Search Results (74)

This article proposes that Levinas’s philosophy of language constitutes a response to the collapse of linguistic structures in the wake of the Holocaust. Instead of attempting to repair or restore a pre-rupture metaphysics, Levinas establishes a new ethical grammar of openness rather than totality. Through a novel interpretive reading of Levinas grounded in Wittgensteinian philosophy, particularly the critique of private language (a connection Levinas does not explicitly articulate), this article argues that the rejection of private language functions as the structural foundation for the recovery of the language of proximity. The article examines three focal points where this ethical grammar is revealed: suffering, memory, and the proper name. Regarding suffering, the cry establishes an appeal constitutive of ethical responsibility; regarding memory, the transition from representational to immemorial grounds meaning in heteronomous command rather than community; regarding names, both God’s and the human names become traces of irreplaceable singularity. The discussion culminates in fecundity as a grammatical solution to linguistic collapse, a structure in which asymmetry becomes the fundamental relation between human being and Other, realized through interpretation and the Oral Torah. Levinas thus demonstrates that responsibility to the Other remains not an external addition to language, but its logical and grammatical foundation. Full article

The aim of this article is to provide a new theoretical and methodological framework for analyzing the ethical, relational, and normative dimensions of transgenerational memory work, taking a comparative close reading of two Norwegian second-generation Holocaust family memoirs, Irene Levin’s Vi snakket ikke om Holocaust (2020) and Bjørn Westlie’s Fars krig (2008), as its case in point. Both narratives are simultaneously biographies, autobiographies, and historiographies, and they mediate between family memory and national memory. The authors position themselves as second-generation descendants, addressing and being addressed by their parents, and as Holocaust researchers, addressing and being addressed by a public audience. Departing from the theoretical perspective of relational life writing and Judith Butler’s concepts “scene of address” and “frameworks of recognition”, this comparative literary analysis of rhetorical situations, genres, and modes of narrating discusses the author-narrators’ engagement with their parents’ silence and writings and reveals how personal histories intersect with collective reckoning. By attending to the relational and performative aspects of storytelling, this article highlights how postgeneration literature enacts ethical reflection, recognition, and accountability. Full article

Materiality has emerged as a significant theme in Holocaust literature as well as in Holocaust studies scholarship, highlighting the pivotal role of physical objects. This materiality has been conceptualized in various ways in recent scholarship, including «testimonial objects», «objects of return», and «artifacts of memory». Building on this conceptual framework, the article analyzes the ways in which transgenerational memory transmission is thematized in Monica Csango’s memoir Fortielser. Min jødiske familiehistorie («Concealments. My Jewish Family History», 2017), investigating what memorial functions material places and objects—in particular inherited objects—serve in the transmission and representation of memory within the narrative. The central question the article addresses is: Which places and objects are central to the narrative’s representation of memory, and in what ways do they mediate memory and trauma? The article suggests that postmemory transforms physical objects and places spaces into sites of remembering and mourning, enabling transgenerational continuity and memory transmission in Fortielser. These findings underscore the central role of material and spatial mediums in sustaining intergenerational remembrance, suggesting that inherited artifacts and projected spaces constitute vital modes of memory transmission, or «acts of transfer», within parts of Jewish Norwegian second- and third-generation literature. Full article

The Nazi genocide had devastating consequences for Norwegian Jews and Romas. However, their experiences and memories have been treated very differently in Norway with respect to official recognition and public attention. This article investigates the mnemonic marginalization of the Roma and the persistent gap between the historical recognition of Roma persecution and its representational absence in national narratives of war and victimhood. It suggests that continued exclusion of the small Roma minority from national identity narratives in Norway results not only from temporal, topographical and narrative characteristics of their memories, but also from discursive connections of negative stereotypes that discredits them as blameworthy victims and results in testimonial injustice. Moreover, it explores the challenges of representing Roma memories without reproducing stigmatizing cultural tropes. The article suggests empathic mnemonic counter-narratives as a strategy for countering dominant framings of the Roma as “the others” and for promoting a more inclusive and self-reflexive politics of remembrance. Full article

