Robota robiona była. O instalacji wideo-rzeźbiarskiej 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E Dominiki Macochy rozmawiają Elżbieta Janicka, Konrad Matyjaszek, Xawery Stańczyk, Katrin Stoll i Anna Zawadzka [The Job Was Being Done: A conversation about Dominika Macocha’s video-sculptural installation "50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E"]

The Job Was Being Done: A conversation about Dominika Macocha’s video-sculptural installation 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E.This article is a record of a discussion concerning Dominika Macocha’s video-sculptural installation 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E. The work deals with the uses of discourse and landscapes in mechanisms of camouflaging the crimes perpetrated on Jews by Poles during the Holocaust. The author lays bare and deconstructs these mechanisms – above all the mechanisms of narrative fetishism of production of artificial landscape – drawing on examples from Biłgoraj county. In the course of the discussion, the work inspired a critical reassessment of the categories dominating the ways in which the Holocaust is currently described: (1) Martin Pollack’s category of contaminated landscapes, rooted in the ideology of two totalitarianisms; (2) the category of the witness / bystander, which conceals the observers’ participation in the scenario of the crime; and (3) the category of taboo, which is ambivalent considering the universal knowledge on the part of local communities about what happened to Jews from their localities. Reflection on the production of taboo leads the discussants to deliberate on the status of Jewish sources in the field of Holocaust studies. Collected since as early as the 1940s, and containing ample and detailed information about Polish crimes perpetrated on Jews, they are nevertheless not recognised as sources by Polish historians. The conversation is concluded by an attempt at recapitulating the present condition of Polish historiography in the light of the postulated new approach to sources. Robota robiona była. O instalacji wideo-rzeźbiarskiej 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E Dominiki Macochy rozmawiają Elżbieta Janicka, Konrad Matyjaszek, Xawery Stańczyk, Katrin Stoll i Anna ZawadzkaNiniejszy tekst stanowi zapis dyskusji poświęconej instalacji wideo-rzeźbiarskiej Dominiki Macochy pt. 50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”E. Dzieło artystki dotyczy dyskursywnych i krajobrazowych mechanizmów kamuflowania zbrodni na Żydach popełnionych przez Polaków podczas Zagłady. Macocha obnaża i dekonstruuje te mechanizmy – przede wszystkim mechanizm fetyszyzmu narracyjnego i mechanizm produkcji sztucznego krajobrazu – na przykładach zaczerpniętych z powiatu biłgorajskiego. Podczas dyskusji, z inspiracji pracą artystki, krytycznemu namysłowi poddane zostają następujące, dominujące współcześnie kategorie opisu Zagłady: 1. zaproponowana przez Martina Pollacka kategoria skażonych krajobrazów, wyrosła na gruncie ideologii dwóch totalitaryzmów; 2. kategoria świadka, maskująca udział obserwatorów w scenariuszach zbrodni; 3. kategoria tabu, ambiwalentna, jeśli wziąć pod uwagę powszechność wiedzy lokalnych społeczności o tym, co stało się z Żydami z ich miejscowości. Refleksja nad produkcją tabu prowadzi dyskutantów do namysłu nad statusem źródeł żydowskich w polu badań nad Zagładą. W źródłach tych bowiem, kompletowanych już od lat czterdziestych, znajdujemy wiele szczegółowych informacji o polskich zbrodniach na Żydach. Nie są one jednak rozpoznane jako źródła przez polskich historyków. Dyskusję kończy próba podsumowania współczesnej kondycji polskiej historiografii w świetle postulatu nowego podejścia do źródeł.

Robota robiona była. O instalacji wideo-rzeźbiarskiej 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E Dominiki Macochy rozmawiają Elżbieta Janicka, Konrad Matyjaszek, Xawery Stańczyk, Katrin Stoll i Anna Zawadzka [The Job Was Being Done: A conversation about Dominika Macocha’s video-sculptural installation "50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E"]

