As violence and turmoil continue to define the former Yugoslavia, basic questions remain unanswered: What are the forces behind the Serbian expansionist drive that has brought death and destruction to Croatia, Bosnia and Herzegovina, and Kosovo? How did the Serbs rationalize, and rally support for, this genocidal activity?

Heavenly Serbia traces Serbia's nationalist and expansionist impulses to the legendary battle of Kosovo in 1389. Anzulovic shows how the myth of "Heavenly Serbia" developed to help the Serbs endure foreign domination, explaining their military defeat and the loss of their medieval state by emphasizing their own moral superiority over military victory. Heavenly Serbia shows how this myth resulted in an aggressive nationalist ideology which has triumphed in the late twentieth century and marginalized those Serbs who strive for the establishment of a civil society.

"Modern Serbian nationalism...and its contradictory connections...have been sources of considerable scholarly interest...Branimir Anzulovic's compendium is a good example of the genre, made all the more useful by Anzulovic's excellent command of the literature."
--Ivo Banac, "History of Religions"

Author interview with CNN: http: //www.cnn.com/chat/transcripts/branimir_chat.html

Scholars, survivors, and other interested parties have offered, over the years, their own interpretations of the meaning of the Holocaust and the lessons we can learn from it. However, the quest to find a rational explanation for this seemingly irrational course of events has led to both controversy and continued efforts at assigning meaning to this most horrible of events. Examining oral histories provided by survivors, written accounts and explanations, scholarly analysis, and commonly held assumptions, Bolkosky challenges the usual collection of platitudes about the lessons or the meanings we can derive from the Holocaust. Indeed, he argues against the kind of reductionism that such a quest for meaning has led to, and he analyzes the nature of the perpetrators in order to support his position on the inconclusivity of the study of the Holocaust.

Dealing with the perpetrators of the Holocaust as manifestations of twentieth century civilized trends foreseen by the likes of Kafka, Ortega y Gassett, Arthur Koestler and Max Weber, Bolkosky suggests a new nature of evil and criminality along the lines developed by Hannah Arendt, Raul Hilberg, and Richard Rosenstein. Woven into the fabric of the text are insights from literary and historical writers, sociologists, and philosophers. This interdisciplinary attempt to shed new light on efforts to determine the meanings and lessons of the Holocaust provides readers with a challenging approach to considering the oral histories of survivors and the popular and professional assumptions surrounding this devastating moment in history.

More than fifty years after the Holocaust, European and other countries are confronting newly-emerging memories and guilt-filled ghosts from the past. The campaign for the restitution of Jewish property stolen during the Holocaust touched a raw nerve within European society and, together with the end of the Cold War and generational change, created a need to re-evaluate conventional historical truths. A group of experts joined together to review in this book how the issue was dealt with in different countries and how national myths must be re-examined.

This handbook is the most comprehensive and up-to-date single volume on the history and memory of the Holocaust in Britain. It traces the complex relationship between Britain and the destruction of Europe's Jews, from societal and political responses to persecution in the 1930s, through formal reactions to war and genocide, to works of representation and remembrance in post-war Britain. Through this process the handbook not only updates existing historiography of Britain and the Holocaust; it also adds new dimensions to our understanding by exploring the constant interface and interplay of history and memory. The chapters bring together internationally renowned academics and talented younger scholars. Collectively, they examine a raft of themes and issues concerning the actions of contemporaries to the Holocaust, and the responses of those who came 'after'. At a time when the Holocaust-related activity in Britain proceeds apace, the contributors to this handbook highlight the importance of rooting what we know and understand about Britain and the Holocaust in historical actuality. This, the volume suggests, is the only way to respond meaningfully to the challenges posed by the Holocaust and ensure that the memory of it has purpose.

There can be little doubt that the Holocaust was an event of major consequence for the twentieth century. While there have been innumerable volumes published on the implications of the Holocaust for history, philosophy, and ethics, there has been a surprising lack of attention paid to the theoretical and practical effects of the Shoah on biblical interpretation.

