Originally published in 1991, this book analyses the relation between writing and ethics in a number of social contexts - in politics, as language discloses its connections to the institutions of totalitarianism and democracy; in the university, as contemporary scholarly ideals find an uncomfortably accurate representation in the stylistic forms of academic writing; in daily social practice, ranging from the status of truth in journalistic writing to the connection between pronouns and affirmative action; and finally in the ethical structure of language itself.

Originally published in 1991, this book analyses the relation between writing and ethics in a number of social contexts - in politics, as language discloses its connections to the institutions of totalitarianism and democracy; in the university, as contemporary scholarly ideals find an uncomfortably accurate representation in the stylistic forms of academic writing; in daily social practice, ranging from the status of truth in journalistic writing to the connection between pronouns and affirmative action; and finally in the ethical structure of language itself.

The term "genocide"-"group killing"-which first appeared in Raphael Lemkin's 1944 book, Axis Rule in Occupied Europe, had by 1948 established itself in international law through the United Nations Convention on the Prevention and Punishment of the Crime of Genocide. Since then the charge of genocide has been both widely applied but also contested. In Genocide: The Act as Idea, Berel Lang examines and illuminates the concept of genocide, at once articulating difficulties in its definition and proposing solutions to them. In his analysis, Lang explores the relation of genocide to group identity, individual and corporate moral responsibility, the concept of individual and group intentions, and the concept of evil more generally. The idea of genocide, Lang argues, represents a notable advance in the history of political and ethical thought which proposed alternatives to it, like "crimes against humanity," fail to take into account.

This collection of original essays by scholars from a diverse range of fields, examines issues of race in a variety of historical and geographical settings, ranging from classical Greece to the contemporary Americas, Europe and Asia. The authors provide an important perspective on race both in its theoretical origins and in its actual appearances while paying close attention to the ways in which the study of race itself has been carried on or ignored by various disciplines.

"These essays are extremely well written, with the clarity and accessibility that one has come to expect from Berel Lang, one of the most respected and significant philosophers writing about the Holocaust and its impact." Michael L. Morgan

In these trenchant essays, philosopher Berel Lang examines post-Holocaust intepretations and misinterpretations showing the ways in which rhetoric and ideology have affected historical discourse about the Holocaust and how these accounts can be deconstructed. Why didn t the Jews resist? How could the Germans have done what they did? Why didn t more bystanders join in the rescue? In Lang s view, these questions become mischievous when the circumstances in which victims, perpetrators, and bystanders played their roles are omitted or obscured. To confront such issues adequately requires comparative and contextual evidence. Post-Holocaust addresses such questions as the place of the Holocaust in the Nazi project as a whole, the roles of revenge and forgiveness in post-Holocaust Jewish thinking, Holocaust commemoration as artifice or "business," and the relationship of the Holocaust to traditional antisemitism. Lang s analysis provides an incisive and fruitful basis for confronting these critical subjects.

Jewish Literature and Culture Alvin H. Rosenfeld, editor"

Since Theodor Adorno's attack on the writing of poetry "after Auschwitz," artists and theorists have faced the problem of reconciling the moral enormity of the Nazi genocide with the artist's search for creative freedom. In "Holocaust Representation, " Berel Lang addresses the relation between ethics and art in the context of contemporary discussions of the Holocaust. Are certain aesthetic means or genres "out of bounds" for the Holocaust? To what extent should artists be constrained by the "actuality" of history--and is the Holocaust unique in raising these problems of representation?

The dynamics between artistic form and content generally hold even more intensely, Lang argues, when art's subject has the moral weight of an event like the Holocaust. As authors reach beyond the standard conventions for more adequate means of representation, Holocaust writings frequently display a blurring of genres. The same impulse manifests itself in repeated claims of "historical" as well as artistic authenticity. Informing Lang's discussion are the recent conflicts about the truth-status of Benjamin Wilkomirski's "memoir" "Fragments" and the comic fantasy of Roberto Benigni's film "Life Is Beautiful." Lang views Holocaust representation as limited by a combination of ethical and historical constraints. As art that violates such constraints often lapses into sentimentality or melodrama, cliche or kitsch, this becomes all the more objectionable when its subject is moral enormity. At an extreme, all Holocaust representation must face the test of whether its referent would not be more authentically expressed by silence--that is, by the absence of representation.

After Representation? explores one of the major issues in Holocaust studiesùthe intersection of memory and ethics in artistic expression, particularly within literature.As experts in the study of literature and culture, the scholars in this collection examine the shifting cultural contexts for Holocaust representation and reveal how writersùwhether they write as witnesses to the Holocaust or at an imaginative distance from the Nazi genocideùarticulate the shadowy borderline between fact and fiction, between event and expression, and between the condition of life endured in atrocity and the hope of a meaningful existence. What imaginative literature brings to the study of the Holocaust is an ability to test the limits of language and its conventions. After Representation? moves beyond the suspicion of representation and explores the changing meaning of the Holocaust for different generations, audiences, and contexts.

