Examines literature and art to reveal the German genocidal gaze in Africa and the Holocaust. The first genocide of the twentieth century, though not well known, was committed by Germans between 1904-1907 in the country we know today as Namibia, where they exterminated thousands of Herero and Nama people and subjected the surviving indigenous men, women, and children to forced labor. The perception of Africans as subhuman-lacking any kind of civilization, history, or meaningful religion-and theresulting justification for the violence against them is what author Elizabeth R. Baer refers to as the "genocidal gaze," an attitude that was later perpetuated by the Nazis. In The Genocidal Gaze: From German Southwest Africa to the Third Reich, Baer uses the trope of the gaze to trace linkages between the genocide of the Herero and Nama and that of the victims of the Holocaust. Baer also considers the African gaze of resistance returned by the indigenous people and their leaders upon the German imperialists. Baer explores the threads of shared ideology in the Herero and Nama genocide and the Holocaust-concepts such as racial hierarchies, lebensraum (living space), rassenschande (racial shame), and endloesung (final solution) that were deployed by German authorities in 1904 and again in the 1930s and 1940s to justify genocide. She also notes the use of shared methodology-concentration camps, death camps, intentional starvation, rape, indiscriminate killing of women and children-in both instances. While previous scholars have made these links between the Herero and Nama genocide and that of the Holocaust, Baer's book is the first to examine literary texts that demonstrate this connection. Texts under consideration include the archive of Nama revolutionary Hendrik Witbooi; a colonial novel by German Gustav Frenssen (1906), in which the genocidal gaze conveyed an acceptance of racial annihilation; and three post-Holocaust texts that critique the genocidal gaze. Baer posits that writing and reading about the gaze is an act of mediation, a power dynamic that calls those who commit genocide to account for their crimes and discloses their malignant convictions. Her transnational analysis provides the groundwork for future studies of links between imperialism and genocide, links among genocides, and the devastating impact of the genocidal gaze.

Views adaptations as a way in which Germany seeks to come to terms with its past. Coming to terms with the past has been a preoccupation within German culture and German Studies since the Second World War. In addition, there has been a surge of interest in adaptation of literary works in recent years. Numerousvolumes have theorized, chronicled, or analyzed adaptations from novel to film, asking how and why adaptations are undertaken and what happens when a text is adapted in a particular historical context. With its focus on adaptationof twentieth-century German texts not only from one medium to another but also from one cultural moment to another, the present collection resides at the intersection of these two areas of inquiry. The ten essays treat a varietyof media. Each considers the way in which a particular adaptation alters a story - or history - for a subsequent audience, taking into account the changing context in which the retelling takes place and the evolution of cultural strategies for coming to terms with the past. The resulting case studies find in the retellings potentially corrective versions of the stories for changing times. The volume makes the case that adaptation studies are particularly well suited for tracing Germany's obsessive cultural engagement with its twentieth-century history. Contributors: Elizabeth Baer, Rachel Epp Buller, Maria Euchner, Richard C. Figge, Susan G. Figge, Mareike Hermann, LindaHutcheon, Irene Lazda, Cary Nathenson, Thomas Sebastian, Sunka Simon, Jenifer K. Ward. Susan G. Figge is Professor of German Emeritus at the College of Wooster, Ohio, and Jenifer K. Ward is Associate Provost, Cornish College of the Arts, Seattle.

