Out of the Whirlwind Reconsidered

2020 ◽  
Vol 53 (2) ◽  
pp. 1-12
Author(s):  
Michael Berkowitz

This article argues that Albert Friedlander’s edited book, Out of the Whirlwind (1968), should be recognised as pathbreaking. Among the first to articulate the idea of ‘Holocaust literature’, it established a body of texts and contextualised these as a way to integrate literature – as well as historical writing, music, art and poetry – as critical to an understanding of the Holocaust. This article also situates Out of the Whirlwind through the personal history of Friedlander and his wife Evelyn, who was a co-creator of the book, his colleagues from Hebrew Union College, and the illustrator, Jacob Landau. It explores the work’s connection to the expansive, humanistic development of progressive Judaism in the United States, Britain and continental Europe. It also underscores Friedlander’s study of Leo Baeck as a means to understand the importance of mutual accountability, not only between Jews, but in Jews’ engagement with the wider world.

Author(s):  
Kelly Schrum ◽  
Sheila Brennan ◽  
James Halabuk ◽  
Sharon Leon ◽  
Tom Scheinfeldt

Oral history means many things. It is a record of oral tradition, compiled of stories handed down from one generation to the next, as well as the recording of personal history or experiences. It can involve a formal interview examining a particular topic, such as the history of the space telescope, or a moment in time, such as the partial meltdown at the Three Mile Island commercial nuclear power plant near Middletown, Pennsylvania, on March 28, 1979. A kind of oral history can also occur informally, when family members share stories around a kitchen table or when a high school student interviews his grandmother about immigrating to the United States. The task of categorizing oral history has become even more challenging in the digital age. It is possible to define online oral history, as resources are available via the Internet that are related to the collecting, cataloging, preserving, or sharing of oral history.


2021 ◽  
pp. 1-19
Author(s):  
Jason Lustig

The introduction presents the book’s core argument that twentieth-century Jewish archives were not just about the past but also about the future: We can look to a process whereby Jews turned increasingly toward archives as anchors of memory in a rapidly changing world. Jews in Germany, the United States, and Israel/Palestine all sought to gather the files of the past in order to represent their place in Jewish life and articulate a vision of the future. It situates these projects in the history of community-based archiving and archival theory and methodology, as well as Jewish history at large. It also dives into the ways we can see archive making as a metaphor for the broader patterns in modern Jewish history, as Jews sought to gather the sources and resources of their culture both before the Holocaust and especially in its aftermath.


2007 ◽  
Vol 29 (3) ◽  
pp. 19-32 ◽  
Author(s):  
SUSAN BACHRACH

This article discusses the methods the United States Holocaust Memorial Museum used to make an exhibition on the complex history of Nazi eugenics accessible to the museum's mass public and at the same time, provocative for special audiences consisting of professionals and students from the biomedical fields. Deadly Medicine: Creating the Master Race showed how both eugenics and related “euthanasia” programs in Nazi Germany helped pave the road to the Holocaust. The exhibition implicitly evoked the present-day appeal of biological explanations for human behavior and of new visions of human perfection. Educational programs used the exhibition as a springboard for discussions of bioethics and medical ethics.


2009 ◽  
Vol 18 (3) ◽  
pp. 280-286 ◽  
Author(s):  
JAMES F. DRANE

Where I am, in the late 70s, I find myself being asked to do far more than I am able. I'm at the stage when everyone assumes that I don't have any real work, so it's OK to ask for things. Increasingly the things I'm asked to do are historical: What was it like back then? When did you start doing this or that? How did this or that get started? I guess I'm in the penultimate period. I'm still working every day, much harder than I would like, and upset by the fact that my memory is not working the way it should. With this public confession, I'll now start my penance, that is, to do a little personal history of my involvement with bioethics first here in the United States, then in Spain and Spanish-speaking nations of Latin America.


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