Within the vast network of Nazi camps, Stutthof may be the least known beyond Poland. This book is the first scholarly publication in English to break the silence of Stutthof, where 120,000 people were interned and at least 65,000 perished. A Nazi Camp Near Danzig offers an overview of Stutthof's history. It also explores Danzig's significance in promoting the cult of German nationalism which led to Stutthof's establishment and which shaped its subsequent development in 1942 into a Concentration Camp, with the full resources of the Nazi Reich. The book shows how Danzig/Gdansk, generally identified as the city where the Second World War started, became under Albert Forster, Hitler's hand-picked Gauleiter, 'the vanguard of Germandom in the east' and with its disputed history, the poster city for the Third Reich. It reflects on the fact that Danzig was close enough to supply Stutthof with both prisoners – initially local Poles and Jews – as well as local men for its SS workforce. Throughout the study, Ruth Schwertfeger draws on the stories of Danziger and Nobel Prize winner, Günter Grass to consider the darker realities of German nationalism that even Grass's vibrant depictions and wit cannot mask. Schwertfeger demonstrates how German nationalism became more lethal for all prisoners, especially after the summer of 1944 when thousands of Jewish woman died in the Stutthof camp system or perished in the 'death marches' after January 1945. Schwertfeger uses archival and literary sources, as well as memoirs, to allow the voices of the victims to speak. Their testimonies are juxtaposed with the justifications of perpetrators. The book successfully argues that, in the end, Stutthof was no less lethal than other camps of the Third Reich, even if it was, and remains, less well-known.

The harrowing history of the Nazi attempt to annihilate the Jews of Europe during the Second World War is illustrated in this series of 320 highly detailed maps. The horror of the times is further revealed by shocking photographs. The maps do not concentrate solely on the fate of the Jews; they also set their chronological story in the broader context of the war itself and include: * historical background: from the effects of anti-Jewish violence between 1880 and 1914 to the geography of the existing Jewish communities before the advent of the Nazis * the beginning of the violence - from the first destruction of the synagogues to Jewish migrations and deportations and the establishment of concentration camps like Auschwitz * the spread of the horrors - the fate of the Jews across all Europe including Germany, Poland, Greece, France, the Balkans, Italy, the Baltic States and Austria and the incidence of massacres and betrayals * the relief from the atrocities: from the advance of the Allies to the liberation of the camps, the discovery of the horrors and the fate of the survivors.

The essays in this book depict the social and intellectual ferment of the former "Marranos" from Spain and Portugal who returned to the fold of Judaism in Western Europe during the seventeenth century and established new Jewish communities in Amsterdam, Hamburg and London.

With the help of over one hundred illustrations spanning three centuries, Richard Cohen investigates the role of visual images in European Jewish history. In these images and objects that reflect, refract, and also shape daily experience, he finds new and illuminating insights into Jewish life in the modern period. Pointing to recent scholarship that overturns the stereotype of Jews as people of the text, unconcerned with the visual, Cohen shows how the coming of the modern period expanded the relationship of Jews to the visual realm far beyond the religious context. In one such manifestation, orthodox Jewry made icons of popular tabbis, creating images that helped to bridge the sacred and the secular. Toward the end of the nineteenth century, the study and collecting of Jewish art became a legitimate and even passionate pursuit, and signaled the entry of Jews into the art world as painters, collectors, and dealers. Cohen's exploration of early Jewish exhibitions, museums, and museology opens a new window on the relationship of art to Jewish culture and society.

Homes of the Past tells the powerful story of how immigrant Jewish scholars in 1940s New York sought to build a museum to commemorate their lost worlds and people. Among the Jews who arrived in the United States in the early 1940s were a small number of Polish scholars who had devoted their professional lives to the study of Europe's Yiddish-speaking Jews at the YIVO Institute for Jewish Research. Faced with the devastating knowledge that returning to their former homes and resuming their scholarly work there was no longer viable, they sought to address their profound sense of loss by continuing their work, under radically different circumstances, to document the European Jewish lives, places, and ways of living that were being destroyed. In pursuing this daunting agenda, they made a remarkable decision: they would create a museum to memorialize East European Jewry and educate American Jews about this legacy. YIVO scholars determinedly pursued this undertaking for several years, publicizing the initiative and collecting materials to exhibit. However, the Museum of the Homes of the Past was abandoned shortly after the war ended. With insight and clarity, Jeffrey Shandler draws upon the surviving archival sources to tell the story of the purpose, development, and ultimate fate of the Museum of the Homes of the Past. Homes of the Past explores this largely unknown episode of modern Jewish history and museum history and demonstrates that the project, even though it was never realized, marked a critical inflection point in the dynamic interrelations between Jews in America and Eastern Europe.

Displays of Jewish ritual objects in public, non-Jewish settings by Jews are a comparatively re-cent phenomenon. So too is the establishment of Jewish museums. This volume explores the origins of the Jewish Museum of New York and its evolution from collecting and displaying Jewish ritual objects, to Jewish art, to exhibiting avant-garde art devoid of Jewish content, created by non-Jews. Established within a rabbinic seminary, the museum’s formation and development reflect changes in Jewish society over the twentieth century as it grappled with choices between religion and secularism, particularism and universalism, and ethnic pride and assimilation.

Cities are close-knit communities. When rival ethnic groups develop which refuse to concede predominance, deep conflicts may occur. Some have been managed peacefully, as in Brussels and Montreal. Other cases, such as Danzig/Gdansk and Trieste have, more or less forcefully, been resolved in favour of one of the parties. In further cases, such as Belfast and Jerusalem, protracted violence has not delivered a solution. Contested Cities in the Modern West examines the roles of international interventions, state policies and social processes in influencing such situations, with particular reference to the above cases.