Enzo Traverso – författare

'Enzo Traverso delivers a stinging riposte, rigorously anchored in his mastery of European Jewish history, to the virtually unanimous sanctification by Western elites of Israel's genocidal war on Gaza, and their dishonest weaponization of anti-Semitism (in some cases by true anti-Semites on the far right) to attack supporters of Palestinian rights' Rashid Khalidi, author of THE HUNDRED YEARS' WAR ON PALESTINEIs the destruction of Gaza only a consequence of the October 7, 2023 attack, or is it also the outcome of a long process of dispossession and eradication? Do Palestinians have the right to resist the occupation? Is talking about genocide anti-Semitism? Enzo Traverso goes to the root of the Israeli-Palestinian conflict by calling history into question and offers a critical interpretation that overturns the one-sided perspective from which we have become accustomed to observing what is happening in Gaza.

Today, history is increasingly written in the first person. A growing number of historical works include an autobiographical dimension, as if writing about the past required exploring the inner life of the author. Neither traditional history nor autobiography, this hybrid genre calls the norms of the historical profession into question. In search of new and creative paths, it transgresses a cardinal rule of the discipline: third-person narration, long considered necessary to the objective analysis of the past.Singular Pasts offers a critical account of the emergence of authorial subjectivity in historical writing, scrutinizing both its achievements and its shortcomings. Enzo Traverso considers a group of contemporary historians, including Ivan Jablonka, Sergio Luzzatto, and Mark Mazower, who reveal their emotional ties to their subjects and give their writing a literary flavor. He identifies a parallel trend in literature, in which authors such as W. G. Sebald, Patrick Modiano, Javier Cercas, and Daniel Mendelsohn write their works as investigations based on archival sources. Traverso argues that first-person history mirrors contemporary ways of thinking: such writing is presentist and apolitical, perceiving and representing the past through an individual lens. Probing the limits of subjective historiography, he emphasizes that it is collective action that produces social change: “we” instead of “I.” In an epilogue, Traverso considers the first-person writing of Saidiya Hartman as a counterexample. A wide-ranging and illuminating critique of a key trend in humanistic inquiry, Singular Pasts reconsiders the notion of historical truth in a neoliberal age.

The fall of the Berlin Wall marked the end of the Cold War but also the rise of a melancholic vision of history as a series of losses. For the political left, the cause lost was communism, and this trauma determined how leftists wrote the next chapter in their political struggle and how they have thought about their past since. Throughout the twentieth century, argues Left-Wing Melancholia, from classical Marxism to psychoanalysis to the advent of critical theory, a culture of defeat and its emotional overlay of melancholy have characterized the leftist understanding of the political in history and in theoretical critique. Drawing on a vast and diverse archive in theory, testimony, and image and on such thinkers as Karl Marx, Walter Benjamin, Theodor W. Adorno, and others, the intellectual historian Enzo Traverso explores the varying nature of left melancholy as it has manifested in a feeling of guilt for not sufficiently challenging authority, in a fear of surrendering in disarray and resignation, in mourning the human costs of the past, and in a sense of failure for not realizing utopian aspirations.Yet hidden within this melancholic tradition are the resources for a renewed challenge to prevailing regimes of historicity, a passion that has the power to reignite the dialectic of revolutionary thought.

The fall of the Berlin Wall marked the end of the Cold War but also the rise of a melancholic vision of history as a series of losses. For the political left, the cause lost was communism, and this trauma determined how leftists wrote the next chapter in their political struggle and how they have thought about their past since. Throughout the twentieth century, argues Left-Wing Melancholia, from classical Marxism to psychoanalysis to the advent of critical theory, a culture of defeat and its emotional overlay of melancholy have characterized the leftist understanding of the political in history and in theoretical critique.Drawing on a vast and diverse archive in theory, testimony, and image and on such thinkers as Karl Marx, Walter Benjamin, Theodor W. Adorno, and others, the intellectual historian Enzo Traverso explores the varying nature of left melancholy as it has manifested in a feeling of guilt for not sufficiently challenging authority, in a fear of surrendering in disarray and resignation, in mourning the human costs of the past, and in a sense of failure for not realizing utopian aspirations. Yet hidden within this melancholic tradition are the resources for a renewed challenge to prevailing regimes of historicity, a passion that has the power to reignite the dialectic of revolutionary thought.

