scholarly journals Hannah Arendt's Eichmann Controversy as Destabilizing Transatlantic Text

AJS Review ◽  
2013 ◽  
Vol 37 (1) ◽  
pp. 115-134
Author(s):  
Adam J. Sacks
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Turning Point ◽  
Public Intellectuals ◽  
Pivot Point ◽  
The Public ◽  
The Holocaust ◽  
Judaic Studies ◽  
The World ◽  
Critical Turning Point

The controversy surrounding Hannah Arendt's reportage on the Eichmann trial in Jerusalem and the subsequent book cannot be underestimated. For Arendt personally, the trial was the decisive event in the second half of her life and amounted to nothing less than a second exile. On the world stage, it marked not only a critical turning point in international consciousness of the Holocaust, but also both initiated and reflected a critical shift in intra-Jewish representations and expression. Arendt's book could in fact be considered as a master text for Judaic studies in the second half of the twentieth century. To mention two of many possible consequences, the controversy may be seen as a pivot point from which the culture of the public intellectuals of New York argued itself out of the spotlight, as well as a primary catalyst for two of the most significant works on the Holocaust penned by women: Lucy Davidowicz'sThe War against the Jews(1975) and Leni Yahil'sThe Holocaust(1987).

Understanding the Holocaust. A Task for Generations

2008 ◽  
pp. 11-20
Author(s):  
Jacek Leociak
Keyword(s):  
New York ◽  
The Public ◽  
Tel Aviv ◽  
Unique Event ◽  
The Holocaust ◽  
The World ◽  
Public Debates ◽  
Polish Society ◽  
The Public Sphere ◽  
State Of Affairs

The Holocaust destroyed virtually the entire Jewish community in Poland. Zusman Segałowicz, the pre-war chairman of the Jewish Union of Writers and Journalists of 13 Tłomackie Street, Warsaw, managed to leave Warsaw in 1939 and via Vilna, Kaunas, Bulgaria, Turkey, and Syria reached Palestine, where, under the beating Tel-Aviv sun, he pondered on the burning ruins of the ghetto. His memoirs, published in 1946 in Argentina (the author died in New York in 1949), contain the following passage: I pass conflagration sites. I dig in the ashes. For the time being, these are the ashes of 13 Tłomackie St. All that is left of the entire Jewish world in Poland is a cemetery. Sometimes our pain leads us to divide this great cemetery into individual, smaller cemeteries: the cemetery of the Hassidic world, the cemetery of Jewish workers, merchants, entrepreneurs and industrialists, the cemetery of Jewish children who were to be our future. Finally, our thoughts run toward the cemetery of the Jewish spirit: the theatre, music, art, journalism and literature. We cannot depart from any of these cemeteries, but, at the same time, we should not come too close, for it could drag one into its endless abyss. What are we to do then? Shout? The dead won't hear us, and the world of the living is more dead than the world of the dead.The Holocaust happened on our soil, in full view of Polish society, and it is an integral part – whether one wants it or not – of Polish history. For the Poles, the experience of the Holocaust remains a unique event and carries extraordinary responsibilities. Nevertheless, in terms of social awareness, the Shoah seems to belong to Jewish rather than to Polish history. Even today many Poles feel ill at ease, threatened or outright disappointed by the Jewish perceptions of the Holocaust and oftentimes the Jews are seen as rivals in the martyrology competition. Despite the recent historical research and public debates, culminating with the discussion around the Jedwabne crime, Polish society largely ignores the issues related to the Holocaust. Still too many myths and lies find their way to the public sphere and enter public circulation. This state of affairs is related, to a certain extent, to the sad legacy of decades of censorship and neglect under the communist rule. We believe that this should change. This is why we shall link research with educational activities in order to foster the knowledge of issues related to the Holocaust.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

André Martinet (1908–1999)

2012 ◽  
Vol 36 (3) ◽  
pp. 273-293
Author(s):  
Johannes Klare
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Foreign Language ◽  
World Wide ◽  
Columbia University ◽  
The World ◽  
History Of Linguistics ◽  
History Of ◽  
Important Position ◽  
Research Director

André Martinet holds an important position in the history of linguistics in the twentieth century. For more than six decades he decisively influenced the development of linguistics in France and in the world. He is one of the spokespersons for French linguistic structuralism, the structuralisme fonctionnel. The article focuses on a description and critical appreciation of the interlinguistic part of Martinet’s work. The issue of auxiliary languages and hence interlinguistics had interested Martinet greatly from his youth and provoked him to examine the matter actively. From 1946 onwards he worked in New York as a professor at Columbia University and a research director of the International Auxiliary Language Association (IALA). From 1934 he was in contact with the Danish linguist and interlinguist Otto Jespersen (1860–1943). Martinet, who went back to Paris in 1955 to work as a professor at the École Pratique des Hautes Études (Sorbonne), increasingly developed into an expert in planned languages; for his whole life, he was committed to the world-wide use of a foreign language that can be learned equally easily by members of all ethnic groups; Esperanto, functioning since 1887, seemed a good option to him.

