This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced - the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum. This book was published as a special issue of Word & Image.

Arnold Daghani (1909-85) came from a German-speaking Jewish family in Suczawa, then in the Austro-Hungarian Empire, now Romania. His understated narrative of his experiences in the slave labour camp at Mikhailowka, south west Ukraine (1942-43), presented here in its first English book edition, provides a day-by-day account of the chilling experiences of Jewish slave labourers. It is written in a compelling style and illustrated by watercolours and drawings that Daghani made secretly in captivity and smuggled out of the camp and a Romanian ghetto. It includes an extraordinary account of the couple's escape and the shooting of over three hundred prisoners. The uniqueness of Daghani's Holocaust testimony lies in his role as an artist which led to his (and his wife's) escape from the camp and their survival. The camps in Ukraine have been under-investigated and the diary provides significant material. It was used as the basis of investigations in the 1960s into war crimes in the slave labour camps in Ukraine, helping to bring attention to the region and providing some form of recognition for those who suffered there. This richly illustrated and scrupulously edited book is distinguished from more conventional Holocaust memoirs by focusing on fundamental questions of historical testimony and the problems of representation in both words and images. Daghani's diary is contextualized on the basis of wide-ranging new historical, archival and art historical research in essays that document the artist's attempts to achieve justice and reconciliation. They locate the diary in relation to contemporary issues on migration and statelessness, genocide and trauma, self-reflection and memory. The diary is both art and document, addressing how we understand and construct history. It enables readers to engage with the Holocaust via the viewpoint of an individual, making statistics more meaningful and history less distant.

This is an unusual narrative in that it successfully combines subjectivity -- how an English person was led by a sequence of educational developments, personal encounters and historical constraints to become the founder of the German-Jewish Centre at the University of Sussex; and objectivity -- a book that introduces English and American readers to an important and evolving field of historical and cultural studies through intellectual autobiography. It documents the formative experiences of a scholar who was to become a pioneering teacher and researcher in the field of German culture and politics. The aim is to relate the shaping of self to the drift of history in a period of radical social change, extending from the refugee crisis caused by Hitler's seizure of power through the ordeals of the Second World War to post-war reconstruction, and the transformation of Britain into a modern multicultural society. The focus is on the formative role of institutions: vicarage childhood, Anglican schooling, Cambridge and other university environments -- especially the new map of learning at Sussex University in the 1960s. The 'Torch' in the title alludes to the transmission of a radical intellectual tradition and to a specific commitment to the study of Die Fackel, the satirical journal edited by Karl Kraus in Vienna from 1899 to 1936. From this emerged the innovative agenda developed by the Centre for German-Jewish Studies.

How was it possible for a well-educated nation to support a regime that made it a crime to think for yourself? This was the key question for the Stuttgart-based author Anna Haag (1888-1982), the democratic feminist whose anti-Nazi diaries are analysed in this book. Like Victor Klemperer, she deconstructed German political propaganda day by day, giving her critique a gendered focus by challenging the ethos of masculinity that sustained the Nazi regime. This pioneering study interprets her diaries, secretly written in twenty notebooks now preserved at the Stuttgart City Archive, as a fascinating source for the study of everyday life in the Third Reich. The opening sections sketch the paradigms that shaped Haag's creativity, analysing the impact of the First World War and the feminist and pacifist commitments that influenced her literary and journalistic writings. Extensive quotations from the diaries are provided, with English translations, to illustrate her responses to the cataclysms that followed the rise of Hitler, from the military conquests and Jewish deportations to the devastation of strategic bombing. The book concludes with a chapter that traces the links between Haag's critique of military tyranny and her contribution to post-war reconstruction.

This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced ? the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum.

This book was published as a special issue of Word & Image.

A fascinating look at the role of the media in fostering nationalism, with a comparative approach that shows the interactions between American, Russian and German nationalism. Extreme nationalism is a subject of enormous contemporary significance today. Does patriotic pride inevitably develop into nationalistic aggression? Is this exacerbated by the global outreach of the media? And what is the relationship between mainstream politics and increasingly vocal far-right groups in Britain, the US, Germany and Russia? This book addresses these questions from a variety of angles, exploring topics ranging from the War on Terror to Holocaust denial, from the 'sanctity' of Rasputin to the 'martyrdom' of Rudolf Hess.

