In this Nazi crusade, homosexual prisoners were confined to death camps where, forced to wear pink triangles, they constituted the lowest rung in the camp hierarchy. The horror of camp life is described through diaries, previously untranslated documents, and interviews with and letters from survivors, revealing how the anti-homosexual campaign was conducted, the crackpot homophobic fantasies that fueled it, the men who made it possible, and those who were its victims, this chilling book sheds light on a corner of twentieth-century history that has been hidden in the shadows much too long.
Richard Plant was born in Frankfurt and was a graduate of the University of Basel, where he earned his Ph.D. Since emigrating to the United States in 1938, he has contributed numerous articles to many publications, and teaches at the New School for Social Research in New York City.
The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and 'sleaze' visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.
In November of 1940, the German pocket battleship Admiral Scheer attacked British Convoy HX-84. The Armed Merchant Cruiser HMS Jervis Bay, the only escort and mounting antique 6-inch guns, charged the Nazi raider. While the Jervis Bay did not stand a chance of surviving the battle, her crew's fatalistic bravery inspired awe in all who witnessed the fight. Watson describes how the Scheer's 11-inch guns turned the converted passenger liner into a burning hulk in twenty-two minutes, but most of the convoy escaped.
How did this confrontation come to pass? Both the necessity of arming a passenger liner and pretending it was a warship, and the building of the Admiral Scheer and her sister ships for the express purpose of commerce raiding, find their roots in the events, political decisions, re-armament polices, war plans, naval traditions, and blunders that arose in pre-war Britain and Germany. But this event holds a significance beyond the battle itself. The sinking of the Jervis Bay symbolizes the end of an era in naval warfare. The Armed Merchant Cruisers of the Second World War inherited a long, sometimes noble and sometimes ignoble history. Long employed in blockade or patrol duty, armed merchant cruisers ventured out for the first time to escort convoys, a defensive duty for which they were eminently unsuited, and for which the Jervis Bay paid a fearful price.
No previous studies of patterns of artistic production during the Romanesque period rival the breadth of coverage encompassed by this volume – both in terms of geographical origin and media, and in terms of historical approach. Topics range from case studies on Santiago de Compostela, the Armenian Cathedral in Jerusalem and the Winchester Bible to reflections on textuality and donor literacy, the culture of abbatial patronage at Saint-Michel de Cuxa and the re-invention of slab relief sculpture around 1100. The volume also includes papers that attempt to recover the procedures that coloured interaction between artists and patrons – a serious theme in a collection that opens with ‘Function, condition and process in eleventh-century Anglo-Norman church architecture’ and ends with a consideration of ‘The death of the patron’.
For nearly forty years, Seel kept this secret in order to hide his homosexuality. Eventually he decided to speak out, bearing witness to an aspect of the Holocaust rarely seen. This edition, with a new foreword from gay-literature historian Gregory Woods, is an extraordinary firsthand account of the Nazi roundup and the deportation of homosexuals.
Night is Elie Wiesel's masterpiece, a candid, horrific, and deeply poignant autobiographical account of his survival as a teenager in the Nazi death camps. This new translation by Marion Wiesel, Elie's wife and frequent translator, presents this seminal memoir in the language and spirit truest to the author's original intent. And in a substantive new preface, Elie reflects on the enduring importance of Night and his lifelong, passionate dedication to ensuring that the world never forgets man's capacity for inhumanity to man.
Night offers much more than a litany of the daily terrors, everyday perversions, and rampant sadism at Auschwitz and Buchenwald; it also eloquently addresses many of the philosophical as well as personal questions implicit in any serious consideration of what the Holocaust was, what it meant, and what its legacy is and will be.