New Humanities in Holocaust Studies

In this essay, bystanders are analysed not through the lens of topography (i.e. geographical closeness to the events expressed in the term “by-stander”), but as visual subjects. Concerning those who witnessed the Holocaust, bystanders are linked with various types of scopic activities, especially negative ones: they are often generalized as passive onlookers, as “those who stare” with libidinal pleasure [Polish: gapie; French: badauds; German: Schaulustige]. It is surprising, however, that the frequent use of scopic vocabulary is not necessarily associated with developed theoretical concerns. The recent visual (iconic) turn, co-constitutive for newer approaches in humanities, however, has provided a refined and varied set of tools for analysing the faculty of seeing. Therefore, it is no longer plausible to discuss the processes of seeing without precise conceptualizations. Instead of employing visual terms merely as synonyms, this essay challenges and restructures available categorizations for bystanders as those acquiring knowledge through the sense of sight

Aesthetics · Art · Art history · Humanities · Literature · Sociology · The Holocaust · Theology · Visual arts · Visual culture · Philosophy · Visual Culture and Art Theory