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Kolonie terroru. Wolfgang Sofsky: Ustrój terroru: obóz koncentracyjny. Przeł. Małgorzata Łukasiewicz. Warszawa, Żydowski Instytut Historyczny im. Emanuela Ringelbluma, 2016, ss. 383

100%
Jankowska A.
Narracje o Zagładzie
|
2017
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issue 3
PL
The Camps of Terror. Wolfgang Sofsky: Ustrój terroru: obóz koncentracyjny. Przeł. Małgorzata Łukasiewicz. Warszawa, Żydowski Instytut Historyczny im. Emanuela Ringelbluma, 2016, ss. 383.The review discusses the historically and sociologically significant work of a German scholar Wolfgang Sofsky. This is the first Polish translation of the book, which had a great influence on other thinkers tackling the questions of totalitarianisms, concentration camps, and Nazi genocide. While discussing the scope of issues undertaken by Sofsky, the author of the review focuses on the threads most often emphasised by the German scholar, such as: the organisation of the social structure within the concentration camp, the relations between the authorities and the prisoners, or the functioning of the individual within the system Sofsky describes as absolute. The sociologist turns to the social structure of the camp, that is, the prison hierarchy constructed in such a way that reverses any social order. Sofsky sees in the camp a sui generis experiment conducted by the Nazis on the human and social tissues, as a result of which a deep change within the human and his/her condition occurred. The author pays attention to the organisation of time and space of the camp, which is discussed in detail by the German sociologist. What happened in the camp – according to Sofsky – was the characteristic reversal of social roles and interpersonal relations. The examples of the new order are, among others, the power granted to prisoner functionaries by the Nazis or work that was not a manufacturing process but only one of the tools of terror and physical destruction.
2

Ciało zbrodniarza. Wizualne reprezentacje procesu i egzekucji Arthura Greisera

100%
Jankowska A.
Studia nad Autorytaryzmem i Totalitaryzmem
|
2019
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vol. 41
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issue 2
125-146
EN
The essay depicts the representations of the public image of Arthur Greiser, the Governor of Reichsgau Wartheland and a war criminal, tried and sentenced to death in post-war Poland in 1946. The author analyzes visual sources, such as photographs and films. The post-war images of Arthur Greiser suggest a different figure of the Nazi leader who tried to create his own, well-considered public image as a beginner member of the Nazi party, and later — as the leader of an occupied territory. The Polish discourse, as the anti-war and anti-Nazi one, broke the majestic and proud figure of Greiser, presented him as a ruthless war criminal responsible for persecutions and genocide, an unhuman being without compassion and a monster with specific physiological features. Simulta-neously, the official mass media rhetoric and visual narratives strived to take over the body of Greiser, deprived him the right to dispose of it. The author describes and interprets the pictures of the trial and execution where Greiser is considered as the accused and a dead body/corpse. The visual representations uncover the practice of subjugating the perpetrator’s body in public discourse, as well as the social behaviour and attitudes in the liberated communist country.
3
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Images which are not there. The Representations of the Final Solution in the Examples of Son of Saul and Kornblumenblau

100%
Jankowska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2023
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vol. 34
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issue 43
345-358
EN
Since the problem of representing the Holocaust first emerged, philosophers, writers and filmmakers have tried to find appropriate aesthetic methods of expression. Two approaches dominate the thinking about the Shoah: Claude Lanzmann’s claim of “the event without images” and George Didi-Huberman’s “images in spite of all”. The author’s analysis deconstructs these two theoretical approaches through the interpretation of two films: the Polish Kornblumenblau and the Hungarian Son of Saul and the notion of “the images which are not there”, that is, the non-existent photographs of the Nazi “Final Solution”. The main thesis of the essay states that cinematic representation and artistic expression can substitute for the lack of historical and visual (mostly photographic) depictions of the Holocaust. With the inspiration of theory (Giorgio Agamben, Siegfried Kracauer), I consider different methods of dealing with the dilemma of “unimaginable Auschwitz” and the concept of “bare life” as an aesthetical problem.
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