Coming to terms with the past has been a preoccupation within German culture and German Studies since the Second World War. In addition, there has been a surge of interest in adaptation of literary works in recent years. Numerous volumes have theorized, chronicled, or analyzed adaptations from novel to film, asking how and why adaptations are undertaken and what happens when a text is adapted in a particular historical context. With its focus on adaptation of twentieth-century German texts not only from one medium to another but also from one cultural moment to another, the present collection resides at the intersection of these two areas of inquiry. The ten essays treat a variety of media. Each considers the way in which a particular adaptation alters a story - or history - for a subsequent audience, taking into account the changing context in which the retelling takes place and the evolution of cultural strategies for coming to terms with the past. The resulting case studies find in the retellings potentially corrective versions of the stories for changing times. The volume makes the case that adaptation studies are particularly well suited for tracing Germany's obsessive cultural engagement with its twentieth-century history. Contributors: Elizabeth Baer, Rachel Epp Buller, Maria Euchner, Richard C. Figge, Susan G. Figge, Mareike Hermann, Linda Hutcheon, Irene Lazda, Cary Nathenson, Thomas Sebastian, Sunka Simon, Jenifer K. Ward. Susan G. Figge is Professor of German Emeritus at the College of Wooster, Ohio, and Jenifer K. Ward is Associate Provost, Cornish College of the Arts, Seattle.

Examines literature and art to reveal the German genocidal gaze in Africa and the Holocaust. The first genocide of the twentieth century, though not well known, was committed by Germans between 1904-1907 in the country we know today as Namibia, where they exterminated thousands of Herero and Nama people and subjected the surviving indigenous men, women, and children to forced labor. The perception of Africans as subhuman-lacking any kind of civilization, history, or meaningful religion-and theresulting justification for the violence against them is what author Elizabeth R. Baer refers to as the "genocidal gaze," an attitude that was later perpetuated by the Nazis. In The Genocidal Gaze: From German Southwest Africa to the Third Reich, Baer uses the trope of the gaze to trace linkages between the genocide of the Herero and Nama and that of the victims of the Holocaust. Baer also considers the African gaze of resistance returned by the indigenous people and their leaders upon the German imperialists. Baer explores the threads of shared ideology in the Herero and Nama genocide and the Holocaust-concepts such as racial hierarchies, lebensraum (living space), rassenschande (racial shame), and endloesung (final solution) that were deployed by German authorities in 1904 and again in the 1930s and 1940s to justify genocide. She also notes the use of shared methodology-concentration camps, death camps, intentional starvation, rape, indiscriminate killing of women and children-in both instances. While previous scholars have made these links between the Herero and Nama genocide and that of the Holocaust, Baer's book is the first to examine literary texts that demonstrate this connection. Texts under consideration include the archive of Nama revolutionary Hendrik Witbooi; a colonial novel by German Gustav Frenssen (1906), in which the genocidal gaze conveyed an acceptance of racial annihilation; and three post-Holocaust texts that critique the genocidal gaze. Baer posits that writing and reading about the gaze is an act of mediation, a power dynamic that calls those who commit genocide to account for their crimes and discloses their malignant convictions. Her transnational analysis provides the groundwork for future studies of links between imperialism and genocide, links among genocides, and the devastating impact of the genocidal gaze.

When the Civil War began in 1861 Lucy Rebecca Buck was the eighteen-year-old daughter of a prosperous planter, living on her family's plantation in Virginia's Shenandoah Valley. On Christmas Day of that year she began a diary which she would keep for the duration of the war, during which time troops were quartered in her home and battles were literally waged in her front yard. This extraordinary chronicle mirrors the experience of many women torn between loyalty to the Confederate cause and dissatisfaction with the unrealistic ideology of white southern womanhood. In powerful, unsentimental language, Buck's diary reveals her anger and ambivalence about the challenges thrust upon her by the upheaval of her self, her family, and the world as she knew it. This document provides an extraordinary glimpse into the "shadows on the heart" of both Lucy Buck and the American South.

