This book examines the economics of everyday life and the Final Solution in Southeastern Europe, specifically the role that the mass confiscation of Jewish property and exclusion of Jews as well as other undesired population groups from the national marketplace in Southeastern Europe played in transforming economic life and social relations. It aims to understand how ordinary people in the region responded as beneficiaries, bystanders, perpetrators, rescuers, and, above all, victims to Aryanization, and how regimes and governments adapted its basic principles to their specific national contexts and ideological and ethnic agendas. Aryanization appeared in some of its most radical, accelerated, and yet idiosyncratic forms in Southeastern Europe, representing a staging post or parallel process on the journey to the Final Solution. At the same time, it represented a modernizing project through which states on the periphery of Hitler’s new Europe could not only catch up with the rest of the continent but also seek to gain legitimacy among their own citizens by using systems of mass robbery to satisfy consumer demand and aspirations of social mobility in economies of want and scarcity. This volume is aimed at scholars and students of the Second World War and European fascism, genocide and occupation politics, Jewish studies, and Southeastern Europe.

A groundbreaking reexamination of the Holocaust and how Germans understood their genocidal project: “Insightful [and] chilling.” —Kirkus Reviews Why exactly did the Nazis burn the Hebrew Bible everywhere in Germany on November 9, 1938? The perplexing event has not been adequately accounted for by historians in their large-scale assessments of how and why the Holocaust occurred. In this gripping new analysis, Alon Confino draws on an array of archives across three continents to propose a penetrating new assessment of one of the central moral problems of the twentieth century. To a surprising extent, Confino demonstrates, the mass murder of Jews during the war years was powerfully anticipated in the culture of the prewar years. The author shifts his focus away from the debates over what the Germans did or did not know about the Holocaust and explores instead how Germans came to conceive of the idea of a Germany without Jews. He traces the stories the Nazis told themselves—where they came from and where they were heading—and how those stories led to the conclusion that Jews must be eradicated in order for the new Nazi civilization to arise. The creation of this new empire required that Jews and Judaism be erased from Christian history, and this was the inspiration—and justification—for Kristallnacht. As Germans entertained the idea of a future world without Jews, the unimaginable became imaginable, and the unthinkable became real. “At once so disturbing and so hypnotic to read . . . Deserves the widest possible audience.” —Open Letters Monthly

Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, Cultural Exchange meticulously combines a wide range of sources to show how Jews and Christians exchanged artistic and material culture. Joseph Shatzmiller focuses on communities in northern Europe, Iberia, and other Mediterranean societies where Jews and Christians coexisted for centuries, and he synthesizes the most current research to describe the daily encounters that enabled both societies to appreciate common artistic values. Detailing the transmission of cultural sensibilities in the medieval money market and the world of Jewish money lenders, this book examines objects pawned by peasants and humble citizens, sacred relics exchanged by the clergy as security for loans, and aesthetic goods given up by the Christian well-to-do who required financial assistance. The work also explores frescoes and decorations likely painted by non-Jews in medieval and early modern Jewish homes located in Germanic lands, and the ways in which Jews hired Christian artists and craftsmen to decorate Hebrew prayer books and create liturgical objects. Conversely, Christians frequently hired Jewish craftsmen to produce liturgical objects used in Christian churches. With rich archival documentation, Cultural Exchange sheds light on the social and economic history of the creation of Jewish and Christian art, and expands the general understanding of cultural exchange in brand-new ways.

Roberto Benigni's romantic comedy Life is Beautiful enjoyed tremendous success everywhere it was shown. In addition to winning almost every possible film award, including three Oscars, lavish praise and film reviews, it grossed over a quarter of a billion dollars—the most profitable Italian movie ever. Very few have questioned the movie—until now. With sharp, uncompromising logic and eye-opening insight, Niv analyzes the film and its script scene-by-scene to show why Life is Beautiful is very far from being the innocent, charming, and heartwarming film it appears to be. The author argues that the film not only lends support to the central arguments of Holocaust deniers, but is actually a quasi-theological, Christian parable which seeks to justify the extermination of Jews in the 20th century as divine punishment for the sin of the crucifixion of Jesus two thousand years ago. Life is Beautiful, But Not for Jews is a riveting book that simply and concisely raises some important and complex ideas about film and psychology in post-Holocaust civilization. It also serves as an elementary course in the appreciation of films and artistic texts in general and in deciphering their deeper meanings, teaching the reader to more clearly grasp the hidden significance of cultural processes. This is the first English translation of the Hebrew text.

"Drawn from Memory" is an important contribution to Moroccan studies, to the field of anthropology, and to academic approaches to biography. Rosen weaves the threads of his narrative together into a tapestry focused on the lives of four men: a raconteur, a teacher, an entrepreneur, and a cloth dealer, a Jew. Ordinary people have intellectual lives, Rosen tells us. They may never have written a book; they may never even have read one. But their lives are rich in ideas, constantly fashioned and revised, elaborated and rearranged. Rosen first encountered the four men he profiles in his book in the course of his academic research, and he then visited and revisited these men, and the towns in which they live, over several decades. He engaged them ina kind of continuous conversation. He spoke to members of their family, their neighbors, and the town people. Out of this wealth of material, he has constructed a narrative that takes the reader not only into four intensely observed individual lives but also, as it were, the history of Morocco s evolution across the span of many decades; he takes the reader not only into the outwardly lived lives of his subjects, but their innermost thoughts, their own perceptions of themselves and the evolving Moroccan world around them. At the same time, he manages to evoke the physical landscape, the towns in which these men live, marvelously well, so that the towns and their inhabitants come alive for the reader. Beautifully illustrated with archival and ethnographic photos, "Drawn from Memory" teaches us that that for Moroccans, and by extension Muslims in general, nothing in everyday social life is hard and fast, and the meaning and outcome of all interactions is the product of negotiation and relatedness."