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Ida and Neighbors

Kyle Donahue

Neighbors, and Ida both provide a story that needs to be told, but I think they each tell the same story in a dramatically different way. Neighbors by Jan Gross, I believe points to the huge massacres happening in the town of Jedweben and what that said about a nation. Gross is trying to paint a picture unlike any ever told before. The awful crimes against humanities that occurred were always done by the Nazis, but Gross is pointing to the nation of Poland as the evil, along with the Nazis. This picture must be hard to swallow because I can only imagine the shock this piece brought. Ida on the other hand is a smaller story. The story that effects a small family, and provides a smaller scope. Ida does a crazy thing, by bringing in a nun as the main character, because the Catholic Church in both stories becomes the main villain. They wanted the Jews out, and that is as far as the similarity goes for me because Ida brings in the close relationships of a family torn apart by these horrific crimes. Neighbors grander scale approach succeeds in making it easy to know, “Ok the polish did some awful things too and they need to be punished”, where Ida brings the confusion into the question. You see people who are a part of the groups who are responsible, Anna the nun who is catholic, and Wanda who is a judge for the Polish government. It makes them both reevaluate what happened and who is to blame, but it doesn’t give you a clear answer. Which is what makes the two stories different and to me Ida provides a more realistic feeling of the people of Poland. Although it would be easier to make a scapegoat and blame a group or specific identity it isn’t what is happening. Confusion is my guess of the general feeling of Poland and confusion is good because it makes people reevaluate and ask questions.

 

Neighbors and Ida: A Comparison

Reflection by Caly McCarthy

In large part I see Neighbors and Ida as compliments to the same story, just focusing on different scales. In this sense, they do tell different stories, but they trend in the same direction; Poles committed heinous crimes against their Jewish neighbors without acknowledgement from the wider world.

Gross challenges the victim status of Poland when he asserts that individual citizens willfully participated in the pogrom against the Jews of Jedwabne. This narrative lent itself to a national identity crisis as more and more towns were shown to mirror the pattern of Jedwabne, and the reality became known that neighbors killed neighbors, not under the threat of totalitarian leaders, but by their own volition.

Ida, on the other hand, examines the story of one family.  It surveys the legacy of pain caused by the mass murder of Jews, as experienced as an affront to personal identity. On the eve of taking her vows to become a Catholic nun, Ida learns that she is Jewish, and that her family had been killed by its neighbors for their religious identity.

One apparent difference between Neighbors and Ida was the reticence for locals to speak out regarding what they witnessed/participated in.  According to Gross, there was a wide-spread awareness in Poland about citizen-led pogroms, even if it was not widely known outside Polish borders. Gross identifies a host of valuable sources that attest to this, including: Agnieszka Arnold’s documentary, Where Is My Older Brother Cain?, a memorial book of Jedwabne Jews, and records from court proceedings. In Ida, however, residents were very reluctant to even acknowledge that they knew Ida’s family, let along that they had harmed them. Perhaps this is because Ida and her aunt posed a threat to them? How, though, could they be more threatening than a court of law?

Historian’s Essay Assignment

Historians Essay Assignment, 204, Fall 2015 (Word format)

Professor: Christopher J. Bilodeau
E-mail: bilodeac@dickinson.edu
Office: 302 Denny Hall
Office Hours: Mondays 2:45-4:00pm,
Thursdays 2:45-4:30pm, or by appointment
Office Phone: 717 245 1385

Introduction to Historical Methodology
History 204, Fall 2015, Wednesdays, 1:30-4:30pm
112 Denny / Archives Classroom, Waidner-Spahr Library

Historical Methods Essay, Due October 21

Over the past several weeks, we have read a novel about “historical detection,” one historian’s take on writing history, short essays in the workbook on the nature of historical research and writing, and an example of historical writing (Gross’ Neighbors).  All give us ample material to think about the nature of history and the difficulties and pleasures of being an historian, and what remains is to come to our own understanding of what doing history means for each of us.