An innovative contribution to the field of Holocaust Studies, this set of interdisciplinary and interfaith essays undertakes a gendered analysis of women as victims, rescuers, perpertrators, and survivors, as well as their representation by postwar artists. Despite the fact that Holocaust Studies is now a mature field, the topic of women and the Holocaust remains underexplored. Women's voices have given rise to many powerful accounts of the Holocaust, and yet few researchers have analyzed these perspectives to learn what the horrifying events meant for women in particular. In Experience and Expression, the authors take on this challenge, addressing the experiences of both Jewish and non-Jewish women. The book opens with an introduction that provides a through overview of the current status of research in the field, followed by two essays that propose new paradigms for theoretical approaches to this topic. The anthology includes essays on particular women who have been little studied in English-language publications. The essays explore the roles (both helpful and harmful) of German nurses. Women's roles in the French resistance and the experiences of Roma and Sinti women are also discussed. Anne Frank's diary, long acknowledged as the seminal work on the Holocaust from a female perspective, is examined with a critical eye to expose the way that scholars have both used and abused their interpretations of this key text. The anthology concludes with analyses of postwar filmic, fictional, and artistic depictions of women in the Holocaust. The interdisciplinary scope of this work includes essays from the fields of English, religion, nursing, history, law, comparative literature, philosophy,French studies, and German studies. Sometimes painful, always well-argued and penetrating, the essays in this collection explore an array of experiences and provide a sophisticated and nuanced understanding of this significant area of study; each essay seeks to push the theoretical boundaries that shape our understanding of women's experience and agency during the Holocaust. This text will be invaluable for scholars, particularly those interested in the areas of Holocaust studies and women's studies, as well as for classroom adoption.

Gender order is one domain in which claims to power are demarcated in societies based on a religious codex as well as in secular societies such as nation-states. Gender order especially becomes the area in which conflicts are carried out when a society experiences transition or clashes with another society. At a time when Israel and Palestine face an escalation of their conflict and Germany is undergoing profound changes, renowned scholars discuss the implications on the gender order from their individual vantage points. The transdisciplinary articles focus on Gender in the context of Knowledge, Arts and Representation, Memory and Scripture, Political Transition, and Life Sciences.

"Ulrike Auga" is assistant professor at Humboldt University, Berlin (Germany). "Christina von Braun" is the head of the Chair for Cultural History and Gender at Humboldt University, Berlin.

First mentioned in the Book of Psalms in the Hebrew Bible, the golem is a character in an astonishing number of post-Holocaust Jewish-American novels and has served as inspiration for such varied figures as Mary Shelley s monster in her novel Frankenstein, a frightening character in the television series The X-Files, and comic book figures such as Superman and the Hulk. In The Golem Redux: From Prague to Post-Holocaust Fiction, author Elizabeth R. Baer introduces readers to these varied representations of the golem and traces the history of the golem legend across modern pre- and post-Holocaust culture. In five chapters, The Golem Redux examines the different purposes for which the golem has been used in literature and what makes the golem the ultimate text and intertext for modern Jewish writers. Baer begins by introducing several early manifestations of the golem legend, including texts from the third and fourth centuries and from the medieval period; Prague's golem legend, which is attributed to the Maharal, Rabbi Judah Loew; the history of the Josefov, the Jewish ghetto in Prague, the site of the golem legend; and versions of the legend by Yudl Rosenberg and Chayim Bloch, which informed and influenced modern intertexts. In the chapters that follow, Baer traces the golem first in pre-Holocaust Austrian and German literature and film and later in post-Holocaust American literature and popular culture, arguing that the golem has been deployed very differently in these two contexts. Where prewar German and Austrian contexts used the golem as a signifier of Jewish otherness to underscore growing anti-Semitic cultural feelings, post-Holocaust American texts use the golem to depict the historical tragedy of the Holocaust and to imagine alternatives to it. In this section, Baer explores traditional retellings by Isaac Bashevis Singer and Elie Wiesel, the considerable legacy of the golem in comics, Michael Chabon s The Amazing Adventures of Kavalier and Clay, and, finally, Golems to the Rescue in twentieth- and twenty-first-century works of film and literature, including those by Cynthia Ozick, Thane Rosenbaum, and Daniel Handler. By placing the Holocaust at the centre of her discussion, Baer illustrates how the golem works as a self-conscious intertextual character who affirms the value of imagination and story in Jewish tradition. Students and teachers of Jewish literature and cultural history, film studies, and graphic novels will appreciate Baer s pioneering and thought-provoking volume.