This article examines how gender shapes Holocaust memory through close analyses of two canonical women’s memoirs: Charlotte Delbo’s Auschwitz and After and Ruth Klüger’s Still Alive (2001), a considerably rewritten and culturally reinterpreted version of her earlier German book Weiter leben (1992). Delbo, a French political deportee, and Klüger, an Austrian Jewish survivor, provide testimonies that challenge the male-centered paradigms that have long dominated the Holocaust literature. Although pioneering feminist scholars have shown that women experienced and remembered the Holocaust differently, gender-based analysis remains underused—not only in Holocaust studies but also in broader memory studies, where it is often assumed to be already complete or exhausted. This view of theoretical saturation reflects a Eurocentric bias that equates critical maturity with Western academic prominence, thereby masking the ongoing influence of gender on the production, circulation, and reception of testimony worldwide. Drawing on trauma theory, concepts of multidirectional memory and postmemory, systems theory of media, and ethical approaches to testimony, this article argues that gender is not merely descriptive of Holocaust experience but also constitutive of how trauma is narrated, circulated, and archived. Testimony, as a cultural form, is inherently mediated, and that mediation is fundamentally gendered. This analysis illustrates how Delbo and Klüger create gendered testimonial forms through unique aesthetic strategies. Delbo’s writing focuses on seeing by invoking a feminist aesthetics of voir as imagined and ethical visualization, while Klüger’s narrative emphasizes voice, utilizing rhetorical sharpness and ambivalent narration to challenge postwar silencing. Instead of equating gender with femininity, the article understands gender as a relational and intersectional system—one that includes masculinity, non-binary identities, and structural power differences. It also questions Eurocentric assumptions that feminist critique has been fully explored within memory studies, urging renewed engagement with gender in transnational contexts, such as the often-overlooked testimonies from wartime Shanghai. Ultimately, this article argues that feminist approaches to Holocaust testimony expose the gendered structures of grievability that determine which kinds of suffering are preserved—and which remain unspoken. Full article

As first-hand testimonies and accounts of the Holocaust fade, scholars and artists alike have struggled to depict and contextualize the genocide’s monumental violence. But depicting violence and its aftermath poses several problems, including the question of how to recall loss without artificially filling in or effacing the absence so central to its understanding. In essence, remembering the Holocaust is a paradox: the preservation of an absence. Marianne Hirsch’s influential concept of postmemory addresses this paradox and asks questions about memorial capacity in the twenty-first century. This essay considers Hirsch’s postmemory in the context of W.G. Sebald’s 2001 novel Austerlitz, which uses a combination of prose and photography to engage the difficulties inherent in memory work without access to eyewitnesses. Through the interaction of printed text and images, Austerlitz subtly references Lurianic mysticism’s concept of tikkun and Tree of Life (ilanot) diagrams. The result is a depiction of memory that is both process-based and embodies absence. My reading of Austerlitz traces a Jewish heritage within the work of a non-Jewish German author by attending to a tradition of mystical thought embedded in the novel. This situates Sebald’s fiction in a much longer Jewish history that stretches out on either end of the event of the Holocaust. Structurally, Sebald develops a tikkun-like process of (re)creation which relies on gathering material scraps of the past and imaginatively engaging with their absences in the present. Images, just as much as text, are central to this process. Reading Austerlitz in the context of Kabbalah reveals an intellectual and artistic link to a Jewish history that, while predating the Holocaust, nonetheless sheds light on post-Holocaust memories of loss. Full article