Strange Fire addresses the implications of the Holocaust for interpretation of the Hebrew Bible, bringing together a diverse and distinguished range of contributors, including Richard Rubenstein, Elie Wiesel, and Walter Brueggemann, to discuss theoretical and methodological considerations emerging from the Shoah and to demonstrate the importance of these considerations in the reading of specific biblical texts. The volume addresses such issues as Jewish and Christian biblical theology after the Holocaust, the ethics of Christian appropriation of Jewish scripture, and the rethinking of biblical models of suffering and sacrifice from a post-Holocaust perspective.

The first book of its kind, Strange Fire will establish a benchmark for all future work on the topic.

The first book-length study to critically examine the recent wave of Hitler biopics in German cinema and television. A group of international experts discuss films like "Downfall" in the context of earlier portrayals of Hitler and draw out their implications for the changing place of the Third Reich in the national historical imagination.

Surveying irreverent and controversial representations of the Holocaust - from Sylvia Plath and the Sex Pistols to Quentin Tarantino and Holocaust comedy - Matthew Boswell considers how they might play an important role in shaping our understanding of the Nazi genocide and what it means to be human.

Largely forgotten over the years, the seminal work of French poet, novelist and camp survivor Jean Cayrol has experienced a revival in the French-speaking world since his death in 2005. His concept of a concentrationary art-the need for an urgent and constant aesthetic resistance to the continuing effects of the concentrationary universe-proved to be a major influence for Hannah Arendt and other writers and theorists across a number of disciplines. Concentrationary Art presents the first translation into English of Jean Cayrol's key essays on the subject, as well as the first book-length study of how we might situate and elaborate his concept of a Lazarean aesthetic in cultural theory, literature, cinema, music and contemporary art.

For more than thirty years Francesco Lotoro, an Italian pianist and composer has been on an odyssey to recover music written by the inmates of Adolf Hitler's concentration camps and the gulags of Stalin's Soviet Union. Between 1933, the year of the opening of the Dachau Lager in Germany, to Stalin's death in 1953 when thousands of Soviet prisoners were released, Lotoro pieces together the human stories of survivors whose only salvation was their love of music. Across three decades of relentless investigation, his findings as captured in Lost Music of the Holocaust are extraordinary and historically important. Lotoro unearthed over eight thousand unpublished works of music, ten thousand documents (microfilms, diaries, notebooks, and recordings on phonographic recordings), as well as locating and interviewing many survivors who in a previous life had been trained musicians and composers. Be it a symphony, an opera, a simple folk song or even a gypsy melody, Lotor has travelled the globe to track them down. Many pieces were hastily scribbled down ow whatever the composer could find: food wrappings, a vegetable sack and even a train ticket stub. To avoid discover by camp guards, Lotoro even discovered forgotten pieces of code inmates had invented to hide their real meaning - music. In many cases, the composers would be murdered in the gas chambers or worked to death, not knowing whether their music would be heard by the world. Until now. Their stories and their music adds colour and humanity to the horrors of the Holocaust and of Stalin's oppressive rule. It is a journey into music and history that reveals a new way of telling the darkest chapters of the twentieth century whilst shining a light on the beauty that could still be created amidst the horrors endured.

This is the story of a young man caught in the whirlwind of the Holocaust, who survives a chain of events so harrowing they almost defy belief. As a boy, Joe Rosenblum watches as the Nazi overlords tighten their grip on his small Polish town. Narrowly escaping mass executions that take his own brother, Rosenblum is first sheltered by a local Gentile family, then takes refuge with Russian partisans. Once captured by the Germans, he begins a journey through three concentration camps-Majdanek, Auschwitz, and Dachau. Living by his wits, a courier for the camp underground, Rosenblum is able to help other prisoners, and even to save children selected for the gas chambers. Eventually he finds himself working for the infamous Dr. Mengele. In a bizarre twist of fate, the Angel of Death is persuaded to perform life-saving surgery on Rosenblum-perhaps making him the only Jew to be saved by the deadly doctor's skills. A remarkable man who danced on the razor's edge of history, Rosenblum did not merely survive the Holocaust, but rose above it by radiating hope and humanity-by defying the darkness.

