As the Cold War followed on the heels of the Second World War, as the Nuremburg Trials faded in the shadow of the Iron Curtain, both the Germans and te West were quick to accpt the idea that Hitler's army had been no SS, no Gestapo, that it was a professional force little touched by Nazi politics. But in this compelling account Omer Bartov reveals a very different history, as he probes the experience of the average soldier to show just how thoroughly Nazi ideology permeated the army. In Hitler's Army, Bartov focuses on the titanic struggle between Germany and the Soviet Union--where the vast majority of German troops fought--to show how the savagery of war reshaped the army in Hitler's image. Both brutalized and brutalizing, these soldiers needed to see their bitter sacrifices as noble patriotism and to justify their own atrocities by seeing their victims as subhuman. In the unprecedented ferocity and catastrophic losses of the Eastrn front, he writes, soldiers embraced the idea that the war was a defense of civilization against Jewish/Bolshevik barbarism, a war of racial survival to be waged at all costs. Bartov descibes the incredible scale and destruction of the invasion of Russia in horrific detail. Even in the first months--often depicted as a time of easy victories--undermanned and ill-equipped Geman units were stretched to the breaking point by vast distances and bitter Soviet resistance. Facing scarce supplies and enormous casualties, the average soldier sank to ta a primitive level of existence, re-experiencing the trench warfare of World War I under the most extreme weather conditions imaginable; the fighting itself was savage, and massacrs of prisoners were common. Troops looted food and supplies from civilians with wild abandon; they mercilessly wiped out villages suspected of aiding partisans. Incredible losses led to recruits being thrown together in units that once had been filled with men from the same communities, making Nazi ideology even more important as a binding force. And they were further brutalized by a military justice system that executed almost 15,000 German soldiers during the war. Bartov goes on to explore letters, diaries, military reports, and other sources, showing how widespread Hitler's views became among common fighting men--men who grew up, he reminds us, under the Nazi regime. In the end, they truly became Hitler's army. In six years of warfare, the vast majority of German men passed through the Wehrmacht and almost every family had a relative who fought in the East. Bartov's powerful new account of how deeply Nazi ideology penetrated the army sheds new light on how deeply it penetrated the nation. Hitler's Army makes an important correction not merely to the historical record but to how we see the world today.

Hitler's Army: Soldiers, Nazis, and War in the Third Reich

Literature & Fiction

Bartov, Omer

History & Criticism

Oxford University Press

Mirrors of Destruction examines the relationship between total war, state-organized genocide, and the emergence of modern identity. Here, Omer Bartov demonstrates that in the twentieth century there have been intimate links between military conflict, mass murder of civilian populations, and the definition and categorization of groups and individuals. These connections were most clearly manifested in the Holocaust, as the Nazis attempted to exterminate European Jewry under cover of a brutal war and with the stated goal of creating a racially pure Aryan population and Germanic empire. The Holocaust, however, can only be understood within the context of the century's predilection for applying massive and systematic methods of destruction to resolve conflicts over identity. To provide the context for the "Final Solution," Bartov examines the changing relationships between Jews and non-Jews in France and Germany from the outbreak of World War I to the present. Rather than presenting a comprehensive history, or a narrative from a single perspective, Bartov views the past century through four interrelated prisms. He begins with an analysis of the glorification of war and violence, from its modern birth in the trenches of World War I to its horrifying culmination in the presentation of genocide by the SS as a glorious undertaking. He then examines the pacifist reaction in interwar France to show how it contributed to a climate of collaboration with dictatorship and mass murder. The book goes on to argue that much of the discourse on identity throughout the century has had to do with identifying and eliminating society's "elusive enemies" or "enemies from within." Bartov concludes with an investigation of modern apocalyptic visions, showing how they have both encouraged mass destructions and opened a way for the reconstruction of individual and collective identifies after a catastrophe. Written with verve, Mirrors of Destruction is rich in interpretations and theoretical tools and provides a new framework for understanding a central trait of modern history.