Today, history is increasingly written in the first person. A growing number of historical works include an autobiographical dimension, as if writing about the past required exploring the inner life of the author. Neither traditional history nor autobiography, this hybrid genre calls the norms of the historical profession into question. In search of new and creative paths, it transgresses a cardinal rule of the discipline: third-person narration, long considered necessary to the objective analysis of the past.Singular Pasts offers a critical account of the emergence of authorial subjectivity in historical writing, scrutinizing both its achievements and its shortcomings. Enzo Traverso considers a group of contemporary historians, including Ivan Jablonka, Sergio Luzzatto, and Mark Mazower, who reveal their emotional ties to their subjects and give their writing a literary flavor. He identifies a parallel trend in literature, in which authors such as W. G. Sebald, Patrick Modiano, Javier Cercas, and Daniel Mendelsohn write their works as investigations based on archival sources. Traverso argues that first-person history mirrors contemporary ways of thinking: such writing is presentist and apolitical, perceiving and representing the past through an individual lens. Probing the limits of subjective historiography, he emphasizes that it is collective action that produces social change: “we” instead of “I.” In an epilogue, Traverso considers the first-person writing of Saidiya Hartman as a counterexample. A wide-ranging and illuminating critique of a key trend in humanistic inquiry, Singular Pasts reconsiders the notion of historical truth in a neoliberal age.

Has Jewish modernity exhausted itself? Flourishing between the age of Enlightenment and the Second World War, the intellectual, literary, scientific and artistic legacy of Jewish modernity continues to dazzle us, however, in this provocative new book, esteemed historian Enzo Traverso argues powerfully that this cultural epoch has come to an end. Previously a beacon for critical thinking in the Western world, the mainstream of Jewish thought has, since the end of the war, undergone a conservative turn. With great sensitivity and nuance, Traverso traces this development to the virtual destruction of European Jewry by the Nazis, and the establishment of the United States and Israel as the new poles of Jewish communal life. This is a compelling narrative, hinged upon a highly original discussion of Hannah Arendt's writings on Jewishness and politics. With provocative chapters on the relationship between antisemitism and Islamophobia, the ascendance of Zionism, and the new 'civil religion of the Holocaust', The End of Jewish Modernity is both an elegy to a lost tradition and an intellectual history of the present.

Has Jewish modernity exhausted itself? Flourishing between the age of Enlightenment and the Second World War, the intellectual, literary, scientific and artistic legacy of Jewish modernity continues to dazzle us, however, in this provocative new book, esteemed historian Enzo Traverso argues powerfully that this cultural epoch has come to an end. Previously a beacon for critical thinking in the Western world, the mainstream of Jewish thought has, since the end of the war, undergone a conservative turn. With great sensitivity and nuance, Traverso traces this development to the virtual destruction of European Jewry by the Nazis, and the establishment of the United States and Israel as the new poles of Jewish communal life. This is a compelling narrative, hinged upon a highly original discussion of Hannah Arendt's writings on Jewishness and politics. With provocative chapters on the relationship between antisemitism and Islamophobia, the ascendance of Zionism, and the new 'civil religion of the Holocaust', The End of Jewish Modernity is both an elegy to a lost tradition and an intellectual history of the present.

The Jews and Germany debunks a modern myth: that once upon a time there was a Judeo-German symbiosis, in which two cultures met and brought out the best in each other. Enzo Traverso argues that to the contrary, the attainments of Jews in the German-speaking world were due to the Jews aspiring to be German, with little help from and often against the open hostility of Germans. As the Holocaust proved in murder and theft, German Jews could never be German enough. Now the works of German Jews are being published and reprinted in Germany. It is a matter of enormous difference whether the German rediscovery of German Jews is another annexation of Jewish property or an act of rebuilding a link between traditions. Traverso shows how tenuous the link was in the first place. He resumes the queries of German Jews who asked throughout the twentieth century what it meant to be both Jewish and German. Hannah Arendt, Gershom Scholem, Martin Buber, Max Horkheimer, Walter Benjamin, Theodor Adorno, Ernst Bloch, Rosa Luxemburg, Franz Kafka, and many more thinkers of genius found the problems unavoidable and full of paradoxes. In returning to them Traverso not only demolishes a sugary myth but also reasserts the responsibility of history to recover memory, even if bitter and full of pain. Enzo Traverso was born in Italy in 1957. He currently works at the Bibliothéque de documentation internationale contemporaine in Nanterre, where he is in charge of the German section of documentary research. He is also the author of The Marxists and the Jewish Question: History of a Debate, 1843–1943.