This paper examines a previously unknown anonymous Hebrew letter inserted into a postwar edition of Shem HaGedolim, found in the library of the Jewish University in Budapest. The letter, composed in Győr in 1947, consists almost entirely of passages copied from Tiferet Chayim, a hagiographic genealogy of the Sanz Hasidic dynasty. Although derivative in content, the letter’s form and placement suggest it was not meant for transmission but instead served as a private act of mourning and historiographical preservation. By situating the letter within the broader context of post-Holocaust Jewish and Hasidic memory practices, including yizkor books, rabbinic memoirs, and grassroots commemorative writing, this study proposes that the document constitutes a “micro-yizkor”: a bibliographic ritual that aimed to re-inscribe lost tzaddikim into sacred memory. Drawing on theories of trauma, religious coping, and bereavement psychology, particularly the Two-Track Model of Bereavement, the paper examines the letter as both a therapeutic and historiographical gesture. The author’s meticulous copying, selective omissions, and personalized touches (such as modified honorifics and emotive phrases) reflect an attempt to maintain spiritual continuity in the wake of communal devastation. Engaging scholarship by Michal Shaul, Lior Becker, Gershon Greenberg, and others, the analysis demonstrates how citation, far from being a passive act, functions here as an instrument of resistance, memory, and redemptive reconstruction. The existence of such a document can also be examined through the lens of Maurice Rickards’ insights, particularly his characterization of the “compulsive note” as a salient form of ephemera, materials often inserted between the pages of books, which pose unique challenges for interpreting the time capsule their authors sought to construct. Ultimately, the paper argues that this modest and anonymous document offers a rare window into postwar Ultra-orthodox religious subjectivity. It challenges prevailing assumptions about Hasidic silence after the Holocaust and demonstarates how even derivative texts can serve as potent sites of historical testimony, spiritual resilience, and bibliographic mourning. The letter thus sheds light on a neglected form of Hasidic historiography, one authored not by professional historians, but by the broken-hearted, writing in the margins of sacred books. Full article

The film Defiance (2008) explores the true story of the Bielski Partisans in the Second World War, led by the brothers Tuvia and Zus Bielski. While the film is in many ways a conventional action-packed war story of resistance to Nazi domination during the war, the filmmakers conscientiously depicted the myriad and sundry ways Jews resisted Nazi racial hatred and the attempted extermination of European Jewry. The Bielski partisans are portrayed as violently opposing the Nazi domination and their Belorussian supporters in armed conflict; as engaging in acts of sabotage and destruction to hamper the Axis war effort; as preserving and engaging in Jewish culture and religion to ensure its propagation, even in the most extreme of circumstances; and as continually struggling for survival against Nazi efforts to murder them. Their struggle for freedom from oppression inspires these acts of resistance. Furthermore, the filmmakers explore the theological problem of understanding the Jews as God’s chosen people as they fight for their lives against Nazi policies of extermination. Full article

In the wake of the Holocaust and the post-war reconstruction of Greece’s historic city centers, many Greek synagogues were demolished, abandoned, or appropriated, erasing centuries of Jewish architectural and communal presence. This study presents a thirty year-long research and documentation initiative aimed at preserving, recovering, and eventually digitally reconstructing these “lost” synagogues, both as individual buildings and within their urban context. Drawing on architectural surveys, archival research, oral histories, and previously unpublished materials, including the recently rediscovered Shemtov Samuel archive, the project grew through the use of technology. Beginning with in situ surveys in the early 1990s, it evolved into full-scale digitally enhanced architectural drawings that formed the basis for further digital exploration, 3D models, and virtual reality outputs. With the addition of these new tools to existing documentation, the project can restore architectural detail and cultural context with a high degree of fidelity, even in cases where only fragmentary evidence survives. These digital reconstructions have informed physical restoration efforts as well as public exhibitions, heritage education, and urban memory initiatives across Greece. By reintroducing “invisible” Jewish landmarks into contemporary consciousness, the study addresses the broader implications of post-war urban homogenization, the marginalization of minority heritage, and the ethical dimensions of digital preservation. This interdisciplinary approach, which bridges architectural history, digital humanities, urban studies, and cultural heritage, demonstrates the value of digital tools in reconstructing “lost” pasts and highlights the potential for similar projects in other regions facing comparable erasures. Full article

