Cultural Expressions of World War II – serie

Margaret Storm Jameson (1891-1986) is primarily known as a compelling essayist; her stature as a novelist and champion of the dispossessed is largely forgotten. In Life in the Writings of Storm Jameson, Elizabeth Maslen reveals a figure who held her own beside fellow British women writers, including Virginia Woolf; anticipated the Angry Young Women, such as Doris Lessing; and was an early champion of such European writers as Arthur Koestler and Czesław Miłosz.Jameson was a complex character whose politics were grounded in social justice; she was passionately antifascist - her novel In the Second Year (1936) raised the alarm about Nazism - but always wary of communism. An eloquent polemicist, Jameson was, as president of the British P.E.N. during the 1930s and 1940s, of invaluable assistance to refugee writers.Elizabeth Maslen's biography introduces a true twentieth century hedgehog, whose essays and subtly experimental fiction were admired in Europe and the States.

H. G. Adler: Life, Literature, Legacy is the first collection of essays in English dedicated to the life and work of German-language author H. G. Adler. Among the international scholars of German, Jewish, and Holocaust literature and history who reveal the range of Adler’s legacy across genres are Adler’s son, Jeremy Adler, and Peter Filkins, translator of Adler’s trilogy, Panorama (The Journey).Together, the essays examine Adler’s writing in relation to his life, especially his memory as a survivor of the Nazi death camps and his posthumous recognition for having produced a Gesamkunstwerk, an aesthetic synthesis of the Shoah. The book carries the moral charge of Adler’s work, moving beyond testimony to a complex dialectic between fact and fiction, exploring Adler’s experiments with voice and the ethical work of literary engagement with the Shoah.

H.G. Adler: Life, Literature, Legacy is the first collection of essays in English dedicated to the life and work of German-language author H. G. Adler. Among the international scholars of German, Jewish, and Holocaust literature and history who reveal the range of Adler’s legacy across genres are Adler’s son, Jeremy Adler, and Peter Filkins, translator of Adler’s trilogy, Panorama (The Journey).Together, the essays examine Adler’s writing in relation to his life, especially his memory as a survivor of the Nazi death camps and his posthumous recognition for having produced a Gesamkunstwerk, an aesthetic synthesis of the Shoah. The book carries the moral charge of Adler’s work, moving beyond testimony to a complex dialectic between fact and fiction, exploring Adler’s experiments with voice and the ethical work of literary engagement with the Shoah.

Hidden in Plain Sight: Jews and Jewishness in British Film, Television, and Popular Culture is the first collection of its kind on this subject. The volume brings together a range of original essays that address different aspects of the role and presence of Jews and Jewishness in British film and television from the interwar period to the present. It constructs a historical overview of the Jewish contribution to British film and television, which has not always been sufficiently acknowledged. Each chapter presents a case study reflective of the specific Jewish experience as well as its particularly British context, with cultural representations of how Jews responded to events from the 1930s and '40s, including World War II, the Holocaust, and a legacy of antisemitism, through to the new millennium.

Hidden in Plain Sight: Jews and Jewishness in British Film, Television, and Popular Culture is the first collection of its kind on this subject. The volume brings together a range of original essays that address different aspects of the role and presence of Jews and Jewishness in British film and television from the interwar period to the present. It constructs a historical overview of the Jewish contribution to British film and television, which has not always been sufficiently acknowledged. Each chapter presents a case study reflective of the specific Jewish experience as well as its particularly British context, with cultural representations of how Jews responded to events from the 1930s and '40s, including World War II, the Holocaust, and a legacy of antisemitism, through to the new millennium.

Few countries attribute as much importance to the Second World War and its memory as Britain; arguably nowhere else has this conflict developed such longevity in cultural memory and retained such presence in contemporary culture. Long Shadows is about how literature and film have helped shape this process in Britain. More precisely, the essays collected here suggest that this is a continuous work in progress, subject to transgenerational revisions, political expediencies, commercial considerations, and the vicissitudes of popular taste. It would indeed be more accurate to speak of the meanings (plural) that the war has been given at various moments in British cultural life. These semantic variations and fluctuations in cultural import are rooted in the specificity of the British war experience, in the political aftermath of the war in Europe, and in its significance for Britain’s postwar position on the global stage. In other words, the books and films discussed in these essays respond to how the war has been interpreted and remembered; what is at stake is the way in which the war has been emplotted as a hegemonic cultural narrative about Britain.