Kraus's iconic WWI drama, a satirical indictment of the glory of war, now in English in its entirety for the first time "[A] superb translation."-Bill Marx, Arts Fuse One hundred years after Austrian satirist Karl Kraus began writing his dramatic masterpiece, The Last Days of Mankind remains as powerfully relevant as the day it was first published. Kraus's play enacts the tragic trajectory of the First World War, when mankind raced toward self-destruction by methods of modern warfare while extolling the glory and ignoring the horror of an allegedly "defensive" war. This volume is the first to present a complete English translation of Kraus's towering work, filling a major gap in the availability of Viennese literature from the era of the War to End All Wars. Bertolt Brecht hailed The Last Days as the masterpiece of Viennese modernism. In the apocalyptic drama Kraus constructs a textual collage, blending actual quotations from the Austrian army's call to arms, people's responses, political speeches, newspaper editorials, and a range of other sources. Seasoning the drama with comic invention and satirical verse, Kraus reveals how bungled diplomacy, greedy profiteers, Big Business complicity, gullible newsreaders, and, above all, the sloganizing of the press brought down the Austro-Hungarian Empire. In the dramatization of sensationalized news reports, inurement to atrocities, and openness to war as remedy, today's readers will hear the echo of the fateful voices Kraus recorded as his homeland descended into self-destruction.

In June 1938 Sigmund Freud and his family arrived in London, exiles from Nazi-occupied Austria. Now, seventy years later, Freud's exile, together with the general exodus of psychoanalysts from the German-speaking world, can be seen as a turning-point in modern cultural history. The displacement of the centre of gravity of the psychoanalytic movement from Vienna to London (and thence - via English translations - to the United States and the wider world) helped make Freud's theories into one of the most influential intellectual systems of the twentieth century. This book, with contributions from some of the world's most eminent Freud scholars, marks the fiftieth anniversary of Freud's exile and discusses its impact on the development of psychoanalysis. The first section examines the specifically Viennese-Jewish origins of Freudian theory and the nature and effects of the psychoanalytic exodus. One chapter considers Freud's library and his private reading, a study facilitated by the Freud Museum in London. Section two considers the English reception of psychoanalysis.The role of Ernest Jones in transmitting Freud's ideas is examined, and there are chapters on Adrian Stokes, Wilhelm Stekel and the fate of Freudian analysts in exile, particularly in the United States. Closely linked to the cultural displacement of psychoanalysis is the issue of the translation of Freud's writing. Section three considers problems involved in such translation and retranslation - and the question of revising the Standard Edition of Freud. The final section identifies perspectives for the future which derive from the continuing psychoanalytic debate. It includes chapters on changing theories of childhood since Freud, Freud and the question of women and feminism, psychoanalysis and anthropology, and Freud's influence on other forms of psychotherapy. With full scholarly references, documents and illustrations from the Freud archives, many of them reproduced here, this volume demonstrates how Freud's exile (fulfilment of his wish 'to die in freedom') stimulated the growth of psychoanalysis in the English-speaking world. It provides an important reassessment of Freud's contribution to twentieth-century thought.

Although beset by social, political, and economic instabilities, interwar Vienna was an exhilarating place, with pioneering developments in the arts and innovations in the social sphere. Research on the period long saw the city as a mere shadow of its former imperial self; more recently it has concentrated on high-profile individual figures or party politics. This volume of new essays widens the view, stretching disciplinary boundaries to consider the cultural and social movements that shaped the city. The collapse of the Austro-Hungarian Empire resulted not in an abandonment of the arts, but rather led to new forms of expression that were nevertheless conditioned by the legacies of earlier periods. The city's culture was caught between extremes, from neopositivism to cultural pessimism, Catholic mysticism to Austro-Marxism, late Enlightenment liberalism to rabid antisemitism. Concentrating on the paradoxes and often productive tensions that these created, the volume's twelve essays explore achievements and anxieties in fields ranging from modern dance, theater, music, film, and literature to economic, cultural, and racial policy. The volume will appeal to social, cultural, and political historians as well as to specialists in modern European literary and visual culture. Contributors: Andrea Amort, Andrew Barker, Alys X. George, Deborah Holmes, Jon Hughes, Birgit Lang, Wolfgang Maderthaner, Therese Muxeneder, Birgit Peter, Lisa Silverman, Edward Timms, Robert Vilain, John Warren, Paul Weindling. Deborah Holmes is Researcher at the Ludwig Boltzmann Institute for the History and Theory of Biography in Vienna. Lisa Silverman is Assistant Professor of History and Jewish Studies at the University of Wisconsin-Milwaukee.

