By Deborah E. Lipstadt
Publish 12 months note: First released 1985
This such a lot whole research up to now of yankee press reactions to the Holocaust units forth in ample aspect how the clicking national performed down or perhaps overlooked reviews of Jewish persecutions over a twelve-year interval.
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Extra info for Beyond Belief: The American Press and the Coming of the Holocaust, 1933-1945
The imagined savage without culture—the imagined barbarian— provides the metaphorical grounding for two of the central “characters” of Arendt’s analysis: the naked human being deprived of culture, and the stateless concentration camp inmate stripped of the right to have rights.
2 But Fougeron’s painting—precisely because it is explicitly ideological—differs in two ways from most of the works considered by Ross. First of all, instead of displacing the anticolonial struggle through a domestic discourse of modern hygiene and technology, as do most of the texts and documents Ross analyzes, Fougeron highlights the overlap of the everyday with the punctuality of violent events. In creating such a montage, he uses an aesthetic form that will return in Algerian War–epoch works to be considered later, such as Rouch and Morin’s Chronicle of a Summer and Delbo’s Les belles lettres.
According to this Freud-inspired argument, memory of the Holocaust doesn’t simply compete with that of other pasts, but provides (as the arguments of Linenthal and Stannard alluded to above suggest) a greater level of “comfort” than confrontation with more “local” problems would allow. ”22 While Hansen’s argument echoes Michaels’s, her emphasis on displacement—as opposed simply to silencing—opens up a potentially more productive approach to the relation between different traumatic events. 24 In the 1899 essay “Screen Memories” and again a decade later in The Psychopathology of Everyday Life, Freud tries to understand why some memories from childhood are preserved and some are not.