Moritz has been recently awarded the 2017-2018 Bernard and Fern Badzin Fellowship in Genocide and Holocaust Studies! Congratulations, Moritz!

Moritz was born and raised in Berlin, Germany and moved to Minneapolis in 2013 to pursue his graduate studies. He received his M.A in Germanic Studies from the University of Minnesota in 2015. Before moving to the United States, Moritz had a vocational career in theater, stage lighting, and intercultural communication. He studied Cultural Studies (cultural history major, linguistics minor) at the European University Viadrina Frankfurt (Oder), where he received his B.A. in 2012. Moritz’s teaching and research interests are modern European literary and intellectual history, German-Jewish history and modern Ottoman/Turkish history. Moritz is interested in the representation of the Holocaust and experience of exile in literature and the arts and focuses on the encounters of Holocaust representation with other forms of twentieth-century violence, specifically for the case of Turkey and the Middle East.

Moritz is currently working on his dissertation project on the history of German and German-Jewish exile in Turkey during the 1930/40s. Focusing on the case of the literary critic Erich Auerbach (1892-1957), who wrote his most influential works on European literature while in Turkish exile and later in the U.S., Moritz examines the relationship of German-Jewish émigré culture to Turkish intellectual history. During the 2017/18 academic year, Moritz will conduct research abroad and begin writing his dissertation (prospective defense: Spring 2019).

Between 1975 and 1979, the Communist Party of Kampuchea (CPK), also known as the Khmer Rouge, fundamentally transformed the social, economic, political, and natural landscape of Cambodia. During this time as many as two million Cambodians died from exposure to disease, starvation, or were executed at the hands of the state.

The dominant interpretation of Cambodian history during this period, known as the Standard Total View (STV), presents the CPK as a totalitarian, communist, and autarkic regime seeking to reorganize Cambodian society around a primitive, agrarian political economy. Under the STV, the victims of the regime died as a result of misguided economic policies, a draconian security apparatus, and the central leadership’s fanatical belief in the creation of a utopian, communist society. In short, according to the STV, Democratic Kampuchea, as Cambodia was renamed, constituted an isolated, completely self-reliant prison state. My publication From Rice Fields to Killing Fields: Nature, Life, and Labor under the Khmer Rouge (Syracuse University Press, 2017) challenges the standard narrative and provides a documentary-based Marxist interpretation of the political economy of Democratic Kampuchea.

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Twenty-three years have passed since the 1994 Rwandan genocide, and the decades since have shaped Rwanda into a nearly unrecognizable country. The genocide seems, at first glance, to be a distant and painful memory. The capital of Kigali has transformed into a vibrant urban hub, complete with five star hotels and immaculate streets. Educational initiatives and a skyrocketing tourism industry are reshaping the nation. For many, especially those living outside of Rwanda, the genocide seems to be a historical event, locked firmly in the past. But while decades have passed since the 100 days during which at least 800,000 Tutsi and moderate Hutu were killed, the past doesn’t seem so far away to many Rwandans. The personal tolls, be they loss of family members or lasting emotional scars, still remain.

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Review of Sarah Donovan’s (2016) Genocide Literature in Middle and Secondary Classrooms: Rhetoric, Witnessing, and Social Action in a Time of Standards and Accountability.

In 2016, Michigan became the newest state to enact legislation to mandate the instruction of genocides for secondary students, specifically citing the Holocaust and Armenian genocide. Michigan joined seven states that have legislative mandates to teach about the Holocaust and genocide in public middle and high schools. Currently, several projects are calling for directives to teach about the Holocaust from all 50 states (e.g. New York’s Anne Frank Center for Mutual Respect and The Butterfly Project). more...