What do you think history is, and how to practice it?  Which arguments found in these readings resonated with you the most?  How might you take those arguments and put them together in such a way that would make for a coherent argument about the nature of history?  For example, how would an historian who espoused your version of history respond to each of the following (out‑of‑context) quotations from Tey’s novel?:

“A history book? . . . What would I be doing with a history book[?]”  (p. 34)

“Quoting?  It wasn’t quoting anything. It was just giving facts.” (p. 42)

“Yes. That’s very interesting; very. History as it is made.” (p. 105)

“Only historians tell you what they thought. Research workers stick to what they did.”  (p. 106)

So, after our discussions of these readings, and after thinking about responses to these statements, you need to answer this question for your essay.  This is a broad and difficult question, so you will need to write several drafts to produce a polished essay.

Based on your reading of Tey, Gaddis, Gross, and the workbook, and your own ideas on the nature of History, write a 1200‑word (4‑6 page) essay on “What it means to do history.”

A Note on Grading

Both substance and the presentation count when I evaluate (grade) an essay.  The substance consists of the ideas and examples you include in the essay and the accuracy of your understanding of that material.  The presentation is the writing.  More specifically, I look for a number of things:

  1. Clarity of presentation: statement of thesis in introduction, orderly development of thesis in the body of the paper, illustration of main ideas with examples
  2. Inclusion of a variety of sources
  3. Accuracy in conveying historians’ ideas
  4. Clear organization, correct composition of paragraphs, careful editing, and proofreading

An ‘A’ paper shows original thought and high achievement in each of the criteria.
A ‘B’ paper lacks originality but is strong in each of the criteria
A ‘C’ paper is satisfactory but contains notable deficiencies in one or more of the criteria.

Be sure that you write in stages, by breaking a project down into manageable tasks.
You write the first draft for yourself, to develop your ideas, to see what you can substantiate.

You revise with an eye to a reader, so you must give your essay sharpness and clarity.
 

 

Week 7 Question, Neighbors and Ida

For this week, we have a slightly different set of texts/film than what we have been used to.

 

Gross’ Neighbors and Pawlikowski’s Ida both deal with the traumatic events of WWII Poland, but one focuses on the events of the war (the mass killing of the Jewish population in Jedwabne) and the other on a small group of Poles roughly twenty years after the event.  Do you think that the book and the film work best as complimentary pieces—that Ida is a sequel to Neighbors—or do you think that Ida is doing something different than Neighbors, that it has a different, possibly even alternative, story to tell?

History as a Tool of Liberation

Reflection by Caly McCarthy

I found Gaddis’ commentary on history as a tool of liberation to be the most significant part of his concluding chapter.  I find it compelling because it offers a “so what?” to the entire discipline of history.  Certainly history is interesting, but is it meaningful beyond the ivory tower?  According to Gaddis, it most definitely can be.

History is not a list of names and dates.  It is not merely chronology.  It often examines causality and implications – certainly more relevant, but significant?  I think that history is a powerful tool to challenge oppression, both subtle and overt.  When leaders harken back to a rosier past, historians have the capacity to break apart monoliths and represent a more nuanced understanding, speaking up for those who did not enjoy the projected past experience.  When those in power legitimize their harmful actions with the logic that “it’s always been this way,” historians can demonstrate that very little has “always been.”  This observation opens up space for different expressions of gender, beauty, family life, leadership styles, economic systems, etc.

Perhaps Gaddis says it best when he quips that “the sources of oppression are lodged in time and are not independent of time” (146).  Unlike the molecules that natural scientists are inclined to study, humans do not act in predictable manners.  Although this is frustrating to social scientists who seek clear causation to aid predictive models, this should be understood as a sign of hope; humans have the capacity change, and historians have the ability to help them recognize that.

