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From January to April 2000 historian David Irving brought a high-profile libel case against Penguin Books and Deborah Lipstadt in the British High Court, charging that Lipstadt's book, Denying the Holocaust (1993), falsely labeled him a Holocaust denier. The question about the evidence for Auschwitz as a death camp played a central role in these proceedings. Irving had based his alleged denial of the Holocaust in part on a 1988 report by an American execution specialist, Fred Leuchter, which claimed that there was no evidence for homicidal gas chambers in Auschwitz. In connection with their defense, Penguin and Lipstadt engaged architectural historian Robert Jan van Pelt to present evidence for our knowledge that Auschwitz had been an extermination camp where up to one million Jews were killed, mainly in gas chambers. Employing painstaking historical scholarship, van Pelt prepared and submitted an exhaustive forensic report that he successfully defended in cross-examination in court.
In 1993 Jewish theologian Deborah Lipstadt called British historian David Irving a "Holocaust denier." Irving sued her for libel in return. Subsequently a court case unfolded in England which attracted the attention of the world's mass media in 2000. The sharpest weapon in Lipstadt's defense arsenal was Jewish art historian Robert van Pelt, who presented an expert report claiming to refute revisionist assertions about Auschwitz. Because Irving had neither the support by any expert witnesses nor was he himself an expert on the Holocaust, he inevitable lost the case. Robert van Pelt was therefore praised as the defeater of revisionism. When he published his revised expert report in his book The Case for Auschwitz in 2002, he even advanced to the foremost expert on Auschwitz in the public's eyes. Mattogno's The Real Case for Auschwitz is the revisionist response to Robert van Pelt. On 750 pages, Mattogno thoroughly scrutinizes van Pelt's assertions by juxtaposing them to material and documentary facts. The author's first revelation is that van Pelt has committed plagiarism: he plundered and basically regurgitated the research results published in 1989 and 1993 by French researcher Jean-Claude Pressac - yet without naming his source even once. Mattogno's analysis is devastating for both Pressac and van Pelt, as it reveals that their studies of Auschwitz ignore crucial counter-arguments, fail to approach pivotal technical issues with technical means, are highly inconsistent, use deceptive methods, present conflicting sources without due source criticism, deform all sources to serve the author's perspective, and reveal a shockingly threadbare knowledge of the history of the Auschwitz camps. Mattogno therefore concludes "The Case for Auschwitz is neither a scholarly nor a historical work; it is only a biased journalistic assemblage of poorly understood and poorly interpreted historical sources." This is a book of prime political and scholarly importance, as it delivers the exterminationists' case the most devastating blow ever!
The denial of the Holocaust has no more credibility than the assertion that the earth is flat. Yet there are those who insist that the death of six million Jews in Nazi concentration camps is nothing but a hoax perpetrated by a powerful Zionist conspiracy. Sixty years ago, such notions were the province of pseudohistorians who argued that Hitler never meant to kill the Jews, and that only a few hundred thousand died in the camps from disease; they also argued that the Allied bombings of Dresden and other cities were worse than any Nazi offense, and that the Germans were the “true victims” of World War II. For years, those who made such claims were dismissed as harmless cranks operating on the lunatic fringe. But as time goes on, they have begun to gain a hearing in respectable arenas, and now, in the first full-scale history of Holocaust denial, Deborah Lipstadt shows how—despite tens of thousands of living witnesses and vast amounts of documentary evidence—this irrational idea not only has continued to gain adherents but has become an international movement, with organized chapters, “independent” research centers, and official publications that promote a “revisionist” view of recent history. Lipstadt shows how Holocaust denial thrives in the current atmosphere of value-relativism, and argues that this chilling attack on the factual record not only threatens Jews but undermines the very tenets of objective scholarship that support our faith in historical knowledge. Thus the movement has an unsuspected power to dramatically alter the way that truth and meaning are transmitted from one generation to another.
Internationally renowned and award-winning historian Dr. Robert Jan van Pelt's The Evidence Room is a chilling exploration of the role architecture played in constructing Auschwitz - arguably the Nazis' most horrifying facility. The Evidence Room is both a companion piece to, and an elaboration of, an exhibit at the 2016 Venice Architecture Biennale, based on van Pelt's authoritative testimony against Holocaust denial in a 2000 libel suit argued before the Royal Courts of Justice in London.