Mirrors of Destruction: War, Genocide, and Modern Identity

History

Europe

As the Cold War followed on the heels of the Second World War, as the Nuremburg Trials faded in the shadow of the Iron Curtain, both the Germans and the West were quick to accept the idea that Hitler's army had been no SS, no Gestapo, that it was a professional force little touched by Nazi politics. But in this compelling account Omer Bartov reveals a very different history, as he probes the experience of the average soldier to show just how thoroughly Nazi ideology permeated the army. In Hitler's Army, Bartov focuses on the titanic struggle between Germany and the Soviet Union--where the vast majority of German troops fought--to show how the savagery of war reshaped the army in Hitler's image. Both brutalized and brutalizing, these soldiers needed to see their bitter sacrifices as noble patriotism and to justify their own atrocities by seeing their victims as subhuman. In the unprecedented ferocity and catastrophic losses of the Eastrn front, he writes, soldiers embraced the idea that the war was a defense of civilization against Jewish/Bolshevik barbarism, a war of racial survival to be waged at all costs. Bartov describes the incredible scale and destruction of the invasion of Russia in horrific detail. Even in the first months--often depicted as a time of easy victories--undermanned and ill-equipped German units were stretched to the breaking point by vast distances and bitter Soviet resistance. Facing scarce supplies and enormous casualties, the average soldier sank to ta a primitive level of existence, re-experiencing the trench warfare of World War I under the most extreme weather conditions imaginable; the fighting itself was savage, and massacres of prisoners were common. Troops looted food and supplies from civilians with wild abandon; they mercilessly wiped out villages suspected of aiding partisans. Incredible losses led to recruits being thrown together in units that once had been filled with men from the same communities, making Nazi ideology even more important as a binding force. And they were further brutalized by a military justice system that executed almost 15,000 German soldiers during the war. Bartov goes on to explore letters, diaries, military reports, and other sources, showing how widespread Hitler's views became among common fighting men--men who grew up, he reminds us, under the Nazi regime. In the end, they truly became Hitler's army. In six years of warfare, the vast majority of German men passed through the Wehrmacht and almost every family had a relative who fought in the East. Bartov's powerful new account of how deeply Nazi ideology penetrated the army sheds new light on how deeply it penetrated the nation. Hitler's Army makes an important correction not merely to the historical record but to how we see the world today.

Hitler's Army: Soldiers, Nazis, and War in the Third Reich (Oxford Paperbacks)

Murder in Our Midst: The Holocaust, Industrial Killing, and Representation examines the emergence, implementation, and representation of industrial killing, an inherent and crucial component of modernity whose most extreme manifestation was the Holocaust.The mechanized, impersonal, and sustained mass destruction of human beings, organized and legitimized by states, scientists, jurists, and intellectuals, is rooted in the industrial slaughterhouse of the Great War. In Murder in Our Midst, Omer Bartov argues that the Nazi death factories are best understood in the context of modern warfare, beginning with the First World War. He shows how the way we understand ourselves reflects the ambivalent effects of the Holocaust on our perceptions of war and violence, history and memory, progress and barbarism.Analyzing a wide array of historical texts, works of fiction, films, and museums, Bartov leads the reader from ancient myths of heroism to the trenches of the Western Front, from Thomas Mann's romantic vision of war to Primo Levi's stark depictions of genocide, from colonial war museums to the visual art of the Holocaust. These representations of killing share some of the same important features. They attempt to form coherent images from horrific events, to draw didactic lessons from them, and to use them for political ends.

Murder in Our Midst: The Holocaust, Industrial Killing, and Representation

Humor & Entertainment

Movies

War endlessly tries to mask itself. The myth of the heroic soldier testing his individual courage stands in stark contrast to the reality of mass, anonymous death and the suppression of individual actions. Murder in Our Midst shows that this fundamental tension reached its natural conclusion in the Holocaust, and that disguising it has required an ongoing effort to misrepresent war and the Holocaust as something other than industrial killing. Examining a broad range of the representations of war's horrors, from scholarly depictions to those in popular literature, poetry, art, and the movies, Omer Bartov finds they have some things in common. Societies and cultures have attempted to form coherent images of horrific events, to draw didactic lessons from them, and to exploit them to legitimate ideological or political positions. Made up of interconnected essays, this book is both a scholarly and an often personal and passionate examination of the emergence, implementation, and representation of industrial killing. Bartov draws out the links between recent revisionist attempts to minimize and deny the Holocaust, and Hollywood's ongoing fascination with National Socialism and Hitler's "Final Solution." Arguing that the modern predicament reflects the effects of the Nazi genocide on current perceptions of war, history, and memory, this book is a plea for compassion and commitment in an increasingly violent and indifferent world.

Historical Study & Educational Resources

From cinema’s beginnings, the film image of the "Jew" has closely followed the fortunes and misfortunes of Jews. Analyzing more than 70 films made in the Soviet Union, Poland, Hungary, Czechoslovakia and the Czech Republic, East and West Germany, France, Italy, the United States, and Israel from 1920 to the 1990s, noted historian Omer Bartov argues that depictions of the "Jew" in film have been fed by, or have reacted to, certain stereotypical depictions of Jews arising from age-old prejudices. These images, in turn, both reflected public attitudes and helped to shape them. He points to Mel Gibson’s film The Passion of the Christ as one of the most recent examples of the phenomenon. In trenchant discussions of individual films, Bartov develops four basic cinematic representations of the "Jew": as perpetrator (especially in antisemitic films), as victim (especially in films about the Holocaust), as hero (especially in films about the state of Israel), and as anti-hero (especially in films about the Arab-Israeli conflict).
This absorbing book reveals the ways in which powerful images remained deeply embedded in the creative imagination, even as the circumstances that originally engendered them underwent profound changes. Bartov concludes that some of the fundamental prejudices about Jews, which predate cinema, persisted in cinematic depictions throughout the 20th century, although they have been reinterpreted according to changing political regimes, ideologies, and tastes. Covering a range of traditions and periods, The "Jew" in Cinema provides original and provocative interpretations that often contradict conventional views. Placing cinematic representations of the "Jew" within their historical context, Bartov demonstrates the powerful political, social, and cultural impact of these images on popular attitudes.
The Helen and Martin Schwartz Lectures in Jewish Studies

