Editorial


S:I.M.O.N. is an e-journal of the Vienna Wiesenthal Institute for Holocaust Studies (VWI). It appears twice a year in English and German language. S:I.M.O.N. aims at both a transnational and comparative history of the Holocaust and Jewish Studies in Central and Eastern Europe within the broader contexts of the European history of the 20th and 21st century, including its prehistory, consequences and legacies as well as the history of memory.

S:I.M.O.N. serves as a forum for discussion of various methodological approaches. The journal especially wishes to strengthen the exchange between researchers from different scientific communities and to integrate both the Jewish history and the history of the Holocaust into the different “national” narratives. It also lays a special emphasis on memory studies and the analysis of politics of memory.  S:I.M.O.N. uses a double-blind review system, which means that both the reviewer’s and the author’s identities are concealed from each other hroughout the review process.

Shoah: The journal deals with the history of the Shoah from multidisciplinary, transnational and comparative perspectives. It seeks to integrate studies on Jews as well as on other groups of victims of the Holocaust, especially on Roma, and of so far less researched regions of (East) Central and (South) Eastern Europe.

Intervention. The journal reports on research projects and their transmission into public events. It also informs about current educational and remembrance programs.

Methods. The journal serves as a forum for the discussion of methodological approaches as, for instance, the everyday history, oral history, gender history, the history of violence, anti-Semitism and racism and the theory of memory and memory politics.

DocumentatiON. The journal contributes to critical approaches on using and interpreting archival materials in the 21st century. 

Download the current issue S:I.M.O.N. 2017/2.

Articles

Download PDFThe Austrian television cabaret show Das Zeitventil was produced from 1963 to 1968 by the national Austrian Broadcasting Company under the artistic direction of the cabaret artist and musician Gerhard Bronner. The show saw itself as a decidedly political cabaret and expressed in numerous sketches and chansons its critique on current political events and social developments. In different contexts it also dealt with the issues antisemitism, National Socialism and the Holocaust in post-Nazi Austrian society, which was very progressive and unusual during this period of time in Austria. With reference to current socio-political events and media debates taboo subjects of the Second Republic were portrayed with the means of satire and parody: the failed denazification after 1945 and the consequent continuing effects of a widespread antisemitic Nazi ideology in Austria. The comedians parodied politicians who advocated for the amnesty and the concerns of former Nazis, caricatured German national and antisemitic individuals and organizations, themed the failed denazification and debunked antisemitic resentments and trivialisations of the Holocaust. However, the focus of the cabaret was, as selected examples will show, less on a confrontation with Nazi crimes, in particular the mass murder of the European Jews, but rather in demonstrating personnel continuities of former Nazis and their unwavering Nazi sentiments.

SWL-Reader

Download PDFThere is a paradox saying in contemporary Russia that a country's past cannot be predicted: the image of the Russian or Soviet past is always influenced by the interpretation of the current political situation. In order to be able to understand why Russia is once again in the smothering hold of an “unpredictable past” and why one's attitude to Stalin is still, 62 years after his death, the sole measure for a person's position on democracy and liberal values, we must take a closer look at the social conditions during the second half of the 1980s. This paper addresses that task. Its particular focus is the construction of an official state ideology from contradictory historical images by the ruling elites in contemporary Russia.

Events

Download PDFDuring the clerical-fascist Slovak State, "Tóno" Brtko, a docile and poor carpenter, is offered the possibility to 'aryanise' the small Main Street sewing accessories shop of Rozália Lautmannová. Torn between his good-natured principles and his greedy wife Evelyna, he finally agrees to take over the shop by making the deaf and senile lady believe he is her nephew arriving to help her out. Yet he then discovers that the business is bankrupt, and Ms. Lautmannová is only relying on donations from the Jewish community. While letting his wife believe he is making money from the shop, he gradually becomes a supporter of the old lady. More and more, a cordial relationship between the two evolves. When the Slovak authorities finally decide to deport the Jewish population of the small town, Tóno, in a deep conflict with himself and his values, finally opts for hiding Ms. Lautmannová – a decision which turns into tragedy. Obchod na korze won the 'Oscar' for Best Foreign Language Film in 1966. The film was presented on the occasion of a VWI-Visuals presentation on 29 January 2015 in Vienna's Admiralkino.

Die ungarische Zwangsarbeit in Wien, in den Jahren 1944/45, deren Spuren wir im Rahmen des Projekts „BEWEGT ERINNERN“ am 27. Mai 2014 freilegen wollten, ist eine Erinnerungsgeschichte, die innerhalb der Wiener Stadtgeschichte einen „blinden Fleck“ darstellt. Die Spuren dieser wichtigen Erinnerung offenbaren sich weder in der Stadtarchitektur noch im Stadtmobiliar auf eine lesbare Art und Weise, es existieren auch keine Erinnerungsorte, die unsere Aufmerksamkeit auf diesen Inhalt oder auf diese Identität lenken würden. Für die Wienerinnen und Wiener sind es womöglich Räume, welche in anderen Stadtgeschichten eine Rolle spielen, mit der betrachteten Epoche aber nicht mehr in Verbindung gebracht werden, da sie ja auch keine erkennbaren oder deutlichen „Zeichen“ oder „Spuren“ dieser Geschichte auf der Haut tragen. Aus diesem Grund ist es wichtig, eine Geschichte, eine Erinnerung, die sehr wohl noch besteht und präsent ist, auch wenn sie in der Textur der Stadt kaum mehr zu erkennen ist, wieder in die Erinnerung zu rufen, indem man an gewissen Orten dieser Geschichte gedenkt. Durch die Gedenkfahrt wurde also eine Veränderung des Stadtbildes angestrebt, indem Erinnerungsorte hinzugefügt wurden, um ein tieferes Verständnis von Räumen zu erlangen.

Die Idee einer Bustour durch Wien im Gedenken an ungarische Zwangsarbeiterinnen und Zwangsarbeiter 1944/45 bot die Gelegenheit, unsere, im Rahmen des Lehrgangs Social Design – Arts as Urban Innovation an der Universität für Angewandte Kunst theoretisch erarbeiteten Konzepte auch praktisch umzusetzen. Die Gedenktour wurde so zu einem Versuch, durch ein tieferes Verständnis von mental und real verschütteten und vergessenen Identitäten von Räumen, die individuelle Rekonstruktion eines Stadtbildes zu bewirken, indem wir diesem neue Erinnerungsorte hinzufügten. Es ging um einen Prozess, der eine persönliche Aneignung der Stadt und ihrer Identität anregt, aber auch umsetzt.

 

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