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The Dreyfus Affair became a myth, in the positive and vital sense of that word. It resonated, and continues to resonate, throughout the world as a symbol of wrongs done to minorities of all kinds, and as a permanent reminder of the values that must inform the conduct of public life in civil societies. It is worth asking—especially in the context of “Children Overboard,” missing weapons of mass destruction and the Australian Wheat Board affair—to what extent Zola’s war-cry applies today: “Truth is on the march, and nothing will stop it!”

Brian Nelson, “Defending Dreyfus,” The Age, April 8, 2006.

The end of the Dreyfus affair, which in 1906 saw the exoneration of Jewish French Army captain Alfred Dreyfus, marked the close of one of the darkest chapters in Jewish relations with France. But the memory of that century-old injustice has been revived as a platform to air views on controversial issues in Australian law and society today. To mark 100 years since Dreyfus was fully rehabilitated by the French republic, the Jewish Museum of Australia (JMA) is holding an exhibition, J’Accuse! The Dreyfus Affair, which opens on March 26. While it was the centenary of the affair that initially prompted the museum to plan the exhibition six years ago, guest curator Dr. Deborah Rechter claims the project has developed a resonance with contemporary Australian politics.

“Ghosts of Dreyfus linger 100 years on,” Australian Jewish News, March 24, 2006.

“The Dreyfus affair, in which Jewish French Army captain Alfred Dreyfus was unjustly tried, convicted and imprisoned for treason in the late 1800s, will continue to resonate as long as wrongs are committed against minorities in society,” the High Court of Australia’s Justice Michael Kirby told a Jewish audience in Melbourne this week. “The Dreyfus case speaks powerfully to Jewish people everywhere, including in Australia, especially because of the genocide that followed [during the Holocaust],” Justice Kirby told the opening of J’Accuse! The Dreyfus Affair, a Jewish Museum of Australia (JMA) exhibition commemorating the 100th anniversary of Dreyfus’ exoneration on Sunday. “But it also speaks clearly of wrongs done to Aboriginals, to Asian Australians, to Arab and Islamic Australians, to gays and other sexual minorities, to women, to the very old and young, to the mentally disabled, to prisoners and to unconventional people.”

Melissa Singer, “Dreyfus affair a lesson in ‘wrongs’ to minorities – Justice Kirby,” Australian Jewish News, March 2, 2006.

Mit einem Theater-Plakat aus Chicago steigt die Ausstellung “J’Accuse” im Kutschstall in das Thema Dreyfus ein…. Sie stosst nicht nur in Frankreich, sondern auch im Ausland, in Deutschland und den USA auf grosses Interesse. Am Dienstag wurde die übersichtliche Dreyfus-Ausstellung des Moses Mendelssohn Zentrums im Haus der Brandenburgisch Preussischen Geschichte eröffnet. Sie zeigt bis zum 19. August Exponate--Zeitungsausschnitte, Fotografien, Bilder, Plakate, Bücher--einer Sammlung der amerikanische Erziehungswissenschaftlerin Lorraine Beitler, die mit Texten erläutert werden. Nach Potsdam wandert die Schau nach Berlin und Dresden. Jedes Objekt sei symbolisch und liefere Impulse für Diskussionen und Einsichten sagt Beitler in ihrem Grusswort, das sie an ein zahlreich erschienenes Publikum im Hof des MMZ richtet…. Die Affäre veranschauliche mehr, dass der Fortschritt der Menschheit vom Urteil und den Taten moralisch denkender Individuen abhänge.

Marion Hartig, “Erst Opfer dann Held: Die Eröffnung der Dreyfus-Ausstellung ‘J ’Accuse ’ stiess auf grosses Interesse,” PNN, July 14, 2005.

Die meisten der 231 Stücke stammen aus dem Besitz von Lorraine Beitler, einer amerikanischen Erziehungswissenschaftlerin, die seit 30 Jahren zur Dreyfus-Affäre sammelt. Sie ist überzeugt dass “diese Affäre kein Einzelfall ist, sondern ein Denkmuster spiegelt,” dass also ein solches Unrecht jederzeit wieder geschehen kann. Das soll auch die Ausstellung zeigen, und so war Beitlers Sammlung schon in Paris oder Auschwitz zu sehen; und sie wollte sie auch gern in Deutschland zeigen.