The Job Was Being Done: A conversation about Dominika Macocha’s video-sculptural installation 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E.This article is a record of a discussion concerning Dominika Macocha’s video-sculptural installation 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E. The work deals with the uses of discourse and landscapes in mechanisms of camouflaging the crimes perpetrated on Jews by Poles during the Holocaust. The author lays bare and deconstructs these mechanisms – above all the mechanisms of narrative fetishism of production of artificial landscape – drawing on examples from Biłgoraj county. In the course of the discussion, the work inspired a critical reassessment of the categories dominating the ways in which the Holocaust is currently described: (1) Martin Pollack’s category of contaminated landscapes, rooted in the ideology of two totalitarianisms; (2) the category of the witness / bystander, which conceals the observers’ participation in the scenario of the crime; and (3) the category of taboo, which is ambivalent considering the universal knowledge on the part of local communities about what happened to Jews from their localities. Reflection on the production of taboo leads the discussants to deliberate on the status of Jewish sources in the field of Holocaust studies. Collected since as early as the 1940s, and containing ample and detailed information about Polish crimes perpetrated on Jews, they are nevertheless not recognised as sources by Polish historians. The conversation is concluded by an attempt at recapitulating the present condition of Polish historiography in the light of the postulated new approach to sources. Robota robiona była. O instalacji wideo-rzeźbiarskiej 50°31’29.7”N 22°46’39.1”E, 50°30’56.2”N 22°46’01.0”E, 50°30’41.0”N 22°45’49.5”E Dominiki Macochy rozmawiają Elżbieta Janicka, Konrad Matyjaszek, Xawery Stańczyk, Katrin Stoll i Anna ZawadzkaNiniejszy tekst stanowi zapis dyskusji poświęconej instalacji wideo-rzeźbiarskiej Dominiki Macochy pt. 50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”E. Dzieło artystki dotyczy dyskursywnych i krajobrazowych mechanizmów kamuflowania zbrodni na Żydach popełnionych przez Polaków podczas Zagłady. Macocha obnaża i dekonstruuje te mechanizmy – przede wszystkim mechanizm fetyszyzmu narracyjnego i mechanizm produkcji sztucznego krajobrazu – na przykładach zaczerpniętych z powiatu biłgorajskiego. Podczas dyskusji, z inspiracji pracą artystki, krytycznemu namysłowi poddane zostają następujące, dominujące współcześnie kategorie opisu Zagłady: 1. zaproponowana przez Martina Pollacka kategoria skażonych krajobrazów, wyrosła na gruncie ideologii dwóch totalitaryzmów; 2. kategoria świadka, maskująca udział obserwatorów w scenariuszach zbrodni; 3. kategoria tabu, ambiwalentna, jeśli wziąć pod uwagę powszechność wiedzy lokalnych społeczności o tym, co stało się z Żydami z ich miejscowości. Refleksja nad produkcją tabu prowadzi dyskutantów do namysłu nad statusem źródeł żydowskich w polu badań nad Zagładą. W źródłach tych bowiem, kompletowanych już od lat czterdziestych, znajdujemy wiele szczegółowych informacji o polskich zbrodniach na Żydach. Nie są one jednak rozpoznane jako źródła przez polskich historyków. Dyskusję kończy próba podsumowania współczesnej kondycji polskiej historiografii w świetle postulatu nowego podejścia do źródeł.

Collective help to Jews during the Holocaust in Kremenchuk (1941–1943)

The article examines a still unexplored issue of collective help to Jews during the Holocaust in Kremenchuk. Based on theoretical developments in Holocaust studies, it attempts to investigate the phenomenon of collective help to Jews in the context of the genocidal process unfolding in the city and the vicissitudes of the war in the region. Therefore, the author considers the process of changes in the “solution of the Jewish question” at the time of the Wehrmacht’s entry into Kremenchuk, as well as the dynamics of the Holocaust in the city. The author outlines the definition of “collective help” and offers its analysis through the prism of the activities of both non-Jews and Jews. In this regard, the article analyzes possible ways to obtain information by the local population about the genocide of Jews, as early awareness of the situation could provide more opportunities for action. The author reviewed the available historiographical works on the topic of helping Jews during the Holocaust, collected and systematized the available mentions of assistance to Jews in Kremenchuk, which can be qualified as acts of collective help, and described the specifics of the source base. For the first time, the article considers the actions of Synytsia-Verkhovsky, the first mayor of Kremenchuk under Nazi rule, and underground fighters from the organization “Patriot of the Motherland” under the leadership of Taras Zhvania as acts of collective aid. The article outlines what types of collective help were provided to Jews during the Holocaust in Kremenchuk. In addition, it assumes that during the collective assistance of the members of the organization “Patriot of the Motherland” infrastructural cooperation was established (the First City Hospital, the Red Cross, apartments of members of the underground organization). In this way, the author seeks to complement the historiographical contributions that have discussed help to the Jews of Kremenchuk very briefly and only from the viewpoint of individual acts.

