History

This article examines the troubling status of poor migrant wome political actors in the denationalized space of Ciudad Juárez. Subaltern women's labors have served the state as a stabilizing force amidst the economic and political crises of the neo-liberal regime in ways that both promote and delimit new forms of female agency in the border region.

How did a young Bundist activist fall so in love with France in the 1930s that she was willing to sacrifice her vocation as a painter, a student of Gromaire and familiar with Montparnasse, to share the life of her husband, a Russian emigrant who became a poultry farmer in the North? How, only just having been naturalized French, did she come to enlist at the start of the Second World War as a military nurse for the Red Cross to end up in the Camp d'Agde as an enemy alien?

An Uncertain Hour recounts the history of the German occupation of France and the Vichy government, concentrating on events in Lyon. Morgan outlines Vichy policies toward the Jews and describes the cooperation between Vichy officers and Germans in the Final Solution. He dwells on the personalities of leading members of the government in charge of Jewish affairs (Vallat, Darquier de Pellepoix, Bousquet) as well as German war criminals (Dannecker, and especially Klaus Barbie).

Despite some pioneering work by scholars, historians still find it hard to listen to the voices of women in the Holocaust. Learning more about the women who both survived and did not survive the Nazi genocide - through the testimony of the women themselves - not only increases our
understanding of this terrible period in history, but makes us rethink our relationship to the gendered nature of knowledge itself. Women in the Holocaust is about the ways in which socially- and culturally-constructed gender roles were placed under extreme pressure; yet also about the fact that

Between Dignity and Despair draws on the extraordinary memoirs, diaries, interviews, and letters of Jewish women and men to give us the first intimate portrait of Jewish life in Nazi Germany.

Now a global bestseller, the remarkable life of Rigoberta Menchú, a Guatemalan peasant woman, reflects the experiences common to many Indian communities in Latin America. Menchú suffered gross injustice and hardship in her early life: her brother, father and mother were murdered by the Guatemalan military. She learned Spanish and turned to catechistic work as an expression of political revolt as well as religious commitment. Menchú vividly conveys the traditional beliefs of her community and her personal response to feminist and socialist ideas.

This unorthodox scholarly work dissects the ghosts of history in order to analyze how the past--both recent and distant--haunts posterity, and in what ways the present disfigures the image of times gone by. The book presents a novel history of Communism from the perspective of its collapse, and inspects the world beyond the Fall in the distorting mirror of its imagined prehistory.

The Drowned and the Saved is a book of essays by Italian-Jewish author and Holocaust survivor Primo Levi on life and death in the Nazi extermination camps, drawing on his personal experience as a survivor of Auschwitz. The author's last work, written in 1986, a year before his death, The Drowned and the Saved is an attempt at an analytical approach, in contrast to his earlier books If This Is a Man (1947) and The Truce (1963), which are autobiographical.

The Aesthetics of Hate examines the writings of a motley collection of interwar far-right intellectuals, showing that they defined Frenchness in racial, gendered, and sexual terms. A broad, ambitious cultural and intellectual history, the book offers a provocative reinterpretation of a topic that has long been the subject of controversy.

Can the Holocaust be compellingly described or represented? Or is there some core aspect of the extermination of the Jews of Europe which resists our powers of depiction, of theory, of narrative? In this volume, twenty scholars probe the moral, epistemological, and aesthetic limits of an account or portrayal of the Nazi horror.