Mere decades after the dissolution of Yugoslavia, the promise of European democracy seems to be out of joint. What has become of the once-shared memory of victory over fascism? Historical revisionism and nationalist propaganda in the post-Yugoslav context have tried to eradicate the legacy of partisan and socialist struggles, while Yugonostalgia commodifies the partisan/socialist past. It is against these dominant 'archives' that this book launches the partisan counter-archive, highlighting the symbolic power of artistic works that echo and envision partisan legacy and rupture. It comprises a body of works that emerged either during the people's liberation struggle or in later socialist periods, tracing a counter-archival surplus and revolutionary remainder that invents alternative protocols of remembrance and commemoration. The book covers rich (counter-)archival material - from partisan poems, graphic works and photography, to monuments and films - and ends by describing the recent revisionist un-doing of the partisan past. It contributes to the Yugoslav politico-aesthetical "history of the oppressed" as an alternative journey to the partisan past that retrieves revolutionary resources from the past for the present.

Visual representations are an essential but highly contested means of understanding and remembering the Holocaust. Photographs taken in the camps in early 1945 provided proof of and visceral access to the atrocities. Later visual representations such as films, paintings, and art installations attempted to represent this extreme trauma. While photographs from the camps and later aesthetic reconstructions differ in origin, they share goals and have raised similar concerns: the former are questioned not as to veracity but due to their potential inadequacy in portraying the magnitude of events; the latter are criticized on the grounds that the mediation they entail is unacceptable. Some have even questioned any attempt to represent the Holocaust as inappropriate and dangerous to historical understanding. This book explores the taboos that structure the production and reception of Holocaust images and the possibilities that result from the transgression of those taboos. Essays consider the uses of various visual media, aesthetic styles, and genres in representations of the Holocaust; the uses of perpetrator photography; the role of trauma in memory; aesthetic problems of mimesis and memory in the work of Lanzmann, Celan, and others; and questions about mass-cultural representations of the Holocaust. David Bathrick is Emeritus Professor of German at Cornell University, Brad Prager is Associate Professor of German at the University of Missouri, and Michael D. Richardson is Associate Professor of German at Ithaca College.

In A Short History of South Africa, Gail Nattrass, historian and educator, presents the reader with a brief, general account of South Africa’s history, from the very beginning to the present day, from the first evidence of hominid existence, early settlement pre-and post-European arrival and the warfare through the 18th and 19th centuries that lead to the eventual establishment of modern South Africa.

This readable and thorough account, illustrated with maps and photographs, is a culmination of a lifetime of researching and teaching the broad spectrum of South African history, collecting stories, taking students on tours around the country, and working with distinguished historians.

Nattrass’s passion for her subject shines through, whether she is elucidating the reader on early humans in the cradle of humankind, or the tumultuous twentieth-century processes that shaped the democracy that is South Africa today. A must for all those interested in South Africa, within the country and abroad.

This book of essays written over the last three post-apartheid decades uniquely provides profiles of 104 pan-African figures, mostly from the 1.4 billion-strong African population and its estimated 250 million-strong diaspora in the Americas, Europe and the Caribbean. It thus provides a concise profile of the most important figures of Africa and its diaspora.

The profiles also include global Western figures engaging with African issues, assessed from an African perspective. The essays cover, in a multi-disciplinary manner, diverse historical and political figures, technocrats, activists, writers, public intellectuals, musical and film artists, and sporting figures. They acknowledge the continuing legacies and impacts of the twin scourges of slavery and colonialism, but also seek to capture the zeitgeist of the post-apartheid era.

The book argues that the culmination of Africa’s liberation struggles was mirrored by similar battles in the Caribbean as well as the American civil rights movement, with all three involving citizens of global Africa.

James Ngculu was one of the mass of young people inspired by the 1976 Soweto Uprising to join Umkhonto we Sizwe in exile to fight against South Africa’s apartheid regime. They were not in search of a comfortable life, and they did not find one. But like many of his comrades, the young Ngculu found inspiration and education in more than equal measure with frustration and hardship.

The Honour To Serve is both his personal story and a fascinating, painstaking history of those aspects of the ANC’s struggle that formed its context. It is a memoir of his life in exile, accounts of his involvement in ANC's military wing, Umkhonto Wesizwe, recollections of various MK operations in Southern Africa, and military training in Europe and other parts of the world.

Above all else, it is a gift of gratitude to his comrades and those organisations to which he gave his fealty: the ANC, the Communist Party, and Umkhonto we Sizwe itself.

For most of the postwar period, the destruction of European Jewry was not a salient part of American Jewish life, and was generally seen as irrelevant to non-Jewish Americans. Survivors and their families tended to keep to themselves, forming their own organizations, or they did their best to block out the past. Today, in contrast, the Holocaust is the subject of documentaries and Hollywood films, and is widely recognized as a universal moral touchstone. Reluctant Witnesses mixes memoir, history, and social analysis to tell the story of the rise of Holocaust consciousness in the United States from the perspective of survivors and their descendants. The public reckoning with the Holocaust, the book argues, was due to more than the passage of time. It took the coming of age of the "second generation" - who reached adulthood during the rise of feminism, the ethnic revival, and therapeutic culture - for survivors' families to reclaim their hidden histories. Inspired by the changed status of the victim in American society, the second generation coaxed their parents to share their losses with them, transforming private pains into public stories. Reluctant Witnesses documents how a group of people who had previously been unrecognized and misunderstood managed to find its voice. It tells this story in relation to the changing status of trauma and victimhood in American culture more generally. At a time when a sense of Holocaust fatigue seems to be setting in, and when the remaining survivors are at the end of their lives, it offers a reminder that the ability to speak openly about traumatic experiences had to be struggled for. By confronting traumatic memories and catastrophic histories, the book argues, we can make our world mean something beyond ourselves.