The "Jew" in Cinema: From The Golem to Don't Touch My Holocaust (The Helen and Martin Schwartz Lectures in Jewish Studies)

Indiana University Press

From cinema's beginnings, the film image of the "Jew" has closely followed the fortunes and misfortunes of Jews. Analyzing more than 70 films made in the Soviet Union, Poland, Hungary, Czechoslovakia and the Czech Republic, East and West Germany, France, Italy, the United States, and Israel from 1920 to the 1990s, noted historian Omer Bartov argues that depictions of the "Jew" in film have been fed by, or have reacted to, certain stereotypical depictions of Jews arising from age-old prejudices. These images, in turn, both reflected public attitudes and helped to shape them. He points to Mel Gibson's film The Passion of the Christ as one of the most recent examples of the phenomenon. In trenchant discussions of individual films, Bartov develops four basic cinematic representations of the "Jew": as perpetrator (especially in antisemitic films), as victim (especially in films about the Holocaust), as hero (especially in films about the state of Israel), and as anti-hero (especially in films about the Arab-Israeli conflict).
This absorbing book reveals the ways in which powerful images remained deeply embedded in the creative imagination, even as the circumstances that originally engendered them underwent profound changes. Bartov concludes that some of the fundamental prejudices about Jews, which predate cinema, persisted in cinematic depictions throughout the 20th century, although they have been reinterpreted according to changing political regimes, ideologies, and tastes. Covering a range of traditions and periods, The "Jew" in Cinema provides original and provocative interpretations that often contradict conventional views. Placing cinematic representations of the "Jew" within their historical context, Bartov demonstrates the powerful political, social, and cultural impact of these images on popular attitudes.
The Helen and Martin Schwartz Lectures in Jewish Studies

The "Jew" In Cinema: From The Golem To Don't Touch My Holocaust (The Helen and Martin Schwartz Lectures in Jewish Studies)

Indiana Univ. Pr

The story of the diverse communities of Eastern Europe’s borderlands in the centuries prior to World War II\n“A powerful combination of history and personal memoir . . . A richly contextual, skillfully woven historical study.”—Kirkus Reviews (starred review)\nFocusing on the former province of Galicia, this book tells the story of Europe’s eastern borderlands, stretching from the Baltic to the Balkans, through the eyes of the diverse communities of migrants who settled there for centuries and were murdered or forcibly removed from the borderlands in the course of World War II and its aftermath. Omer Bartov explores the fates and hopes, dreams and disillusionment of the people who lived there, and, through the stories they told about themselves, reconstructs who they were, where they came from, and where they were heading. It was on the borderlands that the expanding great empires—German, Austro-Hungarian, Russian, and Ottoman—overlapped, clashed, and disintegrated. The civilization of these borderlands was a mix of multiple cultures, languages, ethnic groups, religions, and nations that similarly overlapped and clashed. The borderlands became the cradle of modernity. Looking back at it tells us where we came from.

Tales from the Borderlands: Making and Unmaking the Galician Past

Yale University Press

Based largely upon unpublished sources, Omer Bartov's study looks closely at the background of the German army on the Eastern Front during the Second World War. He describes the physical hardship, the discipline and morale at the front, and analyses the social, educational and political background of the junior officers who formed the backbone of the German army. Only with these factors in mind - together with the knowledge of the extent of National Socialist indoctrination - can we begin to explain the criminal activities of the German army in Russia and the extent of involvement of the army in the execution of Hitler's brutal policies.

The Eastern Front, 1941-45, German Troops and the Barbarisation ofWarfare (St Antony's Series)

PALGRAVE~MACMILLAN

See the best price to sell, buy, or rent books by Bartov, Omer. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Bartov, Omer

See the best price to sell, buy, or rent books by Bartov, Omer. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Hitler's Army: Soldiers, Nazis, and War in the Third Reich

Mirrors of Destruction: War, Genocide, and Modern Identity

Hitler's Army: Soldiers, Nazis, and War in the Third Reich (Oxford Paperbacks)

Murder in Our Midst: The Holocaust, Industrial Killing, and Representation

Murder in Our Midst: The Holocaust, Industrial Killing, and Representation

Mirrors of Destruction: War, Genocide, and Modern Identity

The "Jew" in Cinema: From The Golem to Don't Touch My Holocaust (The Helen and Martin Schwartz Lectures in Jewish Studies)

The "Jew" In Cinema: From The Golem To Don't Touch My Holocaust (The Helen and Martin Schwartz Lectures in Jewish Studies)

Tales from the Borderlands: Making and Unmaking the Galician Past

The Eastern Front, 1941-45, German Troops and the Barbarisation ofWarfare (St Antony's Series)