Get A Hero's Many Faces: Raoul Wallenberg in Contemporary PDF
By Tanja Schult
Raoul Wallenberg is generally remembered for his humanitarian job on behalf of the Hungarian Jews in Budapest on the finish of worldwide battle II, and referred to as the Swedish diplomat who disappeared into the Soviet Gulag in 1945. this present day, Wallenberg’s instance is used to speak humanitarian values and human rights in lots of democratic societies. His tale contains a classical hero narrative which has survived the ‘un-heroic’ twentieth century.
In 2008, there exist thirty-one Wallenberg monuments in twelve nations on 5 continents, from Hungary to Sweden, from Canada to Chile, from Australia to Russia. the wealthy range of the monuments invitations to debate the several techniques of Wallenberg and heroism as expressed within the artists’ works. The art-historical concentration of this interdisciplinary learn makes it a beneficial contribution to the dialogue of non-public monuments, in addition to to the socio-historical examine at the commemoration of Wallenberg and the idea that of the hero.
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Extra info for A Hero's Many Faces: Raoul Wallenberg in Contemporary Monuments (Holocaust and Its Contexts)
Nor does there exist an academic study that addresses the popular images of Wallenberg literature and other forms of commemoration established over the last 25 years. Currently, historian Ulf Zander is working on the popular images of Wallenberg and his symbolic status (inter alia in films), but his book will only be published in 2010/11. Historian Paul A. Levine is also working on a book on Raoul Wallenberg under the preliminary title Raoul Wallenberg in Budapest. Myth, History & Holocaust; the book is scheduled to be published in 2009.
The most recent dissertation on Wallenberg dates from 2004, Hjälten och Offren: Raoul Wallenberg och judarna i Budapest (“The Hero and the victims: Raoul Wallenberg and the Jews in Budapest”) by historian Attila Lajos. Lajos places Wallenberg’s rescue mission in a wider historical context. The merit of Lajos’s thesis is that he located relevant files in Hungarian archives, thereby making these sources accessible for further research. 3 He does not satisfactorily expound on the problem of the hero-term he uses in his dissertation and seems to be unaware that his own perception of Wallenberg is based on a Christian martyr-hero image.
After the experiences of art’s misuse during the reign of various dictatorships, there was a general skepticism toward any ideological use of art in the West. Individual freedom was now regarded as most worthy of protection. 43 The second blossoming of non-representational monuments was at first limited to the years after 1945. One of the many pathfinders for the development of the monument genre in the 1980s was the general growing interest in public art during the 1950s. In the 1960s, the monument medium was, however, generally still a mistrusted art form.
A Hero's Many Faces: Raoul Wallenberg in Contemporary Monuments (Holocaust and Its Contexts) by Tanja Schult