Exploring the concepts of collaboration, resistance, and postwar retribution and focusing on the Chetnik movement, this book analyses the politics of memory. Since the overthrow of Slobodan Milosevic in 2000, memory politics in Serbia has undergone drastic changes in the way in which the Second World War and its aftermath is understood and interpreted. The glorification and romanticisation of the Yugoslav Army in the Homeland, more commonly referred to as the Chetnik movement, has become the central theme of Serbia's memory politics during this period. The book traces their construction as a national antifascist movement equal to the communist-led Partisans and as victims of communism, showing the parallel justification and denial of their wartime activities of collaboration and mass atrocities. The multifaceted approach of this book combines a diachronic perspective that illuminates the continuities and ruptures of narratives, actors and practices, with in-depth analysis of contemporary Serbia, rooted in ethnographic fieldwork and exploring multiple levels of memory work and their interactions. It will appeal to students and academics working on contemporary history of the region, memory studies, sociology, public history, transitional justice, human rights and Southeast and East European Studies.

Exploring the concepts of collaboration, resistance, and postwar retribution and focusing on the Chetnik movement, this book analyses the politics of memory. Since the overthrow of Slobodan Milošević in 2000, memory politics in Serbia has undergone drastic changes in the way in which the Second World War and its aftermath is understood and interpreted. The glorification and romanticisation of the Yugoslav Army in the Homeland, more commonly referred to as the Chetnik movement, has become the central theme of Serbia’s memory politics during this period. The book traces their construction as a national antifascist movement equal to the communist-led Partisans and as victims of communism, showing the parallel justification and denial of their wartime activities of collaboration and mass atrocities. The multifaceted approach of this book combines a diachronic perspective that illuminates the continuities and ruptures of narratives, actors and practices, with in-depth analysis of contemporary Serbia, rooted in ethnographic fieldwork and exploring multiple levels of memory work and their interactions. It will appeal to students and academics working on contemporary history of the region, memory studies, sociology, public history, transitional justice, human rights and Southeast and East European Studies.

Yellow Star, Red Star asks why Holocaust memory continues to be so deeply troubled—ignored, appropriated, and obfuscated—throughout Eastern Europe, even though it was in those lands that most of the extermination campaign occurred. As part of accession to the European Union, Jelena Subotić shows, East European states were required to adopt, participate in, and contribute to the established Western narrative of the Holocaust. This requirement created anxiety and resentment in post-communist states: Holocaust memory replaced communist terror as the dominant narrative in Eastern Europe, focusing instead on predominantly Jewish suffering in World War II. Influencing the European Union's own memory politics and legislation in the process, post-communist states have attempted to reconcile these two memories by pursuing new strategies of Holocaust remembrance. The memory, symbols, and imagery of the Holocaust have been appropriated to represent crimes of communism. Yellow Star, Red Star presents in-depth accounts of Holocaust remembrance practices in Serbia, Croatia, and Lithuania, and extends the discussion to other East European states. The book demonstrates how countries of the region used Holocaust remembrance as a political strategy to resolve their contemporary "ontological insecurities"—insecurities about their identities, about their international status, and about their relationships with other international actors. As Subotić concludes, Holocaust memory in Eastern Europe has never been about the Holocaust or about the desire to remember the past, whether during communism or in its aftermath. Rather, it has been about managing national identities in a precarious and uncertain world.

"Exploring the concepts of collaboration, resistance, and post-war retribution and focusing on the Chetnik movement, this book analyses the politics of memory"--

In Britain we have lost touch with the Great War. Our overriding sense now is of a meaningless, futile bloodbath in the mud of Flanders -- of young men whose lives were cut off in their prime for no evident purpose. But by reducing the conflict to personal tragedies, however moving, we have lost the big picture: the history has been distilled into poetry. In TheLong Shadow, critically acclaimed author David Reynolds seeks to redress the balance by exploring the true impact of 1914-18 on the 20th century. Some of the Great War's legacies were negative and pernicious but others proved transformative in a positive sense. Exploring big themes such as democracy and empire, nationalism and capitalism and re-examining the differing impacts of the War on Britain, Ireland and the United States,TheLong Shadowthrows light on the whole of the last century and demonstrates that 1914-18 is a conflict that Britain, more than any other nation, is still struggling to comprehend. Stunningly broad in its historical perspective, The Long Shadowis a magisterial and seismic re-presentation of the Great War.

In 1960, when World War II might seem to have been receding into history, a number of artists and writers instead turned back to it. They chose to confront the unprecedented horror and mass killing of the war, searching for new creative and political possibilities after the conservatism of the 1950s in the long shadow of genocide. Al Filreis recasts 1960 as a turning point to offer a groundbreaking account of postwar culture. He examines an eclectic group of artistic, literary, and intellectual figures who strove to create a new language to reckon with the trauma of World War II and to imagine a new world. Filreis reflects on the belatedness of this response to the war and the Holocaust and shows how key works linked the legacies of fascism and antisemitism with American racism. In grappling with the memory of the war, he demonstrates, artists reclaimed the radical elements of modernism and brought forth original ideas about testimony to traumatic history. 1960 interweaves the lives and works of figures across high and popular culture—including Chinua Achebe, Hannah Arendt, James Baldwin, Amiri Baraka, Paul Celan, John Coltrane, Frantz Fanon, Roberto Rossellini, Muriel Rukeyser, Rod Serling, and Louis Zukofsky—and considers art forms spanning poetry, fiction, memoir, film, painting, sculpture, teleplays, musical theater, and jazz. A deeply interdisciplinary cultural, literary, and intellectual history, this book also offers fresh perspective on the beginning of the 1960s.

The twentieth century has left behind a painful and complicated legacy of massive trauma, monstrous crimes, radical social engineering, creating collective/individual guilt syndromes that were often specters haunting the process of democratization in the various societies that have emerged out of these profoundly de-structuring contexts, such as Germany, Romania, Russia and others.