In Primo Levi and the Identity of a Survivor, Nancy Harrowitz examines the complex role that Levi's cultural identity played in his choices of how to portray his survival, as well as his exposition ...of topics such as bystander complicity.
Holocaust memorials and museums face a difficult task as their staffs strive to commemorate and document horror. On the one hand, the events museums represent are beyond most people's experiences. At ...the same time they are often portrayed by theologians, artists, and philosophers in ways that are already known by the public. Museum administrators and curators have the challenging role of finding a creative way to present Holocaust exhibits to avoid clichéd or dehumanizing portrayals of victims and their suffering.InHolocaust Memory Reframed, Jennifer Hansen-Glucklich examines representations in three museums: Israel's Yad Vashem in Jerusalem, Germany's Jewish Museum in Berlin, and the United States Holocaust Memorial Museum in Washington, D.C. She describes a variety of visually striking media, including architecture, photography exhibits, artifact displays, and video installations in order to explain the aesthetic techniques that the museums employ. As she interprets the exhibits, Hansen-Glucklich clarifies how museums communicate Holocaust narratives within the historical and cultural contexts specific to Germany, Israel, and the United States. In Yad Vashem, architect Moshe Safdie developed a narrative suited for Israel, rooted in a redemptive, Zionist story of homecoming to a place of mythic geography and renewal, in contrast to death and suffering in exile. In the Jewish Museum in Berlin, Daniel Libeskind's architecture, broken lines, and voids emphasize absence. Here exhibits communicate a conflicted ideology, torn between the loss of a Jewish past and the country's current multicultural ethos. The United States Holocaust Memorial Museum presents yet another lens, conveying through its exhibits a sense of sacrifice that is part of the civil values of American democracy, and trying to overcome geographic and temporal distance. One well-know example, the pile of thousands of shoes plundered from concentration camp victims encourages the visitor to bridge the gap between viewer and victim.Hansen-Glucklich explores how each museum's concept of the sacred shapes the design and choreography of visitors' experiences within museum spaces. These spaces are sites of pilgrimage that can in turn lead to rites of passage.
The Third Reich sourcebook Rabinbach, Anson; Gilman, Sander L
2013., 20130610, 2013, 2013-07-10, Volume:
47
eBook
No documentation of National Socialism can be undertaken without the explicit recognition that the “German Renaissance” promised by the Nazis culminated in unprecedented horror—World War II and the ...genocide of European Jewry. With The Third Reich Sourcebook, editors Anson Rabinbach and Sander L. Gilman present a comprehensive collection of newly translated documents drawn from wide-ranging primary sources, documenting both the official and unofficial cultures of National Socialist Germany from its inception to its defeat and collapse in 1945. Framed with introductions and annotations by the editors, the documents presented here include official government and party pronouncements, texts produced within Nazi structures, such as the official Jewish Cultural League, as well as documents detailing the impact of the horrors of National Socialism on those who fell prey to the regime, especially Jews and the handicapped. With thirty chapters on ideology, politics, law, society, cultural policy, the fine arts, high and popular culture, science and medicine, sexuality, education, and other topics, The Third Reich Sourcebook is the ultimate collection of primary sources on Nazi Germany.
As the Holocaust passes out of living memory, future generations will no longer come face-to-face with Holocaust survivors. But the lessons of that terrible period in history are too important to let ...slip past.How Was It Possible?, edited and introduced by Peter Hayes, provides teachers and students with a comprehensive resource about the Nazi persecution of Jews. Deliberately resisting the reflexive urge to dismiss the topic as too horrible to be understood intellectually or emotionally, the anthology sets out to provide answers to questions that may otherwise defy comprehension.
This anthology is organized around key issues of the Holocaust, from the historical context for antisemitism to the impediments to escaping Nazi Germany, and from the logistics of the death camps and the carrying out of genocide to the subsequent struggles of the displaced survivors in the aftermath.
Prepared in cooperation with the Jewish Foundation for the Righteous, this anthology includes contributions from such luminaries as Jean Ancel, Saul Friedlander, Tony Judt, Alan Kraut, Primo Levi, Robert Proctor, Richard Rhodes, Timothy Snyder, and Susan Zuccotti. Taken together, the selections make the ineffable fathomable and demystify the barbarism underlying the tragedy, inviting readers to learn precisely how the Holocaust was, in fact, possible.
Research Award in Theatre Practice and Pedagogy from the Association for Theatre in Higher Education In his examination of the ways in which theatre participates in the ongoing representations of and ...debates about the past, Freddie Rokem concentrates on the ways in which theatre after World War II has presented different aspects of the French Revolution and the Holocaust, showing us that by “performing history” actors bring the historical past and the theatrical present together.
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