Mathias Hamann, “Die Dreyfus-Affäre als Lehrstück: Neue Ausstellung im Potsdamer Kutschstall,” Der Tagesspiegel, July 13, 2005.

Die Ausstellung ist das Werk der amerikanischen Erziehungswissenschaftlerin Lorraine Beitler, die seit mehr als 30 Jahren Exponate zur Dreyfus-Affaire sammelt, weil diese für sie als Synonym für politischen Radikalismus und antisemitsche Propaganda, aber auch für die Verteidigung der Grundrechte stehen.

Günter Stiller, “Dreyfus--Dokumente eines Skandals,” Hamburger Abendblatt, May 27, 2005.

La neoyorquina Lorraine Beitler ha preparado una exposición itinerante dedicada al Caso Dreyfus, que puede verse en el Centro Cultural Recoleta hasta el 25 de noviembre y que seguirá luego en la Escuela Superior de Guerra. Organizada por la B’nai B’rith–que tuvo a su cargo un video explicativo y preparó una serie de conferencias–la Muestra Dreyfus cuenta con el auspicio de las embajadas de Francia, Israel, Estados Unidos.... Ése es, en definitiva, el espiritú de una muestra distinta a las demás. No hay allí belleze, aunque haya esperanza. El mensaje es claro. Conocer el pasado es la mejor manera de no repetirlo.

Mauricio Farberman, “Recuerdos del presente: una muestra sobre el caso Dreyfus,” Tres puntos, November 22, 2001.

Lorraine Beitler, un educadora norteamericana que trajo a Buenos Aires parte de su incomparable colección de documentos sobre el Caso…. Su vasta colleccíon de 500 documentos, posters, uniformes y manuscritos está organizada como un libro abierto, con textos y guías entrenados. Es impactante ver la edición original del Yo acuso, las cartas de Dreyfus, las coberturas periodísticas de la época, los salvajes afiches antisemitas en su contra…. En exhibición hasta el 25 de noviembre en el Centro Cultural Recoleta, la colección después se rearmará en otro escenario por lo menos curioso: el Colegio Militar de la Nacíon.

Sergio Kiernan, “Todo es historia,” Radar, November 11, 2001.

La Fondation Beitler est propriétaire d’une imposante collection d’archives relatives aux questions d’injustice et d’intolérance. Passionnée par l’affaire Dreyfus, sa directrice, Lorraine Beitler, a réuni un ensemble exceptionnel d’æuvres et de documents originaux sur les acteurs et les divers épisodes de l’événement…. “L’objectif est de montrer aux générations actuelles combien des idées telles que l’antisémitisme, le racisme et le virus nationaliste peuvent mettre en danger la démocratie,” explique Lorraine Beitler. “Les questions posées par l’affaire Dreyfus restent pertinentes aujourd’hui.”

G.I., “Charleroi--La DÉfense de la démocratie: Un coup de projecteur sur l’affaire Dreyfus,” Le Soir, July 4, 2000.

C ’est le cöté éternel de ce phénomène de société qui donne toute sa valeur pédagogique à l’exposition inaugurée par l’Echevin de la Culture C. Renard…et placée sous le patronage de l’Ambassadeur de France et du Bourgmestre de Charleroi. Mme Lorraine Beitler…avait honoré cette cérémonie de sa présence.

“L’Actualité de l’affaire Dreyfus mise en évidence,” Carolo Service: bulletin d’information de la Ville de Charleroi, April, 2000.

Het gaat inderdaad om een reizende expositie, die alte gast was in het Palais du Luxembourg in Parijs, waar de Franse Senaat zetelt, en in de Militaire Academie in New York. De zaak-Dreyfus kan beschouwd worden als een schoolvoorbeeld van de strijd voor de rechten van het individu…

Bert Popelier, “Voor en tegen Dreyfus,” De Financieel-Economische Tijd, February 12, 2000.