A ground-breaking attempt at a prolegomenon to the study of style, this collection brings together eleven essays by distinguished philosophers, literary theorists, art historians, and musicologists, all addressing the role played by style in the arts and literature.

In The Future of the Holocaust, Berel Lang continues his inquiry into the causal mechanisms of decision-making and conduct in Nazi Germany and into responses to the genocide by individuals and nations -- an inquiry that he began in Act and Idea in the Nazi Genocide and pursued in Heidegger's Silence. Raising the question now of what the future of the Holocaust is, he addresses among other topics how history and memory together shape views of the Holocaust; how the concept of "intention" -- which played a crucial part in the events of haft a century ago -- shapes history and memory themselves; and how future views of this genocide may alter those of today.

In addition, Lang explores cultural representations of the "Final Solution" -- from monuments to public school curricula -- within the Jewish and German communities. He analyzes ethical issues concerning such concepts as intention, responsibility, forgiveness, and revenge, and puts forward a theory of the history, of evil which provides a context for the Holocaust both historically and morally. Addressing the claims that the Nazi genocide was unique, Lang argues that the Holocaust is at once an actual series of events and a still future possibility. If the Holocaust occurred once, he argues, it can occur twice -- and this view of the future remains an unavoidable premise for anyone now writing or thinking about that event in the past.

In The Future of the Holocaust, Berel Lang continues his inquiry into the causal mechanisms of decision-making and conduct in Nazi Germany and into responses to the genocide by individuals and nations -- an inquiry that he began in Act and Idea in the Nazi Genocide and pursued in Heidegger's Silence. Raising the question now of what the future of the Holocaust is, he addresses among other topics how history and memory together shape views of the Holocaust; how the concept of "intention" -- which played a crucial part in the events of haft a century ago -- shapes history and memory themselves; and how future views of this genocide may alter those of today.

In addition, Lang explores cultural representations of the "Final Solution" -- from monuments to public school curricula -- within the Jewish and German communities. He analyzes ethical issues concerning such concepts as intention, responsibility, forgiveness, and revenge, and puts forward a theory of the history, of evil which provides a context for the Holocaust both historically and morally. Addressing the claims that the Nazi genocide was unique, Lang argues that the Holocaust is at once an actual series of events and a still future possibility. If the Holocaust occurred once, he argues, it can occur twice -- and this view of the future remains an unavoidable premise for anyone now writing or thinking about that event in the past.

In What Is Called Thinking, Martin Heidegger wrote, "Man speaks by being silent." Berel Lang demonstrates that Heidegger's own silence spoke consciously and deliberately in response to what has been called the "Jewish Question." Posed simply, the Jewish Question, as it gained currency in the nineteenth and the first half of the twentieth centuries, asked how (or if) the Jews were to live among the nations. The Holocaust radically altered the significance of the Jewish Question and, still, the great philosopher did not speak.Lang interrogates Heidegger's silence for its possible meanings. He asks: What does it tell us about someone who prided himself on his ability to think that Heidegger never felt compelled to address the Jewish Question or to respond to the Nazi genocide? Lang demonstrates that Heidegger's silence after the Holocaust had its foundation in his silence on the Jewish Question before its occurrence. That earlier silence, he suggests, was based in the conceptual and historical role Heidegger ascribed to the Volk and in particular to the German Volk. Heidegger's silence, Lang concludes, was thus not simply an expression of prejudice or of his public persona. It derived from his philosophical thought and becomes, therefore, a necessary consideration in assessing Heidegger as a thinker. In this context, Lang suggests, Heidegger's silence still speaks.

Since Theodor Adorno's attack on the writing of poetry "after Auschwitz," artists and theorists have faced the problem of reconciling the moral enormity of the Nazi genocide with the artist's search for creative freedom. In "Holocaust Representation, " Berel Lang addresses the relation between ethics and art in the context of contemporary discussions of the Holocaust. Are certain aesthetic means or genres "out of bounds" for the Holocaust? To what extent should artists be constrained by the "actuality" of history--and is the Holocaust unique in raising these problems of representation?

The dynamics between artistic form and content generally hold even more intensely, Lang argues, when art's subject has the moral weight of an event like the Holocaust. As authors reach beyond the standard conventions for more adequate means of representation, Holocaust writings frequently display a blurring of genres. The same impulse manifests itself in repeated claims of "historical" as well as artistic authenticity. Informing Lang's discussion are the recent conflicts about the truth-status of Benjamin Wilkomirski's "memoir" "Fragments" and the comic fantasy of Roberto Benigni's film "Life Is Beautiful." Lang views Holocaust representation as limited by a combination of ethical and historical constraints. As art that violates such constraints often lapses into sentimentality or melodrama, cliche or kitsch, this becomes all the more objectionable when its subject is moral enormity. At an extreme, all Holocaust representation must face the test of whether its referent would not be more authentically expressed by silence--that is, by the absence of representation.