krainaksiazek truth for germany an interview 20119359
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Buchenwald Report Westview Press Inc
Książki / Literatura obcojęzyczna
In the closing weeks of World War II, advancing Allied armies uncovered the horror of the Nazi concentration camps. The first camp to be liberated in western Germany was Buchenwald, on April 11, 1945. Within days, a special team of German-speaking intelligence officers from the U.S. Army was dispatched to Buchenwald to interview the prisoners there. In the short time available to them before the inmates' final release from the camp, this team was to prepare a report to be used against the Nazis in future war crimes trials. Nowhere else was such a systematic effort made to talk with prisoners and record their firsthand knowledge of the daily life, structure, and functioning of a concentration camp. The result was an important and unique document, The Buchenwald Report.Shockingly, not long after the war ended The Buchenwald Report was almost lost forever. Only selected portions were entered as evidence at the Nuremberg trials. Professor Eugen Kogon, a prisoner at Buchenwald who assisted the Army specialists in conducting their interviews and writing the report, made use of the material gathered as a background source for his classic book, The Theory and Practice of Hell, but subsequently his copy was accidently destroyed. Thus the complete report was never published, and both the original document and a precious handful of copies gradually disappeared. Recently-more than four decades later-a single, faded carbon copy was discovered, apparently the only one still in existence. It is translated from German and presented here in book form, as its authors intended, for the first time.The book is divided into two parts. The first, the Main Report, formally presents the interview team's findings. It describes in detail the camp's history, how it was organized and functioned, who the prisoners were, how they lived, and how they were treated by their Nazi captors. This part of the report is based on the camp's own incriminating files and records as well as on information obtained from the prisoners.The second part, the Individual Reports, is the heart of the book. Here are the eyewitness accounts of the camp inmates, statements taken while they were still behind the same barbed wire that had held them for so many years. The prisoners relate events so recent, so painful, that they can only speak with strong emotions but often with great eloquence. The interview team had the foresight to take these accounts and organize them according to specific topics, for example forced labor, daily camp life, punishments, resistance, or SS guards. As a result, the book goes beyond simply a collection of individual stories, providing instead a well-rounded portrayal of every aspect of Buchenwald concentration camp from the prisoners' point of view.The Buchenwald Report is one of the most remarkable and important documents to emerge from the Holocaust and World War II. It is a deposition against the monstrous crimes of the Nazis, damning testimony provided by their intended victims in a final act of defiance. These are the voices of people courageous enough to tarry a while longer in hell, so that they could tell the world the truth at last. Perhaps they already sensed that, as Milan Kundera was to put it, "the struggle of man against power is the struggle of memory against forgetting." After fifty years, and too many lapses of memory, we know they were right.
Hans Haacke Phaidon Press Ltd
Książki / Literatura obcojęzyczna
Born in Cologne in 1936 and based in New York since 1965, Haacke's strong political, cultural and social concerns are reflected in his installations, texts and sculptures. Throughout his 50-year career Haacke has frequently changed the presentation of his art to get his message across. Often borrowing from non-art sources such as corporate advertising, questionnaires or scientific experimentation, Haacke is probably the most successful and best-known late twentieth century artist to create political art that manages to hit its mark with such concision and elegance. Haacke sometimes works like a sleuth, uncovering the art world's hidden politics and economics. This practice has famously led to museum officials cancelling his exhibitions. His 1971 solo show at the Solomon R Guggenheim Museum, New York, for example, was cancelled in response to his proposal to present the questionable real estate dealings of several New York companies. Haacke is a unique figure in post-war art, and his work has touched on such diverse movements as Conceptual, Pop, Minimal and Land art. Highly respected as a writer and thinker, his integrity as well as the formal innovations of his art have proven hugely influential for many generations of contemporary artists via exhibitions at such museums as the Tate Gallery, London (1984), the New Museum of Contemporary Art, New York (1986), and the Centre Pompidou, Paris (1989). German art historian Walter Grasskamp surveys the artist's career with an emphasis on the innovations he has brought to the notion of public art. In the Interview, American art historian Molly Nesbit discusses with the artist his working practices and his sometimes turbulent relationship with the art world. London-based critic Jon Bird focuses on Mixed Messages, Haacke's presentation of works from the collection of London's Victoria and Albert Museum and Serpentine Gallery. The Artist's Choice, excerpts from Writing the Truth: Five Difficulties by Bertolt Brecht, reflects Haacke's approach to his own work. The Artist's Writings include an excerpt from Free Exchange (1995), his book-length conversation with Pierre Bourdieu, and an essay on his controversial project for the Reichstag in Berlin (1999-2000).
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