Few countries attribute as much importance to the Second World War and its memory as Britain; arguably nowhere else has this conflict developed such longevity in cultural memory and retained such presence in contemporary culture. Long Shadows is about how literature and film have helped shape this process in Britain. More precisely, the essays collected here suggest that this is a continuous work in progress, subject to transgenerational revisions, political expediencies, commercial considerations, and the vicissitudes of popular taste. It would indeed be more accurate to speak of the meanings (plural) that the war has been given at various moments in British cultural life. These semantic variations and fluctuations in cultural import are rooted in the specificity of the British war experience, in the political aftermath of the war in Europe, and in its significance for Britain’s postwar position on the global stage. In other words, the books and films discussed in these essays respond to how the war has been interpreted and remembered; what is at stake is the way in which the war has been emplotted as a hegemonic cultural narrative about Britain.

In Spoiling the Stories, Tamar Merin presents the as yet untold story of the rise of prose by Israeli women, while further exploring and expanding the gendered models of literary influence in modern Hebrew literature. The theoretical idea upon which this book is based is that of intersexual dialogue, a term that refers to the various literary strategies employed by Israeli female fiction writers expressing their voice within a male-dominated and (still) inherently Oedipal literary tradition. Spoiling the Stories focuses on intersexual dialogue as it evolved in the first three decades after the establishment of the state of Israel in the works of Yehudit Hendel, Amalia Kahana- Carmon, and Rachel Eytan. According to Merin, these three women writers were the most important in the history of modern Hebrew literature: each was a significant participant in the poetic development of her time.

Victoria Aarons and Alan L. Berger show that Holocaust literary representation has continued to flourish well into the twenty-first century—gaining increased momentum even as its perspective shifts, as a third generation adds its voice to the chorusof post-Holocaust writers. In negotiating the complex thematic imperatives and narrative conceits of the literature of third-generation writers, this bold new work examines those structures, tropes, patterns, ironies, disjunctions, and overall tensionsthat produce a literature that laments unrecoverable loss for a generation removed spatially and temporally from the extended trauma of the Holocaust. Aarons and Berger address evolving notions of “postmemory”; the intergenerational and ongoingtransmission of trauma; issues of Jewish cultural identity; inherited memory; the psychological tensions of post-Holocaust Jewish identity; the characteristic tropes of memory and the personalized narrative voice; issues of generational dislocationand anxiety; the recurrent antagonisms of assimilation and historical alienation; the imaginative re-creation and reconstruction of the past; and the future of Holocaust memory and representation.

Victoria Aarons and Alan L. Berger show that Holocaust literary representation has continued to flourish well into the twenty-first century—gaining increased momentum even as its perspective shifts, as a third generation adds its voice to the chorusof post-Holocaust writers. In negotiating the complex thematic imperatives and narrative conceits of the literature of third-generation writers, this bold new work examines those structures, tropes, patterns, ironies, disjunctions, and overall tensionsthat produce a literature that laments unrecoverable loss for a generation removed spatially and temporally from the extended trauma of the Holocaust. Aarons and Berger address evolving notions of “postmemory”; the intergenerational and ongoingtransmission of trauma; issues of Jewish cultural identity; inherited memory; the psychological tensions of post-Holocaust Jewish identity; the characteristic tropes of memory and the personalized narrative voice; issues of generational dislocationand anxiety; the recurrent antagonisms of assimilation and historical alienation; the imaginative re-creation and reconstruction of the past; and the future of Holocaust memory and representation.

In Writing against War, Charles Andrews integrates literary analysis and peace studies to create innovative new ways to view experimental British fiction in the interwar period.The cataclysm of the First World War gave rise to the British Peace Movement, a spectrum of pacifist, internationalist, and antiwar organizations and individuals. Antiwar sentiments found expression not only in editorials, criticism, and journalism but also in novels and other works of literature. Writing against War examines the work of Aldous Huxley, Storm Jameson, Siegfried Sassoon, Rose Macaulay, and Virginia Woolf to analyze the effects of their attempts to employ fiction in the service of peace activism. It further traces how Huxley, Woolf, and others sought to reconcile their antiwar beliefs with implacable military violence.The British Peace Movement's failure to halt the rise of fascism and the Second World War continues to cast a shadow over contemporary pacifist movements. Writing about War will fascinate scholars of peace studies and literature and offers valuable insights for current-day peace activists and artists who seek to integrate creativity with activism.

In Writing against War, Charles Andrews integrates literary analysis and peace studies to create innovative new ways to view experimental British fiction in the interwar period.The cataclysm of the First World War gave rise to the British Peace Movement, a spectrum of pacifist, internationalist, and antiwar organizations and individuals. Antiwar sentiments found expression not only in editorials, criticism, and journalism but also in novels and other works of literature. Writing against War examines the work of Aldous Huxley, Storm Jameson, Siegfried Sassoon, Rose Macaulay, and Virginia Woolf to analyze the effects of their attempts to employ fiction in the service of peace activism. It further traces how Huxley, Woolf, and others sought to reconcile their antiwar beliefs with implacable military violence.The British Peace Movement's failure to halt the rise of fascism and the Second World War continues to cast a shadow over contemporary pacifist movements. Writing about War will fascinate scholars of peace studies and literature and offers valuable insights for current-day peace activists and artists who seek to integrate creativity with activism.