Poeticile memoriei la Paul Celan și George Steiner: literatura și culpa supraviețuitorului

Both Paul Celan’s and George Steiner’s writings deal with the relationship between culture and barbarism; both originate in a terrible guilt of the survivor. In Paul Celan’s case, it is the guilt of surviving his own parents, exterminated in an internment camp in the Transnistria Governorate in 1942. In Steiner’s case, when he was 11 years old and on a vacation with his family in New York, his father decided that they would not return to Paris, but remain in the United States; in a few weeks, the Nazi army would occupy Paris; of Steiner’s Jewish colleagues at his elite high school in the 16th arrondissement of Paris, only one would survive (besides Steiner himself). In an autobiographical essay published in 1965 in Commentary, “A Kind of Survivor,” Steiner states directly: “I am a survivor, and not intact.” The Holocaust’s traumatic memory imbues every line in Celan’s poetry and every sentence in Steiner’s scholarly books – long before Holocaust studies became an academic discipline (he has done enormously himself in this respect). The present article documents traces of this fundamental trauma both in Celan’s poetry and in Steiner’s academic and autobiographic writing.

Por sus obras los conoceréis. Documentos de perpetrador y voces de víctimas en Retratos de identificação (Anita Leandro, 2014)

En los últimos años, el estudio de los perpetradores de violencia de masas ha crecido sustancialmente en publicaciones académicas, museos, memorias y cobertura mediática. Lo ha hecho cada vez con menos dependencia respecto a los influyentes y muy avanzados Holocaust Studies. Además, los horizontes de la investigación se han ampliado desde las personalidades y la maquinaria de destrucción al estudio más cercano de los documentos, objetos y mirada de los perpetradores. Es en este dominio donde se inscribe un film como Retratos de identificação de Anita Leandro (2014), film que, nacido de la investigación histórica, se propone reescribir mediante el uso de la composición y el montaje los documentos visuales y materiales de los perpetradores del primer caso difundido públicamente de tortura en Brasil en 1969. Poniendo a dialogar testimonios presentes, films militantes de los años setenta, fotografías policiales de fichaje e incluso la autopsia de un prisionero muerto bajo tortura, Anita Leandro se incorpora a esa corriente del documental cinematográfico que, en la línea de Harun Farocki o Chris Marker, consiste en interrogar y analizar las imágenes por medio de las imágenes mismas.

Without mandate: James Bernauer from the ethics of thought to historical memory

This special issue of Philosophy and Social Criticism is dedicated to James Bernauer, S.J. on the occasion of his retirement from full-time teaching. It contains original essays from Bernauer’s students, friends, and fellow travelers that were commissioned for the purpose of commemorating this occasion. These essays provide readers with an opportunity to reflect upon Bernauer’s contributions to fields of academic inquiry as diverse as Arendt and Foucault studies, the philosophy of religion, and Holocaust studies. Since our purpose was to honor the life and work of James Bernauer, and not simply comment on it, the contributors to this volume have each attempted to develop and extend, rather than simply rehash and recapitulate, the concerns they find articulated in Bernauer’s publications.

Teaching the Holocaust in Nursing Schools: The Perspective of the Victims and Survivors

In recent years, there has been increased recognition of the significance and relevance of Holocaust studies to nurses. However, these studies are rarely integrated in the nursing curriculum, and even when they are, the focus is usually on healthcare personnel who collaborated with the Nazi regime. This article aims to bridge this gap by analyzing a comprehensive requisite curriculum on the Holocaust for graduate nursing students. We emphasize the work of Jewish healthcare professionals during the Holocaust and the dilemmas they faced, as well as the trauma and resilience of Holocaust survivors, their treatment today, and implications for treating other patients. This article examines how studying these issues affected the graduate students. It analyzes the reflective accounts written by the students, using qualitative content analysis and Grounded Theory. The findings suggest that students received tools to act professionally and empathetically while demonstrating greater sensitivity to the patients’ identity, past experiences, trauma, and how the hospital as a “total institution” affects them. Many of the students developed conscious leadership. The program used a personalized pedagogical approach that contributed to experiential learning but was also emotionally challenging for the participants. We recommend including Holocaust studies as a requisite component in nursing programs worldwide.

Carol Rittner and John K. Roth, Eds. Advancing Holocaust Studies

No abstract is available.