Titlebook: Reframing Antifascism; Memory, Genre and th Joanne Sayner Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 Mem

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Introduction: Memories of Resistance, well as from abroad, attended the four-day event, which included speeches by representatives of the Allies. In his opening speech Roland Schacht emphasized that the main aim of the conference was to engage with ‘die ideologischen Grundlagen des Schriftstellerberufs’ [the ideological foundations of

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,‘The Radio Today Is Our History’: Greta Kuckhoff’s Radio Broadcasts and Speeches,nken’ [In Memory of Adam Kuckhoff]. It was initiated when Kuckhoff wrote to the radio station offering a programme with extracts from her husband’s works.. Commemoration of her husband and the members of the ‘Red Orchestra’ was at the heart of her public speaking and the subject of key broadcasts in

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,Fashioning the Self and the Recipient in Letters: Kuckhoff’s Correspondence,he grief for her husband and the anxiety for her son are as palpable as her determination to avoid self-pity and to focus on practical activities — activities which were to become so important to her in the following months and years. While I focus in the following on many of Kuckhoff’s exchanges in

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,Exhibiting the ‘Red Orchestra’,ponse to their permanent exhibition, ‘1933 to 1945’. Such criticism of state-initiated representations of antifascist resistance in museums is a repeated feature of Kuckhoff’s correspondence. This chapter examines Kuckhoff’s role in curating memories of the ‘Red Orchestra’. It begins with an examina

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A Film without a Protagonist? ,ted to a viewing of the film and subsequent discussion, during which Brauner had solicited the audience’s comments. Apologizing that she is so busy at work and therefore does not have time to send more detailed remarks, she concludes: ‘Was mich an dem Film freute, war dass er nicht Schwarz gegen wei

Introduction

From the Rosary to the Nightingale: Memory as Published and Unpublished Autobiography,ation at the continued lack of appropriate remembrance of the ‘Red Orchestra’. She began the letter by discussing the exhibition she had just organized and went on to the texts by Martini, von Schramm, Höhne and Perrault. She pointed to the very high circulation figures of Perrault’s book and its im

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,Conclusion: Genre and Memory — Repetition as a Way of Knowing,t forms of memory notwithstanding, her overriding message remained consistent throughout: memories of antifascism were being homogenized in East and West and, as a result, their political potential for the present was being lost. As such, her antifascist engagement became a genre in itself, with ide