In the half-century since the appearance of Hannah Arendt's seminal work The Origins of Totalitarianism, innumerable historians have detailed the history of the Nazi years. Now, in a brilliant synthesis of this work, Enzo Traverso situates the extermination camps as the final, terrible moment in European modernity's industrialization of killing and dehumanization of death. Traverso upends the conventional presentation of the Holocaust as an inexplicable anomaly, navigating an excess of antecedents both technical and cultural. Deftly tracing a complex lineage—the guillotine and machine gun, the prison and assembly line, as well as widespread ideologies of racial supremacy and colonial expansion—Traverso reveals that the ideas that coalesced at Auschwitz came from Europe's mainstream and not its margins.

For figures ranging from Karl Marx to the luminaries of the Frankfurt School, the 'Jewish Question' — a set of problems related to emancipation and anti-Semitism, cultural assimilation and Zionism — raised significant controversies within Marxist theory. Renowned scholar Enzo Traverso carefully reconstructs this intellectual debate that runs over more than a century, discussing both its generative aspects and its blind alleys. In The Jewish Question: History of a Marxist Debate, Traverso explores the causes and the forms of the encounter that took place, from the middle of the nineteenth century to the Holocaust, between the intelligentsia of a cosmopolitan minority and the most radical ideological current of Western modernity. This is the second edition, completely rewritten and updated, of a book already translated into many languages (originally published in French, then translated into English, German, Spanish, Japanese, and Turkish).

Has Jewish modernity exhausted itself? Flourishing between the age of Enlightenment and the Second World War, the intellectual, literary, scientific and artistic legacy of Jewish modernity continues to dazzle us, however, in this provocative new book, esteemed historian Enzo Traverso argues powerfully that this cultural epoch has come to an end. Previously a beacon for critical thinking in the Western world, the mainstream of Jewish thought has, since the end of the war, undergone a conservative turn. With great sensitivity and nuance, Traverso traces this development to the virtual destruction of European Jewry by the Nazis, and the establishment of the United States and Israel as the new poles of Jewish communal life. This is a compelling narrative, hinged upon a highly original discussion of Hannah Arendt''s writings on Jewishness and politics. With provocative chapters on the relationship between antisemitism and Islamophobia, the ascendance of Zionism, and the new ''civil religion of the Holocaust'', The End of Jewish Modernity is both an elegy to a lost tradition and an intellectual history of the present.

Fire and Blood looks at the European crisis of the two world wars as a single historical sequence: the age of the European Civil War (1914-1945). Its overture was played out in the trenches of the Great War; its coda on a ruined continent. It opened with conventional declarations of war and finished with "unconditional surrender." Proclamations of national unity led to eventual devastation, with entire countries torn to pieces. During these three decades of deepening conflicts, a classical interstate conflict morphed into a global civil war, abandoning rules of engagement and fought by irreducible enemies rather than legitimate adversaries, each seeking the annihilation of its opponents. It was a time of both unchained passions and industrial, rationalized massacre. Utilizing multiple sources, Enzo Traverso depicts the dialectic of this era of wars, revolutions and genocides. Rejecting commonplace notions of "totalitarian evil," he rediscovers the feelings and reinterprets the ideas of an age of intellectual and political commitment when Europe shaped world history with its own collapse.

Fire and Blood looks at the European crisis of the two world wars as a single historical sequence: the age of the European Civil War (1914-1945). Its overture was played out in the trenches of the Great War; its coda on a ruined continent. It opened with conventional declarations of war and finished with "unconditional surrender." Proclamations of national unity led to eventual devastation, with entire countries torn to pieces. During these three decades of deepening conflicts, a classical interstate conflict morphed into a global civil war, abandoning rules of engagement and fought by irreducible enemies rather than legitimate adversaries, each seeking the annihilation of its opponents. It was a time of both unchained passions and industrial, rationalized massacre. Utilizing multiple sources, Enzo Traverso depicts the dialectic of this era of wars, revolutions and genocides. Rejecting commonplace notions of "totalitarian evil," he rediscovers the feelings and reinterprets the ideas of an age of intellectual and political commitment when Europe shaped world history with its own collapse.