In her acclaimed 1993 book Denying the Holocaust, Deborah Lipstadt called putative WWII historian David Irving "one of the most dangerous spokespersons for Holocaust denial." A prolific author of books on Nazi Germany who has claimed that more people died in Ted Kennedy's car at Chappaquiddick than in the gas chambers at Auschwitz, Irving responded by filing a libel lawsuit in the United Kingdom -- where the burden of proof lies on the defendant, not on the plaintiff. At stake were not only the reputations of two historians but the record of history itself.
The account of a trial in which the very meaning of the Holocaust was put on the stand.
The incredible story of the Auschwitz-Birkenau tattooist and the woman he loved. Lale Sokolov is well-dressed, a charmer, a ladies' man. He is also a Jew. On the first transport of men from Slovakia to Auschwitz in 1942, Lale immediately stands out to his fellow prisoners. In the camp, he is looked up to, looked out for, and put to work in the privileged position of Tatowierer - the tattooist - to mark his fellow prisoners, forever. One of them is a young woman, Gita, who steals his heart at first glance. His life given new purpose, Lale does his best through the struggle and suffering to use his position for good. This story, full of beauty and hope, is based on years of interviews author Heather Morris conducted with real-life Holocaust survivor and Auschwitz-Birkenau tattooist Ludwig (Lale) Sokolov. It is heart-wrenching, illuminating, and unforgettable. 'Morris climbs into the dark miasma of war and emerges with an extraordinary tale of the power of love' - Leah Kaminsky
What is the difference between writing a novel about the Holocaust and fabricating a memoir? Do narratives about the Holocaust have a special obligation to be 'truthful'--that is, faithful to the facts of history? Or is it okay to lie in such works? In her provocative study A Thousand Darknesses, Ruth Franklin investigates these questions as they arise in the most significant works of Holocaust fiction, from Tadeusz Borowski's Auschwitz stories to Jonathan Safran Foer's postmodernist family history. Franklin argues that the memory-obsessed culture of the last few decades has led us to mistakenly focus on testimony as the only valid form of Holocaust writing. As even the most canonical texts have come under scrutiny for their fidelity to the facts, we have lost sight of the essential role that imagination plays in the creation of any literary work, including the memoir. Taking a fresh look at memoirs by Elie Wiesel and Primo Levi, and examining novels by writers such as Piotr Rawicz, Jerzy Kosinski, W.G. Sebald, and Wolfgang Koeppen, Franklin makes a persuasive case for literature as an equally vital vehicle for understanding the Holocaust (and for memoir as an equally ambiguous form). The result is a study of immense depth and range that offers a lucid view of an often cloudy field.
A Delayed Life is the breathtaking memoir that tells the story of Dita Kraus, the real-life Librarian of Auschwitz. Dita Kraus grew up in Prague in an intellectual, middle-class Jewish family. She went to school, played with her friends, and never thought of herself as being different—until the advent of the Holocaust. Torn from her home, Dita was sent to Auschwitz with her family. From her time in the children’s block of Auschwitz to her liberation from the camps and on into her adulthood, Dita’s powerful memoir sheds light on an incredible life—one that is delayed no longer.
From the author of the multi-million copy bestseller The Tattooist of Auschwitz comes a new novel based on a riveting true story of love and resilience. Her beauty saved her — and condemned her. Cilka is just sixteen years old when she is taken to Auschwitz-Birkenau Concentration Camp in 1942, where the commandant immediately notices how beautiful she is. Forcibly separated from the other women prisoners, Cilka learns quickly that power, even unwillingly taken, equals survival. When the war is over and the camp is liberated, freedom is not granted to Cilka: She is charged as a collaborator for sleeping with the enemy and sent to a Siberian prison camp. But did she really have a choice? And where do the lines of morality lie for Cilka, who was send to Auschwitz when she was still a child? In Siberia, Cilka faces challenges both new and horribly familiar, including the unwanted attention of the guards. But when she meets a kind female doctor, Cilka is taken under her wing and begins to tend to the ill in the camp, struggling to care for them under brutal conditions. Confronting death and terror daily, Cilka discovers a strength she never knew she had. And when she begins to tentatively form bonds and relationships in this harsh, new reality, Cilka finds that despite everything that has happened to her, there is room in her heart for love. From child to woman, from woman to healer, Cilka's journey illuminates the resilience of the human spirit—and the will we have to survive.