Biennial volume of new and innovative essays on German Jewish Studies, featuring forum sections on Heinrich Heine and Karl Kraus. Nexus is the official publication of the biennial German Jewish Studies Workshop, which was inaugurated at Duke University in 2009 and is now held at the University of Notre Dame. Together, Nexus and the Workshop constitute the first ongoing forum in North America for German Jewish Studies. Nexus publishes innovative research in German Jewish Studies, introducing new directions, analyzing the development and definition of the field, and considering its place vis-a-vis both German Studies and Jewish Studies. Additionally, it examines issues of pedagogy and programming at the undergraduate, graduate, and community levels. Nexus 3 features special forum sections on Heinrich Heine and Karl Kraus. Renowned Heine scholar Jeffrey Sammons offers a magisterial critical retrospective on this towering "German Jewish" author, followed by a response from Ritchie Robertson, while the deanof Kraus scholarship, Edward Timms, reflects on the challenges and rewards of translating German Jewish dialect into English. Paul Reitter provides a thoughtful response. Contributors: Angela Botelho, Jay Geller, Abigail Gillman, Jeffrey A. Grossman, Leo Lensing, Georg Mein, Paul Reitter, Ritchie Robertson, Jeffrey L. Sammons, Egon Schwarz, Edward Timms, Liliane Weissberg, Emma Woelk. William Collins Donahue is the John J. CavanaughProfessor of the Humanities at the University of Notre Dame, where he chairs the Department of German and Russian. Martha B. Helfer is Professor of German and an affiliate member of the Department of Jewish Studies at Rutgers, TheState University of New Jersey.

This is an unusual narrative in that it successfully combines subjectivity -- how an English person was led by a sequence of educational developments, personal encounters and historical constraints to become the founder of the German-Jewish Centre at the University of Sussex; and objectivity -- a book that introduces English and American readers to an important and evolving field of historical and cultural studies through intellectual autobiography. It documents the formative experiences of a scholar who was to become a pioneering teacher and researcher in the field of German culture and politics. The aim is to relate the shaping of self to the drift of history in a period of radical social change, extending from the refugee crisis caused by Hitler's seizure of power through the ordeals of the Second World War to post-war reconstruction, and the transformation of Britain into a modern multicultural society. The focus is on the formative role of institutions: vicarage childhood, Anglican schooling, Cambridge and other university environments -- especially the new map of learning at Sussex University in the 1960s. The 'Torch' in the title alludes to the transmission of a radical intellectual tradition and to a specific commitment to the study of Die Fackel, the satirical journal edited by Karl Kraus in Vienna from 1899 to 1936. From this emerged the innovative agenda developed by the Centre for German-Jewish Studies.

The first complete English translation of a far-seeing polemic, written in 1933 by the preeminent German-language satirist, unmasking the Nazi seizure of power Austrian satirist and polemicist Karl Kraus's Third Walpurgis Night was written in immediate response to the Nazi seizure of power in 1933 but was withheld from publication for fear of reprisals against Jews trapped in Germany. Acclaimed when finally published by Koesel Verlag in 1952, it is a devastatingly prescient exposure, giving special attention to the regime's corruption of language as masterminded by Joseph Goebbels. Bertolt Brecht wrote to Kraus that, in his indictment of Nazism, "you have disclosed the atrocities of intonation and created an ethics of language." This masterful translation, by the prizewinning translators of Kraus's The Last Days of Mankind, aims for clarity where Kraus had good reason to be cautious and obscure. The Austrian Jewish author Karl Kraus (1874-1936) was the foremost German-language satirist of the twentieth century. As editor of the journal Die Fackel (The Torch) he single-handedly after 1912 conducted a sustained critique of propaganda and the press, expressed through polemical essays, satirical plays, witty aphorisms, and resonant poems.