Seeing Like a Historian

Gaddis proposed several different ways to view history, whether it is the recognition that there is never a single independent variable in historical study, or a single cause of a war or catastrophe, social movement or triumph in history. The rule of thumb not to look to the future to understand history, or use history to definitively predict the future is another way we can “see” history.

Gaddis’ use of Friedrich’s painting, The Wanderer above a Sea of Fog, and Shakespeare In Love’s Viola are the metaphors he uses to explain historical study that stood out the most to me. Interpreting a piece of artwork, or predicting what lies in someone’s future relies on the same strategies as when analyzing a historical artifact. You can ask, what is the context? Why did the creator choice to create the piece that they did? What has the piece come to symbolize? All of it is a bit of a guessing game, with more than one answer. However, artistic interpretation, rather than scientific conclusion is what Gaddis suggests is the sound way to analyze history. And if history is meant to be approached with interpretation rather than by conclusion, than “seeing like a historian” means that there must be several different lenses to aid vision. For, no two historians are going to see exactly alike, just like one viewer may be watching Viola walk towards her future, or the wanderer brace for what is to come, another may be see her in the past, or the wanderer survey one last time, the land he has already conquered.

As someone who is drawn to art more than science, I find Gaddis’ use of art as metaphors particularly useful as an approach to my own analysis and study of history. I have noticed that during the past several weeks working with an Dickinson Archives collection that I have used a similar interpretative approach without realizing it until now, as I reflect on Gaddis’ thoughts.

Seeing like a Historian

 

In Gaddis’ chapter, “Seeing like a Historian”, Gaddis brings up the interesting question of representation. He talks about how historians’ own perspective and how they can alter the history. The most interesting part that I took from the reading was the discussion of whether freedom could exist without oppression. This really made me think about it in a way I never thought. I always thought of those items as different entities, but without each other what would the other even be. That is when seeing as a historian comes into play. For me I take events and make a conclusion based on common thoughts about that event. But what I must transform into is taking an event and understanding that many different actions can lead to an event and there might be many answers not just one overarching conclusion that makes looking at a certain event easy. This is how the freedom and oppression come into play. It is easy to say you know what freedom is but when you really think about freedom is what we think it is because we are all we have to base it off of. We must look at the different levels of freedom and not just ask do you have freedom or not.

Seeing Like a Historian

In Gaddis’ final chapter, “Seeing Like a Historian” he proposes that the historian plays the role of “oppressor” when writing history and that the historians biggest fear is the resurrection of their historical subjects from the dead and their critique of the Historians interpretation of their reality; is to me, an interesting concept and an important one. In class we have spoken about the role of presentism in historical analysis and how modern ideas and perspectives can be carried over by an author into their interpretation of the past and distort it. Gaddis maintains that this process is not always purposeful but rather inevitable and a part of human nature. He goes on to say that history is only a representation of reality much in the same way a map is only a representation of geography and that over time these representations become reality. Hobsbawm’s Invention of Tradition and Benedict Anderson’s Imagined Communities explore this concept on a grander scale by showing how the modern emergence of the nation state led to the concept of nationalism and Imagined Communities. According to Anderson, a nation is an imagined community because it is socially constructed by people living and participating in a society who perceive themselves as part of a homogeneous group different from that of other human beings although they have no personal bond and face-to-face communication with other members of their society in order to maintain the function of said society – the perceived boundaries between them and other nations are largely illusory. This process of representations becoming reality and the creation of constructed memories, as Gaddis put it, are the way humans come to terms with and cope with the past. Furthermore, these constructed memories can also serve a positive function. “We liberate the ones that have from their self-proclaimed grandiosity: we try not to confuse how they wanted to be seen with who they actually were. And we try to free those who left no monuments from the resulting silences, whether imposed upon them by others, or by themselves” (140). The duality of historian as oppressor and liberator and the largely unconscious process behind it is an important thought to keep in mind when interpreting the historical work of ourselves and others as well as the reality of everyday life.

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