Last spring in France a controversy arose over an exhibit of André Zucca's photographs of Paris under German occupation. The well-known photo journalist worked for the Nazi magazine Signal during World War II. For that reason, some people disapproved of an exhibit on the work of a former "collaborateur," a man who, in a way, helped Hitler's Germany. Those who prepared the exhibit justified the project on the basis of the beauty of Zucca's colored photos and the rarity of wartime color photos. They insisted on the importance of his use of agfacolor film, which was generally available only to Germans. Critics of the exhibition found Zucca's privileged access all the more disturbing. An analysis of the archives from the period exposes the complexity of the affair and the need for further research. Evidence from documents on Zucca's activity and opinions during the war reveal a man little interested in the world except to photograph it.
Fabrice Virgili and Danièle Voldman
How the Komsomol Archive Enriched My Understanding of Gender in Soviet War Culture
Adrienne M. Harris
In this article, I detail how archival finds helped me develop questions on World War II martyr heroes and their role in Soviet culture and Russian collective memory. I consider how one might approach silences, read discrepancies in archival holdings, and extrapolate meaning from various kinds of documents. Considering that the Russian State Archive of Sociopolitical History Komsomol archive allows one to study the evolution of gender via the continuous reshaping of feminine and masculine ideals for Soviet youth, I discuss how the archive might open up new research areas and prompt additional questions for gender historians, and lead one to reconsider power and authority in the Soviet past.
The conceptual history of 'economic development' is often told as a US-centered story. The United States, according to the standard account, turned to economic development as a tool in its struggle for global dominance during the Cold War. In line with recent research, this article demonstrates that the post-World War II boom in economic development had European origins as well, and that it originated as a joint response to the Cold War and to the unraveling of European empires. In particular, emphasis is placed on the little-studied contribution of a French Catholic activist who helped redefine economic development in the late 1950s and early 1960s. The Dominican Father Louis-Joseph Lebret stood at the head of an influential movement, which conceived of economic development as a way to save both France and Christianity in a moment of crisis for the French empire and for the Roman Catholic Church. In his writings, Lebret bestowed renewed legitimacy on the French 'civilizing mission.' He also revived elements of interwar Catholic thought to argue for the imperative of building a new moral-economic order that was neither communist nor capitalist. Far from a marginal historical actor, this theorist-practitioner was successful in his efforts, and gained followers for his vision of economic development in France, in Vatican City, at the United Nations, and in various former colonized countries.
le double revirement de Camille Mauclair
The trajectory of the writer and critic Camille Mauclair (1872–1945) was marked by two ruptures: having begun his career within the internationalized avant-gardes, oriented toward Symbolism and Anarchism, he moved away from these circles at the turn of the century. Indeed, the crisis that Symbolism and Anarchism underwent during these years led Mauclair toward Neo-Classicism. To his new esthetic vision was added, during the Great War, a nationalist positioning that led him to virulent xenophobia in the interwar period. Foreign artists were henceforth denounced by Mauclair as being the cause of France's so-called cultural decadence. The turnaround in Mauclair's esthetic and political vision reflects the “return to order” tendencies that grew stronger in French culture from the end of the nineteenth century, attaining their summit during World War II. The propagation of these tendencies was largely due to the influence that the esthetic and ideological reflections of Charles Maurras exerted in intellectual circles.
French La trajectoire de l'écrivain et critique Camille Mauclair (1872–1945) fut marquée par deux ruptures: ayant commencé sa carrière au sein des avant-gardes internationalisées, orientées vers le symbolisme et l'anarchis me, il s'éloigna de ces milieux au tournant du siècle. En eff et, la crise subie par le symbolisme et l'anarchisme durant ces années amena Mauclair vers le néo-classicisme. À cette nouvelle vision esthétique s'ajouta, durant la Grande Guerre, un positionnement nationaliste qui déboucha, dans l'entre-deux-guerres, sur une xénophobie virulente. Dès lors, les artistes étrangers furent étiquetés par Mauclair comme les responsables d'une prétendue décadence culturelle de la France. Le revirement esthétique et politique de Mauclair reflète les tendances de “retour à l'ordre,” qui se renforçaient dans la culture française depuis la fin du dix-neuvième siècle et atteignirent leur sommet durant la Seconde Guerre mondiale. La propagation de ces tendances était due, en grande partie, à l'influence que la réflexion esthétique et idéologique de Charles Maurras exerçait dans les milieux intellectuels.