Does patriotic pride inevitably develop into nationalistic aggression? Is this exacerbated by the global outreach of the media? And what is the relationship between mainstream politics and increasingly vocal anti-immigrant and far-right groups? This book tackles these thorny questions, from Europe, the US and post-Soviet Russia, to probe the overlaps between national and racial pride, propaganda, political power and the press. Its findings explore diverse topics ranging from the 'War on Terror' to Holocaust denial, from the 'sanctity' of Rasputin to the 'martyrdom' of Rudolf Hess. It gives vital insight into the way the press can be used to propagate nationalist agendas and how old myths can gain new currency through modern forms of media.

The focus of the first volume of 'Karl Kraus: Apocalyptic Satirist' was on the cataclysmic final years of the Austro-Hungarian Empire. This book takes up the story in November 1918, when the satirist responded to the creation of the new republics with a defiant hope, invoking international law against the dual threat of reactionary politics and irresponsible media. While contemporaries such as Walter Benjamin regarded Kraus as a heroically isolated figure, this book places him within a dynamic field of cultural production, highlighting the court cases he pursued with his lawyer Oskar Samek and the theatrical projects that earned him the friendship of Bertholt Brecht. The legend that the satirist responded to Hitler's seizure of power with stunned silence is refuted in the final section of the book, 'Into the Third Reich', which highlights his analysis of 'creeping fascism' and of the swastika as the 'twisted cross' of politicised religiosity. His career culminated in 'Dritte Walpurgisnacht', an analysis of Nazi ideology that has proved enduringly influential.Timms argues that Kraus's lifelong critique of the media, combining Orwell's political radicalism with Joyce's linguistic playfulness, incisively anticipates the propaganda techniques of our own age. 'Edward Timms meticulously interprets this major writer's most complex period of literary, cultural and political activity, providing what amounts to an entire cultural history of the period.' Professor Gilbert Carr, Trinity College Dublin Edward Timms is Research Professor in History at the Centre for German-Jewish Studies, University of Sussex and a Life Fellow of Gonville & Caius College, Cambridge. He has a special interest in Austrian-Jewish cultural history and is best known for his earlier volume 'Karl Kraus: Apocalyptic Satirist: Culture and Catastrophe in Habsburg Vienna' (1986). In 2002 he was awarded the Austrian State Prize for History of the Social Sciences and in 2005 he was awarded an OBE for services to scholarship.

Fritz Wittels (1880-1950) was a pioneering Viennese psychoanalyst, the first biographer of Freud (1924), and intermittently friend and rival of Freud himself, of Wilhelm Stekel, and of their famous satirical adversary, Karl Kraus. Towards the end of his life, while living and practising as an analyst in the United States, Wittels wrote a two-hundred page memoir of his early life and career in Vienna. The typescript memoirs, held in the archives of the Abraham Brill Library, New York, are published here for the first time, accompanied by a range of little-known illustrations. Incomplete in places, they have been deftly edited, contextualised and introduced by Edward Timms, whose many valuable explanatory notes include the identification of the 'child woman' of the title. In his memoirs Wittels writes frankly and vividly about the erotic sub-culture of fin-de-siecle Vienna and about early controversies within the Psychoanalytic Society. His picture of the interaction between the two is startingly original, and will appeal not only to historians of psychoanalysis, but to anyone interested in the Viennese cultural avant-garde.The erotic triangles in which Wittels, Kraus and Freud were involved are shown to have impinged directly on the activities of the famous Society. Freud himself plays a crucial role in the story, and the book as a whole is of exceptional importance for the origins of psychoanalysis. Edward Timms was Professor of German and Director of the Centre for German-Jewish Studies at the University of Sussex. Among his publications is 'Karl Kraus: Apocalyptic Satirist' (1986), and he is co-editor of 'Freud in Exile: Psychoanalysis and its Vicissitudes' (1988) and of 'Austrian Exodus: The Creative Achievements of Refugees from National Socialism' (1995).