This article examines Marcel Janco’s Holocaust drawings, positioning them within the broader discourse of Holocaust representation, trauma, and avant-garde aesthetics. Created in response to the Bucharest Pogrom of January 1941, these works resist both forensic realism and pure abstraction, instead embodying rupture, instability, and fragmentation. Janco’s grotesque distortions neither document events with the precision of testimony nor dissolve into conceptual erasure; rather, they enact the instability of Holocaust memory itself. This essay argues that Janco’s Holocaust works, long overshadowed by his modernist and Dadaist contributions, challenge dominant frameworks of remembrance. Through comparative analysis with artists, such as David Olère, Anselm Kiefer, and George Grosz, it situates Janco’s approach at the limits of witnessing, exploring how his figures embody violence rather than merely depict it. While Olère reconstructs genocide through forensic detail and Kiefer engages with the material traces of memory, Janco’s grotesque forms share an affinity with Grosz’s politically charged distortions—though here, fragmentation serves not as critique but as testimony. Furthermore, the study interrogates the institutional and critical neglect of these works, particularly within Israeli art history, where they clashed with the forward-looking ethos of abstraction. By foregrounding Janco’s Holocaust drawings as both aesthetic interventions and acts of historical witnessing, this article repositions them as crucial yet overlooked contributions to Holocaust visual culture—demanding recognition for their capacity to unsettle, resist closure, and insist on the incompleteness of memory. Full article

The non-destructive geophysical testing method ground penetrating radar (GPR), along with satellite image and air photo assessment, a review of the existing literature sources, and Holocaust survivor testimony, was used to document the location of potential mass graves in Alytus, Lithuania. In World War II, six million Jews were murdered, as were as many as five million other victims of Nazi Germany’s orchestrated persecution. In the summer of 1941, 8030 Jews (4.70 percent of Lithuania’s Jewish population) lived in Alytus County, where the town of Alytus is located. It is estimated that over 8000 Jews were murdered in Alytus County, including nearly the entire Jewish population of the town of Alytus. The murder of Jews from Alytus County accounts for approximately 4.2% of the total number of Lithuanian Jews killed in the Holocaust. Survivor testimony indicates that several thousand Jews from both the town and county were murdered and buried in the Vidzgiris Forest about 1000 m from the town center. In 2022, field reconnaissance at locations in the forest, which appeared to be disturbed in a 1944 German Luftwaffe air photograph, indicated that these disturbances were associated with natural geomorphic processes and not the Holocaust. Analysis of GPR data that was collected using a pulseEKKO Pro 500-megahertz groundpenetrating radar (GPR) system in 2022 in the vicinity of monuments erected in the forest to memorialize mass graves indicates that no mass graves were directly associated with these monuments. The 1944 air photograph contained two roads that traversed through and abruptly ended in the forest, which was the impetus for detailed field reconnaissance in that area. A segment of a 150 m long linear surface feature found in the forest was assessed using GPR, and based on the profile that was generated, it was determined that this feature is possibly a segment of a much more extensive mass grave. Testimony of a Holocaust survivor stated that as many as three burial trenches exist in this portion of the forest. Additional research using non-destructive GPR technology, air photograph and satellite image assessment, and the existing literature and testimony-based data are required for the Vidzgiris Forest to better define these and other potential mass graves and other Holocaust-related features. Full article