The Work of Testimony in the Age of Decolonization: Chronicle of a Summer, Cinema Verité, and the Emergence of the Holocaust Survivor

PMLA ◽  
2004 ◽  
Vol 119 (5) ◽  
pp. 1231-1246
Author(s):  
Michael Rothberg
Keyword(s):  
Turning Point ◽  
Discrete Event ◽  
Holocaust Survivor ◽  
Algerian War ◽  
The Public ◽  
Holocaust Memory ◽  
The Holocaust ◽  
History Of ◽  
The Public Sphere ◽  
First Time

The trial of Adolf Eichmann, in 1961, is generally considered a turning point in the history of Holocaust memory because it brought the Holocaust into the public sphere for the first time as a discrete event on an international scale. In the same year, Jean Rouch and Edgar Morin's film Chronicle of a Summer appeared in France. While absent from scholarship on memory of the Nazi genocide for over forty years, Chronicle of a Summer contains a scene of Holocaust testimony that suggests the need to look beyond the Eichmann trial for alternative articulations of public Holocaust remembrance. This essay considers the juxtaposition in Chronicle of a Summer of Holocaust memory and the history of decolonization in order to rethink the “unique” place that the Holocaust has come to hold in discourses on extreme violence. The essay argues that a discourse of truth and testimony arose in French resistance to the Algerian war that shaped and was shaped by memory of the Nazi genocide.

Private Networks and the Public Interest

2016 ◽  
Author(s):  
Simon James Bytheway ◽  
Mark Metzler
Keyword(s):  
New York ◽  
Central Bank ◽  
Public Interest ◽  
Central Banks ◽  
Capital City ◽  
World City ◽  
Capitalist System ◽  
The Public ◽  
The World ◽  
Hierarchical Nature

This concluding chapter examines the hierarchical nature of the markets in capital, which constitute the peak markets of the world capitalist system. It also reconsiders the central-bank connections between Tokyo, London, and New York as vital inner links within a larger set of world-city geographies. In a century of violent changes, these “capital city” geographies have been remarkably persistent. The great Tokyo bubble of 1989–90 was the greatest yet of its kind, but it now seems relatively modest next to the New York and London bubbles of 2007–8. Each of these “capital city” bubbles showed a mix of classic and novel features. Each also revealed, again, the centrality of the central banks themselves.

Balanchine, George (1904–1983)

2018 ◽  
Author(s):  
Nancy Reynolds
Keyword(s):  
New York ◽  
Twentieth Century ◽  
York City ◽  
Violin Concerto ◽  
Classical Dance ◽  
George Balanchine ◽  
The Past ◽  
The World ◽  
Classical Ballet

George Balanchine (Georgii Melitonovich Balanchivadze), arguably the greatest ballet choreographer of the twentieth century, was at once both modernist and traditionalist. Unlike many radical innovators, in charting new ground he did not reject the past. Virtually all of his major works make reference, even if obliquely, to the classical ballet technique in which he was trained. Although born in Russia and active in Europe in the early part of his career, it was in America that he made his greatest impact, directing the New York City Ballet, which he co-founded with Lincoln Kirstein, from its inception in 1948 until his death in 1983. During this time, the company grew from modest beginnings to become one of the most important ballet troupes in the world. Balanchine is credited with creating a particularly American style of classical dance, one that is characterized by speed, precision, energy, daring, and a rough grace more associated with athletes than with sylphs. His more than 400 dance works include Apollo (1928), Serenade (1934), Concerto Barocco (1941), Le Palais de cristal (later renamed Symphony in C) (1948), Orpheus (1948), The Nutcracker (1954), Agon (1957), Symphony in Three Movements (1972), Stravinsky Violin Concerto (1972), Vienna Waltzes (1977), Ballo della Regina (1978), and Mozartiana (1981).

“A Season in Hell”

2017 ◽  
Vol 86 (4) ◽  
pp. 632-660 ◽  
Author(s):  
Anne Rees
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Daily Life ◽  
Modern Life ◽  
Early Twentieth Century ◽  
The World ◽  
Women Travelers ◽  
The City ◽  
Travel Accounts

Australian women travelers in early twentieth-century New York often recoiled from the frenetic pace of the city, which surpassed anything encountered in either Britain or Australia. This article employs their travel accounts to lend support to the growing recognition that modernity took different forms throughout the world and to contribute to the project of mapping those differences. I argue that “hustle” was a defining feature of the New York modern, comparatively little evident in Australia, and I propose that the southern continent had developed a model of modern life that privileged pleasure-seeking above productivity. At a deeper level, this line of thinking suggests that modernization should not be conflated with the relentless acceleration of daily life; it thus complicates the ingrained assumption that speed and modernity go hand-in-hand.

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