The Holocaust And Other Genocides History Representation Ethics

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.

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.

Defined by deliberation about the difference between right and wrong, encouragement not to be indifferent toward that difference, resistance against what is wrong, and action in support of what is right, ethics is civilization's keystone. The Failures of Ethics concentrates on the multiple shortfalls and shortcomings of thought, decision, and action that tempt and incite us human beings to inflict incalculable harm. Absent the overriding of moral sensibilities, if not the collapse or collaboration of ethical traditions, the Holocaust, genocide, and other mass atrocities could not have happened. Although these catastrophes do not pronounce the death of ethics, they show that ethics is vulnerable, subject to misuse and perversion, and that no simple reaffirmation of ethics, as if nothing disastrous had happened, will do. Moral and religious authority has been fragmented and weakened by the accumulated ruins of history and the depersonalized advances of civilization that have taken us from a bloody twentieth century into an immensely problematic twenty-first. What nevertheless remain essential are spirited commitment and political will that embody the courage not to let go of the ethical but to persist for it in spite of humankind's self-inflicted destructiveness. Salvaging the fragmented condition of ethics, this book shows how respect and honor for those who save lives and resist atrocity, deepened attention to the dead and to death itself, and appeals for human rights and renewed spiritual sensitivity confirm that ethics contains and remains an irreplaceable safeguard against its own failures.

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.

This book explores the diverse ways in which Holocaust representations have influenced and structured how other genocides are understood and represented in the West. Rebecca Jinks focuses in particular on the canonical 20th century cases of genocide: Armenia, Cambodia, Bosnia, and Rwanda. Using literature, film, photography, and memorialisation, she demonstrates that we can only understand the Holocaust's status as a 'benchmark' for other genocides if we look at the deeper, structural resonances which subtly shape many representations of genocide. Representing Genocide pursues five thematic areas in turn: how genocides are recognised as such by western publics; the representation of the origins and perpetrators of genocide; how western witnesses represent genocide; representations of the aftermath of genocide; and western responses to genocide. Throughout, the book distinguishes between 'mainstream' and other, more nuanced and engaged, representations of genocide. It shows how these mainstream representations – the majority – largely replicate the representational framework of the Holocaust, including the way in which mainstream Holocaust representations resist recognising the rationality, instrumentality and normality of genocide, preferring instead to present it as an aberrant, exceptional event in human society. By contrast, the more engaged representations – often, but not always, originating from those who experienced genocide – tend to revolve around precisely genocide's ordinariness, and the structures and situations common to human society which contribute to and become involved in the violence.

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.

This series of essays by one of today's most original and prolific scholars on German racial policy concerns three interrelated aspects of Nazi Germany: relations with 'the east', 'euthanasia' and extermination. They are linked closely by the sub-themes of professionals or 'experts' and an interest in competing systems of morality. The collection includes important and wholly new contributions to the German-Soviet war and other national tragedies; to the controversial question of whether the Nazi analogy has any relevance to contemporary ethical discussions; and to the contemporary historiography, including works of fiction and literary criticism, of the Holocaust. The product of twelve years' research on Nazi Germany, the book will be essential reading for anyone interested in scholarship on the period, or indeed in how we might view the period in future decades.