Relevant bibliographies by topics / Holocaust, Jewish (1939-1945), and art

Academic literature on the topic 'Holocaust, Jewish (1939-1945), and art'

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Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Holocaust, Jewish (1939-1945), and art"

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Grimsted, Patricia Kennedy. "Nazi-Looted Art from East and West in East Prussia: Initial Findings on the Erich Koch Collection." International Journal of Cultural Property 22, no. 1 (February 2015): 7–60. http://dx.doi.org/10.1017/s0940739115000065.

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Abstract:The article contrasts long-suppressed details of German art seizures during the Second World War from Ukrainian state museums and Western Jewish dealers, ordered to Königsberg by Erich Koch, Gauleiter of East Prussia and Reich Commissar of Ukraine. While most of the art from Kyiv was destroyed by retreating Germans when the Red Army arrived (February 1945), here we investigate “survivors.” Initial provenance findings about the collection Koch evacuated to Weimar in February 1945 reveal some paintings from Kyiv. More, however, were seized from Dutch and French Holocaust victims by Reichsmarschall Hermann Göring and his cohorts, including Jewish dealers Jacques Goudstikker (Amsterdam) and Georges Wildenstein (Paris). Many paintings deposited in Weimar disappeared west; others seized by Soviet authorities were transported to the Hermitage. These initial findings draw attention to hitherto overlooked contrasting examples of patterns of Nazi art looting and destruction in the East and West, and the pan-European dispersal of important works of art.
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Butkiewicz, Tomasz. "Synagogues on fire. The end of Polish synagogue architecturein 1939–1941 in the iconography of German soldiers." Res Politicae 14 (2022): 115–39. http://dx.doi.org/10.16926/rp.2022.14.07.

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The outbreak of World War II marked the beginning of a tragic period in history that determined the fate of Polish Jews. From its first days, the German terror was not only remembered as a prelude to the Holocaust, but also as the beginning of the end of synagogue architecture in Poland. The iconography presented in the article draws attention to the burning synagogues and, at the same time, the end of a world that was indisputably part of the culture, art and identity of Poland before 1939.In the landscape of Poland it constituted a kind of individuality, which in the vocabulary of the Third Reich was perceived as: “Jewish culture and architecture” (Judische Kultur und Architektur), “Jewishtypes” (Judische Typen), “subhumans” (Untermenschen). This is the vocabulary of the German soldier who has occupied Poland since September 1939. And although some of them had already become familiar with this world during the First World War, it was mostly the young recruit born between1920 and 1922 who perceived it in an alien way, unprecedented for him. Convinced of their mission to expand their living space (Lebensraum), and thus their right to rule over Poland and Eastern Europe, the young Germans simultaneously made a visual perception of Polish Jews. The main part the article consists of iconographic documents visualising the silent historical source and studies of the subject created after 1945. They cover the period from 1939 to 1941 and depict the process of destroying Polish synagogue architecture. These are significant years because it was during this period that the largest number of synagogues built in Poland before 1939 were destroyed.
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Tarnowska, Magdalena. "Zagłada i odrodzenie w twórczości ocalonej – łódzkiej malarki Sary Gliksman-Fajtlowicz (1909–2005)." Studia Judaica, no. 2 (48) (2021): 437–71. http://dx.doi.org/10.4467/24500100stj.21.018.15073.

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The Holocaust and Rebirth in the Works of Sara Gliksman-Fajtlowicz, a Painter From Łódź, 1909–2005 Sara Gliksman-Fajtlowicz, a painter, came from a well-off family of Majerowiczs, the owners of opticians’ shops in Łódź. She studied at private painting and drawing schools in Łódźand Warsaw. Before the outbreak of World War II, she was active in the Polish art milieu. In 1933, she became a member of the Trade Union of Polish Artists (Związek Zawodowy Polskich Artystów Plastyków, ZZPAP) and participated in its exhibitions in Łódź, Warsaw, Kraków,and Lviv. She painted mainly landscapes, still lifes, and—less frequently—portraits. She published her works in the union magazine Forma. In 1940, she was displaced to the Łódźghetto where she worked as a graphic artist at the Statistics Department. Thanks to this she could obtain art materials. Her clandestine activity was documenting life in the ghetto in paintings and drawings. She survived the liquidation of the ghetto and then was forced to work on cleaning that area. Liberated on 19 January 1945, she returned to her house where some of her prewar works had survived. After 1945 she continued her artistic career and exhibited with the ZZPAP, as well as with the Jewish Society for the Encouragement of Fine Arts. In 1957, she emigrated to Israel. Gliksman died in Tel Aviv in 2005. The aim of this article is to verify and describe Sara Gliksman’s biography, to present her activities in the Polish-Jewish artistic community of postwar Poland, as well as to place her works in the context of issues concerning survivors’ memory and artistic attitudes toward the Holocaust, and art as a manifestation of hope for the rebirth of Jewish life and culture in postwar Poland in the second half of the 1940s and the beginning of the 1950s.
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Tanzer, Frances. "European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948–1956." Contemporary European History 31, no. 2 (December 14, 2021): 243–58. http://dx.doi.org/10.1017/s0960777321000138.

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This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations of modernism, as well as absorbtion of modernism as part of national heritage. Their criticisms lay bare a seeming paradox at the heart of post-war Europe: a desire to claim the veneer of pre-Nazi cosmopolitanism without returning its enabling demographic and cultural diversity. This article points to the significance of philosemitism for establishing post-war national and continental identities.
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Morawiec, Arkadiusz. "Józef Hen i Józef Bau." Załącznik Kulturoznawczy, no. 9 (2022): 137–59. http://dx.doi.org/10.21697/zk.2022.9.07.