The Handbook of Polish, Czech, and Slovak Holocaust Fiction aims to increase the visibility and show the versatility of works from East-Central European countries. It is the first encyclopedic work to bridge the gap between the literary production of countries that are considered to be main sites of the Holocaust and their recognition in international academic and public discourse. It contains over 100 entries offering not only facts about the content and motifs but also pointing out the characteristic fictional features of each work and its meaning for academic discourse and wider reception in the country of origin and abroad. The publication will appeal to the academic and broader public interested in the representation of the Holocaust, anti-Semitism, and World War II in literature and the arts. Besides prose, it also considers poetry and theatrical plays from 1943 through 2018. An introduction to the historical events and cultural developments in Poland, Czechoslovakia, Czech, and Slovak Republic, and their impact on the artistic output helps to contextualise the motif changes and fictional strategies that authors have been applying for decades. The publication is the result of long-term scholarly cooperation of specialists from four countries and several dozen academic centres.

Growing up in Germany, Freddy Mayer witnessed the Nazis' rise to power. When he was sixteen, his family made the decision to flee to the United States - they were among the last German Jews to escape, in 1938. In America, Freddy tried enlisting the day after Pearl Harbor, only to be rejected as an "enemy alien" because he was German. He was soon recruited to the OSS, the country's first spy outfit before the CIA. Freddy, joined by Dutch Jewish refugee Hans Wynberg and Nazi defector Franz Weber, parachuted into Austria as the leader of Operation Greenup, meant to deter Hitler's last stand. He posed as a Nazi officer and a French POW for months, dispatching reports to the OSS via Hans, holed up with a radio in a nearby attic. The reports contained a gold mine of information, provided key intelligence about the Battle of the Bulge, and allowed the Allies to bomb twenty Nazi trains. On the verge of the Allied victory, Freddy was captured by the Gestapo and tortured and waterboarded for days. Remarkably, he persuaded the region's Nazi commander to surrender, completing one of the most successful OSS missions of the war. Based on years of research and interviews with Mayer himself, whom the author was able to meet only months before his death at the age of ninety-four, Return to the Reich is an eye-opening, unforgettable narrative of World War II heroism.

How does scale affect our understanding of the Holocaust? In the vastness of its implementation and the sheer amount of death and suffering it produced, the genocide of Europe's Jews presents special challenges for historians, who have responded with work ranging in scope from the world-historical to the intimate. In particular, recent scholarship has demonstrated a willingness to study the Holocaust at scales as focused as a single neighborhood, family, or perpetrator. This volume brings together an international cast of scholars to reflect on the ongoing microhistorical turn in Holocaust studies, assessing its historiographical pitfalls as well as the distinctive opportunities it affords researchers.

Reading a wide range of novels from post-war Germany to Israeli, Palestinian and postcolonial writers, The Politics of Jewishness in Contemporary World Literature is a comprehensive exploration of changing cultural perceptions of Jewishness in contemporary writing. Examining how representations of Jewishness in contemporary fiction have wrestled with such topics as the Holocaust, Israeli-Palestinian relations and Jewish diaspora experiences, Isabelle Hesse demonstrates the 'colonial' turn taken by these representations since the founding of the Jewish state. Following the dynamics of this turn, the book demonstrates new ways of questioning received ideas about victimhood and power in contemporary discussions of postcolonialism and world literature.

The testimonies of individuals who survived the Holocaust as children pose distinct emotional and intellectual challenges for researchers: as now-adult interviewees recall profound childhood experiences of suffering and persecution, they also invoke their own historical awareness and memories of their postwar lives, requiring readers to follow simultaneous, disparate narratives. This interdisciplinary volume brings together historians, psychologists, and other scholars to explore child survivors' accounts. With a central focus on the Kestenberg Holocaust Child Survivor Archive's over 1,500 testimonies, it not only enlarges our understanding of the Holocaust empirically but illuminates the methodological, theoretical, and institutional dimensions of this unique form of historical record.