Seeing actual documents and articles from this period brings the past alive…a handle on history…that no book could ever provide…. The items in the exhibit have been culled from literally hundreds of pieces collected by the Beitlers…. Over the years the collection has traveled extensively, in the U.S. and abroad…even a century after the events, the Dreyfus Affair still resonates to young and old… Dr Beitler sees several critical lessons to be learned from the Dreyfus Affair…she cites the impact that an international outcry can have—a lesson she believes is especially relevant for today.

Jane Linker, “Dreyfus Revisited: The Woman behind the Collection,” The Jewish Week, March 20, 1998.

Last month was the 100th anniversary of Emile Zola’s “J’Accuse,” an impassioned cry for justice that became an enduring model of how writers and other artists can create political change…. Does any of it have any meaning today? Absolutely, said Lorraine Beitler, a former director of education at New York City Technical College in Brooklyn. It was Ms. Beitler who had collected…the artifacts on display. “It shows the impact that a single individual can have,” she said of Zola, who died in 1902…. Ms. Beitler has lectured on the Dreyfus Affair at West Point, where it is appreciated that an army must have a solid ethical foundation.

Clyde Haberman, “A Descendant of Dreyfus Remembers,” New York Times, February 17, 1998.

In 1898, Zola was at the height of his fame…he risked his wealth and reputation for an unpopular cause…. “The issues remain the same today…we have to teach our leaders of tomorrow and today about civic responsibility…. Individuals like Zola can make changes and, as an educator, I care about that,” said Beitler.

Jim Beckerman, “Visual Arts: A Government Trial with a Hero,” The Record, February 13, 1998.

Parallèlement au colloque de Columbia, la fondation américaine Beitler organise une exposition à la Maison Française de l’université…. Les liens entre la France et les Etats-Unis autour de cette affaire sont multiples, a assuré le professeur Mitterand…. “Ma mère avait des boîtes pleines de babioles, de petites broches ou de messages qui…avaient été envoyés, notamment des Etats-Unis, en signe de soutien”…a expliqué Simone Perl, petite-fille du capitaine Dreyfus.

Frédéric Bichon, “Commémoration à New York de l’affaire Dreyfus,” Agence-France-Presse, February 12, 1998.

“J’Accuse,” initiated an explosive, often vitriolic debate between intellectuals (such as Zola) convinced of Dreyfus’ innocence and traditionalists blinded by their anti-Semitism…. Zola’s intervention, no doubt, had changed the course of history…in conjunction with the conference is displayed the Lorraine Beitler collection of documents related to the Dreyfus Affair, one of the world’s most extensive private holdings. The exhibition features over 100 artifacts and includes the published letter “J’Accuse,” political posters, correspondence, prints and photographs.

Nancy Segal, “‘J’Accuse’: Emile Zola and the Dreyfus Affair,” The Forward, February 6, 1998.

The exhibition: “Zola and the Dreyfus Affair: A Moment in the Conscience of Humanity,” is drawn from the collection of Lorraine Beitler. Beitler, professor emeritus at the City University of New York, who is president of the foundation and curator of the collection, said these include posters, lithographs, prints, postcards, photographs, books, letters, and decorative arts that document passions on both sides in the Dreyfus Affair.

Suzanne Trimel, “L’Affaire Dreyfus: Conference to Remember Zola on 100th Anniversary of the Dreyfus Affair,” The Record (Columbia University), [February 6, 1998].

Carol Steinberg, Director of Arts and Culture, remarked that the exhibition was pertinent to South Africa, highlighting the fact that the “issues of prejudice and racism were not unique to the Dreyfus Affair.” The exhibition covers many aspects of the “Affair” with relevant echoes from South African history and experience…. Monsieur Nicholas Normand, attaché of the French Embassy, discussed the “scandals” of the Dreyfus Affair and its significance to the experience and politics of our own era.

“Dreyfus: A Current Affair,” South African Jewish Times, March 21, 1997.