What does Fascism mean at the beginning of the twenty-first century? When we pronounce this word, our memory goes back to the years between the two world wars and envisions a dark landscape of violence, dictatorships, and genocide. These images spontaneously surface in the face of the rise of radical right, racism, xenophobia, islamophobia and terrorism, the last of which is often depicted as a form of "Islamic fascism." Beyond some superficial analogies, however, all these contemporary tendencies reveal many differences from historical fascism, probably greater than their affinities. Paradoxically, the fear of terrorism nourishes the populist and racist rights, with Marine Le Pen in France or Donald Trump in the US claiming to be the most effective ramparts against "Jihadist fascism". But since fascism was a product of imperialism, can we define as fascist a terrorist movement whose main target is Western domination? Disentangling these contradictory threads, Enzo Traverso's historical gaze helps to decipher the enigmas of the present. He suggests the concept of post-fascism-a hybrid phenomenon, neither the reproduction of old fascism nor something completely different-to define a set of heterogeneous and transitional movements, suspended between an accomplished past still haunting our memories and an unknown future.

What does Fascism mean at the beginning of the twenty-first century? When we pronounce this word, our memory goes back to the years between the two world wars and envisions a dark landscape of violence, dictatorships, and genocide. These images spontaneously surface in the face of the rise of radical right, racism, xenophobia, islamophobia and terrorism, the last of which is often depicted as a form of "Islamic fascism." Beyond some superficial analogies, however, all these contemporary tendencies reveal many differences from historical fascism, probably greater than their affinities. Paradoxically, the fear of terrorism nourishes the populist and racist rights, with Marine Le Pen in France or Donald Trump in the US claiming to be the most effective ramparts against "Jihadist fascism". But since fascism was a product of imperialism, can we define as fascist a terrorist movement whose main target is Western domination? Disentangling these contradictory threads, Enzo Traverso''s historical gaze helps to decipher the enigmas of the present. He suggests the concept of post-fascism-a hybrid phenomenon, neither the reproduction of old fascism nor something completely different-to define a set of heterogeneous and transitional movements, suspended between an accomplished past still haunting our memories and an unknown future.

''Enzo Traverso delivers a stinging riposte, rigorously anchored in his mastery of European Jewish history, to the virtually unanimous sanctification by Western elites of Israel''s genocidal war on Gaza, and their dishonest weaponization of anti-Semitism (in some cases by true anti-Semites on the far right) to attack supporters of Palestinian rights'' Rashid Khalidi, author of THE HUNDRED YEARS'' WAR ON PALESTINEIs the destruction of Gaza only a consequence of the October 7, 2023 attack, or is it also the outcome of a long process of dispossession and eradication? Do Palestinians have the right to resist the occupation? Is talking about genocide anti-Semitism? Enzo Traverso goes to the root of the Israeli-Palestinian conflict by calling history into question and offers a critical interpretation that overturns the one-sided perspective from which we have become accustomed to observing what is happening in Gaza.

This book reinterprets the history of nineteenth and twentieth-century revolutions by composing a constellation of "dialectical images": Marx's "locomotives of history," Alexandra Kollontai's sexually liberated bodies, Lenin's mummified body, Auguste Blanqui's barricades and red flags, the Paris Commune's demolition of the Vendome Column, among several others. It connects theories with the existential trajectories of the thinkers who elaborated them, by sketching the diverse profiles of revolutionary intellectuals-from Marx and Bakunin to Luxemburg and the Bolsheviks, from Mao and Ho Chi Minh to José Carlos Mariátegui, C.L.R. James, and other rebellious spirits from the South-as outcasts and pariahs. And finally, it analyzes the entanglement between revolution and communism that so deeply shaped the history of the twentieth century. This book thus merges ideas and representations by devoting an equal importance to theoretical and iconographic sources, offering for our troubled present a new intellectual history of the revolutionary past.

This book reinterprets the history of nineteenth and twentieth-century revolutions by composing a constellation of "dialectical images": Marx's "locomotives of history," Alexandra Kollontai's sexually liberated bodies, Lenin's mummified body, Auguste Blanqui's barricades and red flags, the Paris Commune's demolition of the Vendome Column, among several others. It connects theories with the existential trajectories of the thinkers who elaborated them, by sketching the diverse profiles of revolutionary intellectuals-from Marx and Bakunin to Luxemburg and the Bolsheviks, from Mao and Ho Chi Minh to José Carlos Mariátegui, C.L.R. James, and other rebellious spirits from the South-as outcasts and pariahs. And finally, it analyzes the entanglement between revolution and communism that so deeply shaped the history of the twentieth century. This book thus merges ideas and representations by devoting an equal importance to theoretical and iconographic sources, offering for our troubled present a new intellectual history of the revolutionary past.

