Includes work from Henning van Berg, Tom Bianchi, Stanley Stellar, Paul Dahlquist, Dainora Niccolini, Michael Chambers, Helmut Spielberg, Norbert Torriente, Robert Laliberte. Nine photographers from the USA and Canada present their special erotic view of the black male nude. Includes black and white and full colour photography.
From Poznan, through Warsaw, the Krakow Ghetto, Plaszow, Auschwitz, Buchenwald, Berlin-Haselhorst, Sachsenhausen, to Schwerin and over Lübeck, Neustadt, Bergen-Belsen and Antwerp to Eretz-Israel 1927-1946
From Poznan, through Warsaw, the Krakow Ghetto, Plaszow, Auschwitz, Buchenwald, Berlin-Haselhorst, Sachsenhausen, to Schwerin and over Lübeck, Neustadt, Bergen-Belsen and Antwerp to Eretz-Israel 1927-1946
Zvi Helmut Steinitz Memoirs for eternal remembrance For years I was preoccupied with the thought of documenting the tragic fate of my family members, all of them perished in the Holocaust. Yet for almost my whole life, I tried to suppress the sorrowful past, wary of resurrecting the years of tears and suffering. I rarely spoke of the wartime atrocities. I never returned to the country where death resided, where streams of Jewish blood saturated the earth. I couldn ́t bring myself to stand before the silent mass grave in Belzec, where my parents, my brother and my aunt lie buried together with hundreds upon thousands of Jewish victims. I couldn ́t face the death of those I loved, couldn't look into their eyes. In my mind, they live on. Many years later, vivid images from the monstrous war years began to appear frequently, images that cast a shadow over my day-to-day life and burdened my mind. I gradually became aware of my age, too. I was no longer young, and already I felt under pressure to finally write down the story of my family. All my life I had been haunted by the question of how I had survived the war, where I had drawn the mental and physical strength that helped me to survive those tortuous years. There is no explanation for my survival, and yet I am certain that the upbringing that my parents gave me had a significant influence on my steadfastness and determination, particularly in critical situations. My parents brought my brother and me up with love and human values that I have carried with me through my life. In moments of deepest despair and deadly peril, hidden strengths awakened in me, strengths that sharpened my senses and saved my life. I strongly believe that the values installed in childhood will always stay with a person and develop into principles that a young person can take into independent life. Had I not possessed these principles, not even blind luck or sheer coincidence could have saved me. As the only surviving member of my family, I felt a moral obligation to immortalise in writing the fate of my family and their lives before and during the war up until their tragic deaths. I had the extraordinary fortune of surviving, and I have enough mental strength today to enable me to address the horrors of that time and to tell the story of my family. The Nazis will not succeed in their appalling attempt at erasing my family's existence from this earth. My parents and brother have no personal graves and no gravestone.
Helmut Puff invites readers to visit societies and spaces of the past through the lens of a particular temporal modality: waiting. From literature, memoirs, manuals, chronicles, visuals, and other documents, Puff presents a history of waiting anchored in antechambers—interior rooms designated and designed for people to linger. In early modern continental Western Europe, antechambers became standard in the residences of the elites. As a time-space infrastructure these rooms shaped encounters between unequals. By imposing spatial distance and temporal delays, antechambers constituted authority, rank, and power. Puff explores both the logic and the experience of waiting in such formative spaces, showing that time divides as much as it unites, and that far from what people have said about early moderns, they approached living in time with apprehensiveness. Unlike how contemporary society primarily views the temporal dimension, to early modern Europeans time was not an objective force external to the self but something that was tied to acting in time. Divided only by walls and doors, waiters sought out occasions to improve their lot. At other times, they disrupted the scripts accorded them. Situated at the intersection of history, literature, and the history of art and architecture, this wide-ranging study demonstrates that waiting has a history that has much to tell us about social and power relations in the past and present.
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