Screening Auschwitz examines the classic Polish Holocaust film The Last Stage (Ostatni etap), directed by the Auschwitz survivor Wanda Jakubowska (1907–1998). Released in 1948, The Last Stage was a pioneering work and the first narrative film to portray the Nazi German camp. Haltof’s fascinating book offers to English-speaking readers a wealth of new materials and sources, mostly from original Polish sources and obtained through extensive archival research.With its powerful dramatization of the camp experience, The Last Stage shaped subsequent Shoah films, establishing several quasi-documentary themes easily discernible in later Holocaust narratives: the dark, “realistic” images of the camp; the passionate moralistic appeal; and the clear divisions between victims and perpetrators. Jakubowska’s film introduced the images of camp life that are now archetypal—for example, morning and evening roll calls on the Appelplatz, the arrival of transport trains at Birkenau, the separation of families, and tracking shots over the belongings left by the gassed camp victims. These and other images reinforced the depiction of Nazi German concentration camps and are discernible in a number of subsequent American films, including George Stevens’s The Diary of Anne Frank (1959), Alan Pakula’s Sophie’s Choice (1982), and Steven Spielberg’s Schindler’s List (1993).Haltof discusses the unusual circumstances that surrounded the production of the film on location at Auschwitz-Birkenau and summarizes critical debates surrounding the film’s release. The book offers much of interest to film historians and readers interested in the Holocaust.

Screening Auschwitz examines the classic Polish Holocaust film The Last Stage (Ostatni etap), directed by the Auschwitz survivor Wanda Jakubowska (1907–1998). Released in 1948, The Last Stage was a pioneering work and the first narrative film to portray the Nazi German camp. Haltof’s fascinating book offers to English-speaking readers a wealth of new materials and sources, mostly from original Polish sources and obtained through extensive archival research.With its powerful dramatization of the camp experience, The Last Stage shaped subsequent Shoah films, establishing several quasi-documentary themes easily discernible in later Holocaust narratives: the dark, “realistic” images of the camp; the passionate moralistic appeal; and the clear divisions between victims and perpetrators. Jakubowska’s film introduced the images of camp life that are now archetypal—for example, morning and evening roll calls on the Appelplatz, the arrival of transport trains at Birkenau, the separation of families, and tracking shots over the belongings left by the gassed camp victims. These and other images reinforced the depiction of Nazi German concentration camps and are discernible in a number of subsequent American films, including George Stevens’s The Diary of Anne Frank (1959), Alan Pakula’s Sophie’s Choice (1982), and Steven Spielberg’s Schindler’s List (1993).Haltof discusses the unusual circumstances that surrounded the production of the film on location at Auschwitz-Birkenau and summarizes critical debates surrounding the film’s release. The book offers much of interest to film historians and readers interested in the Holocaust.

Taking seriously Ireland’s euphemism for World War II, “the Emergency,” Anna Teekell’s Emergency Writing asks both what happens to literature written during a state of emergency and what it means for writing to be a response to an emergency.Anchored in close textual analysis of works by Samuel Beckett, Elizabeth Bowen, Flann O’Brien, Louis MacNeice, Denis Devlin, and Patrick Kavanagh, and suppported by archival material and historical research, Emergency Writing shows how Irish late modernism was a response to the sociopolitical conditions of a newly independent Irish Free State and to a fully emerged modernism in literature and art.What emerges in Irish writing in the wake of Independence, of the Gaelic Revival, of Yeats and of Joyce, is a body of work that invokes modernism as a set of discursive practices with which to counter the Free State’s political pieties. Emergency Writing provides a new approach to literary modernism and to the literature of conflict, considering the ethical dilemma of performing neutrality—emotionally, politically, and rhetorically—in a world at war.

Taking seriously Ireland’s euphemism for World War II, “the Emergency,” Anna Teekell’s Emergency Writing asks both what happens to literature written during a state of emergency and what it means for writing to be a response to an emergency.Anchored in close textual analysis of works by Samuel Beckett, Elizabeth Bowen, Flann O’Brien, Louis MacNeice, Denis Devlin, and Patrick Kavanagh, and suppported by archival material and historical research, Emergency Writing shows how Irish late modernism was a response to the sociopolitical conditions of a newly independent Irish Free State and to a fully emerged modernism in literature and art.What emerges in Irish writing in the wake of Independence, of the Gaelic Revival, of Yeats and of Joyce, is a body of work that invokes modernism as a set of discursive practices with which to counter the Free State’s political pieties. Emergency Writing provides a new approach to literary modernism and to the literature of conflict, considering the ethical dilemma of performing neutrality—emotionally, politically, and rhetorically—in a world at war.