Philip Spencer gave a keynote introductory address at CHGS’ International Symposium on April, 2017 entitled Comparative Genocide Studies and the Holocaust: Conflict and Convergence. Following the symposium, he and Bruno Chaouat (UMN, French and Italian) gave a book talk (recorded in full here), where Spencer introduced the book he co-authored with sociologist Robert Fine, Antisemitism and the Left. On the return of the Jewish question. After his talk, Spencer sat with Wahutu Siguru (UMN PhD Candidate, Sociology), Alexandra Tiger (UMN undergrad in Sociology), and Demetrios Vital (CHGS Outreach Coordinator), and offered thoughtful, warm, and inspiring answers to a range of questions on topics in his book and talks. What follows are three of those questions and answers.

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On April 6-8, 2017, CHGS held a symposium in celebration of its 20th anniversary, entitled, “Comparative Genocide Studies and the Holocaust: Conflict and Convergence.” Timothy Snyder, a professor of History at Yale University gave the keynote on “The Politics of Mass Killing: Past and Present.” Joe Eggers was able to sit down and talk with him.

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Dear Simone Veil,

Your passing on June 30, 2017 barely made a ripple in the American news media; and yet even far away, there is so much we can celebrate and learn from you. Your many gifts and accomplishments do not inspire envy or a competitive spirit. You are one of the most beloved public figures in France. You never made me say in the usual resigned manner: of course, she is just a politician.

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When I first saw Fritz Hirschberger’s paintings in art storage, I was struck with cognitive dissonance. In the time that I’ve worked for CHGS, I looked at Hirschberger’s paintings and read about the artist quite a bit, but only in print or online in CHGS’ digital collection.

This was my first encounter with a Hirschberger painting in its physicality. Five feet tall, painted in translucent layers of bright oils, there, before me, stretched a saturated orange and purple canvas filled with the a war horseman brandishing deadly weapons. Hirschberger chose the Fifth Horseman precisely because it could not be discerned through physical senses,* yet here in my first encounter seeing this piece in person, it was arresting precisely because of its physical nature.

Weeks later, the paintings were installed and ready as part of [Re]Telling, an exhibition of Holocaust art, narrative, and contemporary response, held in the Tychman Shapiro Gallery at the Sabes JCC. Yehudit Shendar, retired Deputy Director and Senior Art Curator of Yad VaShem, Israel’s Holocaust memorial and museum, gave remarks at the opening reception of [Re]Telling featuring seven paintings by survivor Fritz Hirschberger selected from the CHGS permanent collection.

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What follows is a statement given by CHGS Outreach Coordinator, Demetrios Vital at the 2017 Twin Cities Jewish Community Yom HaShoah Commemoration, coordinated by the Jewish Community Relations Council, and hosted at Beth El Synagogue in St. Louis Park.

Demetrios spoke as a son of a survivor on the process of transferring memory across generations. Following his statements, he read the text of his father’s testimony as published in the 25th anniversary edition of Witnesses to the Holocaust, a book containing the testimony of Minnesota Holocaust survivors and liberators produced by the JCRC. That text is included below.

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I am deeply honored to be here with you all tonight. Thank you for having me and my father here.

I am the youngest son of Victor Vital. I am one of three children along with Rachel Vital Davis and Joseph Vital, and stand generationally between Victor and three grandchildren.

Victor Vital survived the Holocaust.

I’m one of many here who are children of survivors, or have family who survived, or who didn’t, and indeed even if we’re not directly related to those who experienced the Holocaust, we might all find access to stories and truly feel the impact of this history.

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In March 2006, performance artist Santiago Serra constructed a homemade gas chamber inside a former synagogue in the Cologne area and invited Germans to be symbolically gassed. Exhaust pipes from six cars were hooked to the building, which was then filled with deadly carbon monoxide and visitors entered the space wearing protective masks. What was the artist’s intention? Serra said his aim was to give people a sense of the Holocaust. The Jewish community was furious. It was considered a provocation at the expense of Holocaust victims, an insult to survivors and the whole community. “What’s artistic about attaching poisonous car exhaust into a former synagogue?” said writer and Holocaust survivor Ralph Giordano (1923-2014), “and who gave permission for this?”

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