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Andrew Bowie

extermination camp commandant who goes home to play Schubert has to be a central figure in aesthetic reflection after the Holocaust, both as a reminder of the limits of art’s capacity to humanise, and as a reminder of the constant need to sustain the truth of major works of art that transcends their contingent reception. At a different level, the kind of connections between art and society characteristic of Schelling and the System Programme were made in a small, in many ways still feudal, society which lacked many of the possibilities and problems occasioned by

in Aesthetics and subjectivity
Catherine Baker

types, each implying a certain stance towards intervention. The ‘Balkan discourse’ attributed the violence to insoluble ancient ‘ethnic’ or even (with direct colonial overtones) ‘tribal’ hatreds, blamed all sides equally, and implied Western intervention would be futile. The ‘genocide discourse’ recognised Bosniaks (and sometimes Croats) as victims of Serb genocide and, implicitly or explicitly evoking the Holocaust, counselled military intervention to prevent another such extermination in Europe (Hansen 2006 : 96). While the ‘Balkan discourse’ applied an

in Race and the Yugoslav region
Catherine Baker

. Social inequalities and migration during and after state socialism Extensive internal migration in socialist Yugoslavia, where hundreds of thousands of people moved in the 1950s–60s from rural/highland regions to urban centres for factory work or towards more fertile agricultural land, took place in a structure of property ownership shaped by the expropriations of the Holocaust, the Ustaša terror and the Communist expulsion of Germans in 1945, just as earlier settlements of Serb farmers in southern Serbia, Macedonia and Kosovo had been intrinsically

in Race and the Yugoslav region