Redeeming Objects traces the afterlives of things. Out of the rubble of World War II and the Holocaust, the Federal Republic of Germany emerged, and with it a foundational myth of the "economic miracle." In this narrative, a new mass consumer society based on the production, export, and consumption of goods would redeem West Germany from its Nazi past and drive its rebirth as a truly modern nation. Turning this narrative on its head, Natalie Scholz shows that West Germany's consumerist ideology took shape through the reinvention of commodities previously tied to Nazism into symbols of Germany's modernity, economic supremacy, and international prestige. Postwar advertising, film, and print culture sought to divest mass-produced goods--such as the Volkswagen and modern interiors--of their fascist legacies. But Scholz demonstrates that postwar representations were saturated with unacknowledged references to the Nazi past. Drawing on a vast array of popular and highbrow publications and films, Redeeming Objects adds a new perspective to debates about postwar reconstruction, memory, and consumerism.

On a November evening in 1989, Laura Levitt was raped in her own bed. Her landlord heard the assault taking place and called 911, but the police arrived too late to apprehend Laura’s attacker. When they left, investigators took items with them—a pair of sweatpants, the bedclothes—and a rape exam was performed at the hospital. However, this evidence was never processed. Decades later, Laura returns to these objects, viewing them not as clues that will lead to the identification of her assailant but rather as a means of engaging traumatic legacies writ large. The Objects That Remain is equal parts personal memoir and fascinating examination of the ways in which the material remains of violent crimes inform our experience of, and thinking about, trauma and loss. Considering artifacts in the United States Holocaust Memorial Museum and evidence in police storage facilities across the country, Laura’s story moves between intimate trauma, the story of an unsolved rape, and genocide. Throughout, she asks what it might mean to do justice to these violent pasts outside the juridical system or through historical empiricism, which are the dominant ways in which we think about evidence from violent crimes and other highly traumatic events. Over the course of her investigation, the author reveals how these objects that remain and the stories that surround them enable forms of intimacy. In this way, she models for us a different kind of reckoning, where justice is an animating process of telling and holding.

Disciplining the Holocaust examines critics' efforts to defend a rigorous and morally appropriate image of the Holocaust. Rather than limiting herself to polemics about the "proper" approach to traumatic history, Karyn Ball explores recent trends in intellectual history that govern a contemporary ethics of scholarship about the Holocaust. She examines the scholarly reception of Goldhagen's Hitler's Willing Executioners, the debates culminating in Eisenman's Memorial to the Murdered Jews of Europe in Berlin, Lyotard's response to negations of testimony about the gas chambers, psychoanalytically informed frameworks for the critical study of traumatic history, and a conference on feminist approaches to the Holocaust and genocide. Ball's book bridges the gap between psychoanalysis and Foucault's understanding of disciplinary power in order to highlight the social implications of traumatic history.

"What does a black burlesque star have to do with some of the most enduring and passionate ideas in modern aesthetic theory? Josephine Baker emerges in this untold story as a principal figure in the drama behind the making of Euro-American Modernism. Instead of seeing her nude performances as a Primitivist given, Cheng argues that Baker's skin was central to debates about and desire for "pure surface" that crystalized at the convergence of modern art, architecture, machinery, and philosophy. Taking the reader across the Atlantic - through real stages and imagined houses; banana plantations and ocean lines; metallic bodies and radiant cities-this study tracks the ardent and protean conversa-tion between the making of a Modernist style and the staging of a new black visuality. In this account, Baker and the Modernists known to have adored and objectified her in fact share a common dream: the fantasy of remaking and wearing the skin of the other"--

What happens when an entire modern state's material culture becomes abruptly obsolete? How do ordinary people encounter what remains? In this ethnography, Jonathan Bach examines the afterlife of East Germany following the fall of the Berlin Wall, as things and places from that vanished socialist past continue to circulate and shape the politics of memory. What Remains traces the unsettling effects of these unmoored artifacts on the German present, arguing for a rethinking of the role of the everyday as a site of reckoning with difficult pasts. Bach juxtaposes four sites where the stakes of the everyday appear: products commodified as nostalgia, amateur museums dedicated to collecting everyday life under socialism, the "people's palace" that captured the national imagination through its destruction, and the feared and fetishized Berlin Wall. Moving from the local, the intimate, and the small to the national, the impersonal, and the large, this book's interpenetrating chapters show the unexpected social and political force of the ordinary in the production of memory. What Remains offers a unique vantage point on the workings of the everyday in situations of radical discontinuity, contributing to new understandings of postsocialism and the intricate intersection of material remains and memory.

Sissi's World offers a transdisciplinary approach to the study of the Habsburg Empress Elisabeth of Austria. It investigates the myths, legends, and representations across literature, art, film, and other media of one of the most popular, revered, and misunderstood female figures in European cultural history. Sissi's World explores the cultural foundations for the endurance of the Sissi legends and the continuing fascination with the beautiful empress: a Bavarian duchess born in 1837, the longest-serving Austrian empress, and the queen of Hungary who died in 1898 at the hands of a crazed anarchist. Despite the continuing fascination with “the beloved Sissi," the Habsburg empress, her impact, and legacy have received scant attention from scholars. This collection will go beyond the popular biographical accounts, recountings of her mythic beauty, and scattered studies of her well-known eccentricities to offer transdisciplinary cultural perspectives across art, film, fashion, history, literature, and media.

This book brings together contributions from around the world that analyse and reflect on the way curriculum is configuring and reconfiguring that world.

DIVA study of melancholia, sexuality, and representation in literary and visual texts that can be read at the crossroads of psychoanalysis and the arts in modernism./div

In Cultural Melancholia: US Trauma Discourses Before and After 9/11, Christina Cavedon frames her examination of 9/11 fiction, especially Jay McInerney’s The Good Life and Don DeLillo’s Falling Man, with a thorough discussion of what US reactions to the terrorist attacks of September 11, 2001 disclose about American culture. Offering a comparative reading of pre- and post-9/11 literary, public, and academic discourses, she deconstructs the still commonly held belief that cultural repercussions of the attacks primarily testify to a cultural trauma in the wake of the collectively witnessed media event. She innovatively re-interprets discourses to be symptomatic of a malaise which had afflicted American culture already prior to 9/11 and can best be approached with melancholia as an analytical concept.