Africa, wartime rescue in Poland, philosophical responses to the Holocaust, hidden diaries in the Kovno Ghetto, and analyses of reactions to trauma in classic literary works by Bernhard Schlink, Sylvia Plath, and Derek Walcott.

Since Theodor Adorno's attack on the writing of poetry "after Auschwitz," artists and theorists have faced the problem of reconciling the moral enormity of the Nazi genocide with the artist's search for creative freedom. In Holocaust Representation, Berel Lang addresses the relation between ethics and art in the context of contemporary discussions of the Holocaust. Are certain aesthetic means or genres "out of bounds" for the Holocaust? To what extent should artists be constrained by the "actuality" of history--and is the Holocaust unique in raising these problems of representation? The dynamics between artistic form and content generally hold even more intensely, Lang argues, when art's subject has the moral weight of an event like the Holocaust. As authors reach beyond the standard conventions for more adequate means of representation, Holocaust writings frequently display a blurring of genres. The same impulse manifests itself in repeated claims of historical as well as artistic authenticity. Informing Lang's discussion are the recent conflicts about the truth-status of Benjamin Wilkomirski's "memoir" Fragments and the comic fantasy of Roberto Benigni's film Life Is Beautiful. Lang views Holocaust representation as limited by a combination of ethical and historical constraints. As art that violates such constraints often lapses into sentimentality or melodrama, clich or kitsch, this becomes all the more objectionable when its subject is moral enormity. At an extreme, all Holocaust representation must face the test of whether its referent would not be more authentically expressed by silence--that is, by the absence of representation.

Papers from a conference held in Hamburg, June 2008.

The Nazi genocide of the Jews, while unique in some ways, was not the only genocide of the twentieth century. This innovative book, the product of a year-long collaboration of scholars from many disciplines, is the first curriculum to systematically tie the teaching of the Holocaust to an analysis of the genocides in Armenia, Bosnia and Kosovo, and Rwanda. The book consists of five parts: introduction; history of the Holocaust; representations of the Holocaust in literature, film, and the arts; other genocides; and ethics. The curriculum, shaped with feedback from those who teach Holocaust studies, consists mainly of primary documents and their analysis. Each section includes a general introduction to a body of knowledge that reflects current research and detailed introductions to particular documents. Throughout the book, there are provocative discussion questions and suggestions for further reading and other resources. Each section features "links" to other parts to encourage interdisciplinary reflection. The final section on ethics addresses the difficult questions raised by genocide. The Holocaust and Other Genocides is designed as a model for flexible, innovative teaching about this complex subject. It is also a sophisticated, interdisciplinary effort to create the conditions for discussing and understanding the genocides of the twentieth century.

Probing the Ethics of Holocaust Culture is a reappraisal of the controversies that have shaped Holocaust studies since the 1980s. Historians, artists, and writers question if and why the Holocaust should remain the ultimate test case for ethics and a unique reference point for how we understand genocide and crimes against humanity.

Fascinating philosophical inquiry into post-Holocaust representations of the event in political theory, ethics, and aesthetics, and an assessment of the limitations and promise of philosophical 'witnessing' in relation to those issues

This work is an analysis of the ideology, causal patterns, and means employed in the Nazi genocide against the Jews. It argues that the events of the genocide compel reconsideration of such moral concepts as individual and group responsibility, the role of knowledge in ethical decisions, and the conditions governing the relation between guilt and forgiveness. It shows how the moral implications of genocide extend to linguistic and artistic presentations of the Nazi extermination of the Jews.