This book reinterprets the history of nineteenth and twentieth-century revolutions by composing a constellation of "dialectical images": Marx''s "locomotives of history," Alexandra Kollontai''s sexually liberated bodies, Lenin''s mummified body, Auguste Blanqui''s barricades and red flags, the Paris Commune''s demolition of the Vendome Column, among several others. It connects theories with the existential trajectories of the thinkers who elaborated them, by sketching the diverse profiles of revolutionary intellectuals-from Marx and Bakunin to Luxemburg and the Bolsheviks, from Mao and Ho Chi Minh to Jos� Carlos Mari�tegui, C.L.R. James, and other rebellious spirits from the South-as outcasts and pariahs. And finally, it analyzes the entanglement between revolution and communism that so deeply shaped the history of the twentieth century. This book thus merges ideas and representations by devoting an equal importance to theoretical and iconographic sources, offering for our troubled present a new intellectual history of the revolutionary past.

La historia se escribe cada vez más en primera persona. Los historiadores no se limitan ya a reconstruir e interpretar el pasado; ahora sienten la necesidad de incluirse a sí mismos en sus historias. Se ha creado un nuevo género híbrido, ejemplificado en particular por las obras de autores como Ivan Jablonka o Philippe Artières, que ofrecen la narración de sus investigaciones y describen sus emociones con un estilo muy literario. A la inversa, siguiendo la estela de Patrick Modiano y W. G. Sebald, algunos autores como Javier Cercas, Éric Vuillard o Laurent Binet hacen que se desplace la frontera entre verdad novelesca y verdad histórica con la creación de «novelas sin ficción».Este auge del yo plantea cuestiones epistemológicas y otras, más profundas, que conciernen al mundo en el que vivimos, su nueva razón neoliberal y el individualismo que la caracteriza. En este ensayo, Enzo Traverso analiza este giro subjetivista destacando sus potencialidades creativas, ambigüedades políticas y límites intrínsecos.

La modernidad judía se desarrolló entre la época de la Ilustración y la Segunda Guerra Mundial, entre la Emancipación y el Holocausto.Durante dos siglos, en el corazón mismo de Europa, desplegó una creatividad intelectual, literaria, científica y artística excepcional.Salidos de los guetos, en pocos decenios los judíos se integraron en diferentes esferas sociales con modalidades muy marcadas según países. Sin embargo, la modernidad judía ha agotado su trayectoria. En este ensayo innovador Enzo Traverso analiza esta transformación histórica y reconstruye con brillantez la trayectoria de los judíos en la Europa contemporánea en una perspectiva comparada. Su propósito no es condenar ni absolver sino trazar el balance una experiencia acabada. Y salvar un legado sin par, amenazado tanto por la canonización estéril como por la confiscación conservadora.

"¿Es la destrucción de Gaza una consecuencia del ataque del 7 de octubre o el epílogo de un largo proceso de opresión y erradicación? ¿Tienen los palestinos derecho a resistirse a la ocupación? ¿Hablar de genocidio es antisemitismo? Enzo Traverso, uno de los historiadores más autorizados de nuestro tiempo, va a la raíz del conflicto israelopalestino poniendo en cuestión la historia del conflicto y ofrece una interpretación crítica que da la vuelta a la perspectiva unilateral desde la que nos hemos acostumbrado a observar lo que ocurre en Gaza.Se suele describir a Israel como una isla democrática en medio de un océano oscurantista y a Hamás como un ejército de bestias sedientas de sangre. La historia parece remontarse al siglo xix, cuando Occidente perpetró genocidios coloniales en nombre de su misión civilizadora. Sus supuestos esenciales siguen siendo los mismos: civilización frente a barbarie, progreso frente a atraso. Junto a las declaraciones rituales sobre el derecho de Israel a defenderse, nadie menciona nunca el derecho de los palestinos a resistir una agresión que dura desde hace décadas. Pero si en nombre de la lucha contra el antisemitismo permitimos que se desate una guerra genocida serán nuestras propias orientaciones morales y políticas las que se vean empañadas, serán los supuestos de nuestra conciencia moral los que se verán socavados: la distinción entre el bien y el mal, el opresor y el oprimido, los perpetradores y las víctimas. El atentado del 7 de octubre fue atroz, pero hay que analizarlo y no solo condenarlo, y debemos hacerlo reuniendo todas las herramientas críticas de la investigación histórica. Si la guerra de Gaza acabara en una segunda Nakba, la legitimidad de Israel se vería completamente comprometida. En ese caso, ni las armas estadounidenses, ni los medios de comunicación occidentales, ni la distorsionada y la memoria distorsionada e indignada de la Shoah podrán redimirlo."