For years, it had been assumed that since the end of the Second World War and up until the Eichmann trial in 1961, Hebrew culture in Israel tended to repress the Holocaust or narrate it according to the Zionist ideology's viewpoint – to accentuate the events of the rebellion against the Nazis and to infer from them a lesson of national revival and restoration. The consensus concerning children's literature, in particular, maintained that it had been utterly committed in the early decades of statehood to extracting out of the Holocaust a 'fortifying tale' bearing a national lesson. This paper, however, argues the existence of a developed Holocaust discourse in children's literature written in Jewish Palestine during the war years, and suggests that children's literature even predated adult literature in setting the Holocaust theme at centre stage. This article aims to shed light on a rare narrative in the Israeli public discourse of the Holocaust: the literary story told to Jewish children in Palestine during the years of the Holocaust. At the time, this new narrative for children was extensive and diverse. For the first time in the history of Zionist children's literature, it challenged the Diaspora-negating code that had been dominant since its beginning. Nevertheless, only a few years later, with the founding of the State of Israel, this new narrative was rapidly 'forgotten' by the Israeli collective memory and proceeded to be neglected by literary and educational research as well. Although it spanned a short time period and failed to leave a literary impact on writings for children in Israel, this Holocaust narrative is tremendously important, having evoked the unique voice of the Jewish settlement in Palestine (the Yishuv) during the Second World War. It also serves as a case study of the crucial function of children's literature within the public discourse during traumatic times, illuminating the advantages of children's literature as a marginal and peripheral form of communication in the public domain.
Children's Literature in Jewish Palestine During the Holocaust Years
In this paper, I argue that temporality, as described in Being and Nothingness, is a central theme in Nausea. In the first section I make the point that one of Sartre's guiding concerns at the time of publishing Nausea is temporality and the temporal nature of freedom. In the second section, the theme of melancholy and its relationship to temporality is explored. The third section explores Sartre's use of this image of being taken 'from behind'. I use this temporal imagery as a guide for interpreting Roquentin's reaction to the rape and murder of Lucienne. By interpreting this scene by way of the temporality of Being and Nothingness, we can duly recognize the early Sartre's concern with temporality, understand the melancholia that arises because of the 'internal' negation of the past, and give a more satisfying account of a scene which is often ignored in the secondary literature.
Daniel Herwitz reviews: Adorno, Theodor W. Critical Models: Interventions and Catchwords, translated by Henry Pickford (New York: Columbia Press, 1998).
Suzanne Berry reviews: Lötter, Hennie. Injustice, Violence and Peace. The Case of South Africa (Amsterdam & Atlanta: Editions Rodopi, 1997).
Roger Deacon reviews: Gramsci, Antonio. Prison Notebooks, Volume II, edited and translated by Joseph E. Buttigieg (New York: Columbia University Press, 1996).
The Case of Political Correctness
Ronald S. Stade
and on the historical and semantic changes they undergo. In what follows, I attempt to outline the history of a particular fighting word: “political correctness,” as well as its negation, “political incorrectness.” The attempt will conclude with the
A Critique of Political Decolonisation in Ghana
for the justification of the negation of the colonial. 1 This article, then, is an exercise in critical inquiry, an eccentric reading of the concept of political decolonisation. This article seeks to ask one question: if critique, or what Foucault
, Marxist, and so on. But the Other also has certain normative and ideological frames of reference, which may violently conflict with and negate our own way of being-in-the-world, as demonstrated, for example, in the Paris terror attacks of November 2015
Sonic Experiences of Police Operations and Occupations in Rio de Janeiro's Favelas
explains why people perceive of funk as immoral noise, but also clarifies the process that lies at the base of the criminalization of the music (for the broader context of negation of black subjectivity and cultural expressions in Brazil, see also Lélia
Some Research Perspectives
Adam White and Stefan Robinson
masculinity is through Deborah David and Robert Brannon’s (1976) four rules of masculinity. They claim men must “be a sturdy oak,” “be a big wheel,” “give ’em hell,” and not do any “sissy stuff.” Although David and Brannon’s (1976) rules negate the
In Being and Nothingness, Sartre explains that being-in-itself is transphenomenal and becomes a phenomenon only through the process by which consciousness qualifies itself as its negation. Thus, there can be no phenomenon except as the object that consciousness (consciously) negates. This ontology of phenomena proves contradictory because one does not understand how consciousness can negate what does not appear to it, especially if it needs to do so as an existentialist freedom, which has to choose (in terms of phenomena) the end towards which it negates being. Sartre's theory of facticity as 'body' then comes as an alternative conception of phenomena, answering these problems by ultimately tending to present being-in-itself as a non-objective, hence non-conscious, phenomenon. Intentional consciousness thus becomes a transcendental condition for objectivity only and not for phenomenality in general.
Rhinoplasty and Identity in Tehran
Tehran currently hosts one of the largest rhinoplasty markets in the world, and rhinoplasty is the most sought after cosmetic surgery in the country. This article examines whether the rhinoplasty trend reflects a shift in Iranians' attitudes towards their ethnic and cultural identity. It is argued that fashion and beauty norms in Tehran are certainly informed by globalised images, but these are mediated by Iranian moralities of prestige, image consciousness and class awareness. Thus, while many of the persons interviewed described 'Iranian noses' as aesthetically inferior to 'European noses', their statements were not necessarily coupled with a desire to negate Iranian identity.