This paper attempts to reconceptualize memory as an event from a theological perspective, drawing on the recent dialog between memory studies and Critical Event Studies. To this end, it analyzes the narrative and themes of the 2007 novel Brodeck’s Report by Philippe Claudel, classified as a third-generation Holocaust (narrative) writer in France, within the framework of event studies. The novel has been praised for successfully depicting the tragedy as a universal event transcending spatial–temporal specificity by utilizing the genre of allegory while minimizing references to the historical and geographical specificity of the Holocaust. Extending this evaluation, this paper particularly focuses from a theological perspective on how the protagonist and narrator, Brodeck, simply names the subject of his report—a past event that happened to an unidentified other (Autre) called the ‘Anderer’—as ‘Ereignis’ (event). This is noteworthy because Ereignis is not only the most famous concept representing late Heideggerian philosophy but also holds significant importance in post-Heideggerian modern philosophy as the speculative source of the ‘evental turn’, which, along with the ‘material turn’, constitutes one axis of the ‘ontological turn’ in contemporary humanities and social sciences. In this regard, this work, which narrativizes the universality of the Holocaust, provides interesting implications for the possibility of a disjunctive synthesis between memory studies in the humanities and social sciences and theological event studies. Above all, it stimulates a reconsideration of the conventional dichotomy between memory and event—namely, the commonplace premise of “events that occurred in the past” and “present memories of past events”—as revealed in the definition of memory studies as “naming pasts, transforming futures”. Thus, this paper explores the possibility of reconceptualizing the moment of memory as part of the ongoing event itself from past to present, and the event as a process of symbolic construction of meaning through memory. Full article

Despite the increasingly diverse societal landscape in Greece for more than three decades within a context of migration, understandings of its fragile histories are still limited in shaping a sense of belonging that is open to ‘otherness’. While Greek communities have utilised history as a pathway to maintain identity, other parallel histories and understandings do not resonate with ‘Greekness’ for most, such as the case of Greek Jewry. Critical historical perspectives can benefit from tracing ‘re-membering’ as a feminist practice in the reassessment of societal values of inclusivity. Histories of violence and injustice can also include elements of ‘difficult histories’ and must be embraced to seek acknowledgement of these in promoting social change and cultural analysis for public humanities informing curation and curricula. Between eduscapes, art heritage spaces, an entry into contested and conflictual histories can expand a sense of belonging and the way we imagine our own connected histories with communities, place and nation. Greek Jews do not constitute a strong part of historical memory for Greeks in their past and present; in contrast to what is perceived as ‘official’ history, theirs is quite marginal. As a result, contemporary Greeks, from everyday life to academia, do not have a holistic understanding in relation to the identities of Jews in Greece, their culture or the Holocaust. Given the emergence of a new wave of artistic activism in recent years in response to the ever-increasing dominance of authoritarian neoliberalism, along with activist practices in the art field as undercurrents of resistance, in this intervention I bring together bodies of works to create a dialogic reflection with historical, artistic and feminist sources. In turn, the discussion then explores the spatiotemporal contestations of the historical geographies of Holocaust monuments in Greece. While interrogating historical amnesia, I endeavour to provide a space to engage with ‘difficult histories’ in their aesthetic context as a heritage of healing and social justice. Full article

This article contributes to the interdisciplinary fields of memory and historical justice studies by analyzing one, particularly troublesome kind of competitive comparison that sometimes happens in memory politics in the so-called age of apology. The article calls this kind of competitive comparison, “saming”. Saming involves the attempt, via far-fetched or otherwise wrongheaded comparison, to exploit the recognition of some well-known case of historical injustice. Further, saming involves pursuing this comparison in ways that both trivialize the original injustice and undermine the framework from which the recognition of that injustice derives. The article develops its arguments and analysis by studying Budapest’s House of Terror museum and two Canadian redress campaigns, which sought historical recognition for the wartime internments of persons of Italian and Ukrainian ancestry, respectively. Saming is a recurrent problem, ubiquitous and probably inevitable in memory politics because the recognition of historical injustice brings with it unavoidable and indeed often valuable incentives to comparison. Thus, the overall aim of this article is to analyze the threat of saming in order to better defend the cause of comparison in introspective collective remembrance. Full article