Editorial


S:I.M.O.N. is an e-journal of the Vienna Wiesenthal Institute for Holocaust Studies (VWI). It appears twice a year in English and German language. S:I.M.O.N. aims at both a transnational and comparative history of the Holocaust and Jewish Studies in Central and Eastern Europe within the broader contexts of the European history of the 20th and 21st century, including its prehistory, consequences and legacies as well as the history of memory.

S:I.M.O.N. serves as a forum for discussion of various methodological approaches. The journal especially wishes to strengthen the exchange between researchers from different scientific communities and to integrate both the Jewish history and the history of the Holocaust into the different “national” narratives. It also lays a special emphasis on memory studies and the analysis of politics of memory.  S:I.M.O.N. uses a double-blind review system, which means that both the reviewer’s and the author’s identities are concealed from each other hroughout the review process.

Shoah: The journal deals with the history of the Shoah from multidisciplinary, transnational and comparative perspectives. It seeks to integrate studies on Jews as well as on other groups of victims of the Holocaust, especially on Roma, and of so far less researched regions of (East) Central and (South) Eastern Europe.

Intervention. The journal reports on research projects and their transmission into public events. It also informs about current educational and remembrance programs.

Methods. The journal serves as a forum for the discussion of methodological approaches as, for instance, the everyday history, oral history, gender history, the history of violence, anti-Semitism and racism and the theory of memory and memory politics.

DocumentatiON. The journal contributes to critical approaches on using and interpreting archival materials in the 21st century. 

Download the current issue S:I.M.O.N. 2017/1.

Articles

Download PDFThe Austrian television cabaret show Das Zeitventil was produced from 1963 to 1968 by the national Austrian Broadcasting Company under the artistic direction of the cabaret artist and musician Gerhard Bronner. The show saw itself as a decidedly political cabaret and expressed in numerous sketches and chansons its critique on current political events and social developments. In different contexts it also dealt with the issues antisemitism, National Socialism and the Holocaust in post-Nazi Austrian society, which was very progressive and unusual during this period of time in Austria. With reference to current socio-political events and media debates taboo subjects of the Second Republic were portrayed with the means of satire and parody: the failed denazification after 1945 and the consequent continuing effects of a widespread antisemitic Nazi ideology in Austria. The comedians parodied politicians who advocated for the amnesty and the concerns of former Nazis, caricatured German national and antisemitic individuals and organizations, themed the failed denazification and debunked antisemitic resentments and trivialisations of the Holocaust. However, the focus of the cabaret was, as selected examples will show, less on a confrontation with Nazi crimes, in particular the mass murder of the European Jews, but rather in demonstrating personnel continuities of former Nazis and their unwavering Nazi sentiments.

SWL-Reader

Download PDFHolocaust and Genocide Studies emerged as a new discipline during the 1990s, particularly so in the Anglo-Saxon world. This development also established a new culture of remembrance and treatment of the collective past and public apologies for historical crimes. Since then, several countries have institutionalized Holocaust memorial days and similar institutions in a range of formats, several governments have apologized for historical injustices in various manners. Yet, there remains the question of a precise definition of a genocide – and in what way the term is connected to the Holocaust, the murder of the European Jews. How are these two related? What is the social function of such official or semi-official remembrances, and what is their role in society?

In his lecture, Dirk Moses endeavoured to clarify whether the insights gained from the history of the Holocaust and other genocides in general – namely, the imperative of 'tolerance' – really does provide an adequate answer to this challenge.

Events

Duschehubka

Download PDFThis text is the penultimate chapter of Zoltán Halasi's book Út az üres éghez (Road to an Empty Sky). With this work, which was first published in Hungarian, the author created a singular memorial to Polish-Jewish culture and its destruction. Setting out from the Yiddish Holocaust poem Dos lid funm ojsgehargetn jidischen folk by Itzhak Katzenelson, Halasi records what was lost in the Shoah in the course of nineteen compelling chapters. He takes on the grab of an art historian, a literary critic and a travel guide when he reports about a wooden synagogue and the Jewish quarter in Warsaw. In the role of a German banker, he illuminates the aims of the Nazi monetary policies, as a writer of SS brochures he highlights the absurdity of racism. Depicting a Selektion in the Warsaw ghetto, he shows the grim logic of compulsive acts in catastrophic situations, draws an image of the running of the extermination camp Treblinka. The cynical words of two German policemen provide an insight into the rituals of mass executions and introduce us to the craft of murder. The final chapter is an interplay of slithers of narrative by Jewish children on the run and by those who helped and hid them that borders on the unbearable.
The chapter reproduced on the following pages has three parts: Part one is a Treblinka railway station master's report to the Polish Home Army. In the second part, a former Jewish detainee who managed to escape from the extermination camp Treblinka gives a literary treatment of his arrival at the camp. The final part consists of an inner monologue by the Treblinka extermination camp's director of administration.

The book will shortly be published in Polish at the Nisza publishing company in Warsaw. The German-speaking public was first presented with the work on December 1, 2015 at the Simon Wiesenthal Conference 2015. The German translation by Éva Zádor and Heinrich Eisterer is in progress.

Download PDFDownload PDFIn 1992, the government of the Federal Republic of Germany decided to dedicate a memorial to the victims of the genocide of Sinti and Roma. The Memorial for the Sinti and Roma of Europe murdered under National Socialism by the artist Dani Karavan was inaugurated in October 2012 in the centre of Berlin, near the former Reichstag building. The planning and construction phase spanned two decades, during which many discussions addressed the significance awarded to the Nazi persecution of “gypsies” next to the Holocaust. These discussions reached an apex in a controversy enacted via media between Yehuda Bauer (then the director of the International School for Holocaust Studies in Yad Vashem) and Romani Rose (the head of the Central Council of German Sinti and Roma). This paper critically reflects the debates in light of new research results on the genocide of Sinti and Roma.