Citizenship in Europe after World War II—the Challenges of Migration and European Integration
Claudia Wiesner and Anna Björk
The concept of citizenship in Europe after World War II faces two major challenges: migration and European integration. This introduction precedes a group of articles examining debates and law-making processes related to the concept of citizenship in Europe after World War II. The introduction sketches the historical development of citizenship in European representative democracies, taking into account four basic dimensions (access to citizenship, citizenship rights, citizenship duties, and the active content of citizenship) for analyzing changes in the concept of citizenship.
The Woman Veteran in Iulia Drunina's Postwar Poetry
Adrienne M. Harris
The article uses Soviet poet Iuliia Drunina's deeply personal and o en autobiographical poetry as a lens through which to view the woman veteran's experience, especially during the time of the state-promoted cult of World War II and the erosion of the cult during perestroika. Gender and World War II remain consistent themes in Drunina's poetry, but in her oeuvre, one finds an evolution in how the poet-veteran relates to the war. From 1942 on, Drunina consciously assumed the role of the voice for women soldiers, but as the war receded into the past and the number of veterans dwindled, Drunina began to write more frequently on behalf of veterans of both sexes. This article details numerous war and gender-related themes: gendered otherness during the war, demobilization, stereotypes of women soldiers, the sacred nature of the war, the duty to remember, front-line friendship, and the persistence of the war in veterans' lives.
This article examines visits by French people to the former Soviet prison camp in Tambov, Russia, where Alsatians-Mosellans men were imprisoned during World War II. Because the memory of these prisoners of war, conscripted by force into the German army during the war is disappearing together with the witnesses, some survivors organized in the 1990s journeys to the Tambov former prison camp, called “pilgrimages.“ There are currently two kinds of pilgrimages: pilgrimages for survivors of the camp and their close relatives and pilgrimages for grandchildren of former Tambov inmates. This article suggests that the pilgrims, confronting their past, are engaged with a process of identity making, and that pilgrimage provides pilgrims with the opportunity to confront their grief for the dead or their sense of injustice and to let go of the past. The article concludes that with the pilgrimage the value of Tambov as a place of death is re-evaluated.
(Re)Constructing Switzerland through Travel Writing
Sara Steinert Borella
Swiss authors and travelers Ella Maillart and Annemarie Schwarzenbach set off to drive from Switzerland to Afghanistan in a Ford roadster in late 1939, shortly before the outbreak of World War II. Their subsequent texts reveal as much about cultural norms prevalent in Switzerland in the late 1930s as they do about the actual journey to Afghanistan. This article explores Ella Maillart's The Cruel Way (1947) and Annemarie Schwarzenbach's All the Roads Are Open (2011) as constructions of the humanitarian principles that the Swiss have come to call their own. Both travel narratives call into question the national value of neutrality while echoing the language of emerging political and legal human rights discourses. The travel narratives of Maillart and Schwarzenbach thus contribute to the development of a literary discourse of human rights that will later become the standard narrative for Switzerland during and following World War II.
History and Memory
Robert O. Paxton and Shanny L. Peer
Amidst so many works devoted to the Shoah, the rescue of Jews is a relatively neglected subject. This is especially so in the case of France, for reasons explored by Renée Poznanski in her introductory essay to this special issue. The papers published here were presented at a conference on the rescue of Jews in France and the French Empire during World War II, held at the Maison Française of Columbia University on 24–25 March 2011.1
Dutch Political Culture and the Indonesian Question in 1945
Jennifer L. Foray
Of the mid-twentieth-century European imperial powers, only the Netherlands experienced foreign occupation during World War II, followed soon after by the declaration of independence of the East Indies, its prized possession. I argue that the first series of events constituted a “cultural trauma,” and that, after May 1945, Dutch politicians and pundits viewed developments in Indonesia through this lens of wartime trauma. By the year's end, political actors had begun to interpret the recent metropolitan past and the developing Indonesian conflict according to the same rhetorical framework, emphasizing binaries such as “resistance versus collaboration.” While those on the political Left analogized the two conflicts in order to promote a negotiated settlement, their opponents hoped that, by refusing to recognize Sukarno's Republic of Indonesia, the Netherlands could avoid a second and perhaps even more damaging cultural trauma.