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The main subject of this article is Józef Hen’s 1955 short story Samotność (Loneliness). The prototype of its protagonist is Józef Bau, and the prototype of its main theme, the volume of poetry containing the poems “born from the nightmare of the death camp”, is his 1949 volume Cień przechodnia (The passer-by’s shadow), a work interesting both in terms of literature and art (graphics). Samotność is probably the only (and at the same time peculiar) expression of the reception of the volume Cień przechodnia. Hen and Bau met in 1945. The familiarity between the two writers, with Jewish roots, seems to result from a shared experience, the Jewish fate. In the case of Bau, who passed through the ghetto and concentration camps, this fate turned out to be traumatizing, as both his parents and his brother were murdered by the Germans. Nonetheless, the experiences of Hen, who fled to the East (the Soviet Union) in September 1939 and thus avoided similar torments, were painful too. Bau was the first person to report to Hen in detail what a concentration camp was. It seems that Samotność is, above all, a self-referential work, exploring the issue that has been and is still preoccupied with Hen as a writer and as a man who lost a number of his relatives during the war. By writing Samotność, as well as other works dealing the Holocaust and the loneliness of the survivors, Hen frees himself from his own trauma, and also calls for the memory of the “Jewish tragedies” (which were displaced during the period of Stalinism and the domination of socialist realism).
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Peskova, Anna Yu. "Modern Slovak drama about The Second World War." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 268–77. http://dx.doi.org/10.37816/2073-9567-2022-63-268-277.

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The paper addresses the Slovak drama of the 21st century dedicated to the Second World War, the Holocaust, and the Slovak National Uprising. After the “velvet revolution” of 1989, interest in the military and insurgent theme in Slovak art as a whole declined sharply, but as early as in the 21st century playwrights and theaters of Slovakia are increasingly beginning to return to these topics. Many of these plays created in the last twenty years were written in order to actualize public discussions about the period of the Slovak Republic (1939–1945), around the mass deportation of Jews from its territory, around the arization, etc. The main task of these plays` authors is to put serious moral questions before the viewer. For this purpose, the paper focuses on social and historical context in which National Socialism spread in Slovakia. Such are, for example, the works of R. Ballek “Tiso”, P. Rankov “It Happened on the First of September (or Some Other Time)”, A. Gruskova “The Woman Rabbi”, V. Klimachek “The Holocaust”, Y. Yuraneva “The Silent Whip”. One of the most important questions that Slovak writers and society have been asking in recent decades is the question of how and why Slovaks actually joined Nazi Germany during the Second World War, what prompted them to do this.
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White, Nick. "Gitta Sereny and Albert Speer's ‘Battle with Truth’ on the London Stage." New Theatre Quarterly 17, no. 2 (May 2001): 170–85. http://dx.doi.org/10.1017/s0266464x00014573.

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Prompted by the investigative journalist Gitta Sereny's biography Albert Speer: His Battle with Truth, two recent productions, Esther Vilar's Speer and David Edgar's Albert Speer, have set out to explore the reputation of Hitler's architect and later Minister of Armaments and War Production, Albert Speer, the only leading Nazi to acknowledge his guilt at the Nuremberg Trials. The plays, like the biography, are concerned with the extent of Speer's knowledge of the ‘Final Solution’ during his career in the Nazi hierarchy, and consequently with the integrity of the stance he adopted at Nuremberg and thereafter – that is, of his claim of guilt by association and omission rather than by active participation. In her biography, Sereny claims that as a result of her association with Speer he eventually acknowledged his guilt to her, and was repentant. But Nick White believes that the evidence – much of it unearthed by Sereny herself – suggests otherwise, and that Sereny had failed to acknowledge that between 1978 and his death in 1981 Speer consistently deceived her about crucial aspects of this evidence. How successful are Vilar and Edgar in their quite different dramatic sifting, not only of the public persona of Speer, but also of the interpretation granted their subject by the biographer upon whom their plays, to a lesser and greater degree, depend? Nick White has taught at City University, London, and his PhD dissertation, ‘In the Absence of Memory? Jewish Fate and Dramatic Representation: the Production and Critical Reception of Holocaust Drama on the London Stage, 1945–1989’ (1998) has been followed by a companion volume of criticism, articles, and letters, The Critical Reception of Holocaust Drama on the British Stage, 1939–2000.
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Chechi, Alessandro. "THE GURLITT HOARD: AN APPRAISAL OF THE ROLE OF INTERNATIONAL LAW WITH RESPECT TO NAZI-LOOTED ART." Italian Yearbook of International Law Online 23, no. 1 (November 17, 2014): 199–217. http://dx.doi.org/10.1163/22116133-90230044.

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Two years ago, German authorities conducting a routine tax investigation stumbled on the largest trove of missing artworks since the end of the Second World War. The collection of paintings and drawings was discovered in a Munich apartment owned by Cornelius Gurlitt, the late son of Hildebrand Gurlitt, one of the art dealers approved by the Nazis. It is likely that most of these artworks were plundered from German museums and Jewish collections in the period 1933-1945. The discovery triggered heated debates about the obligations of the German State and the property rights over this art collection. This article looks at the ongoing Gurlitt case from an international law perspective and discusses two different but interrelated issues. First, it traces the genealogy and extrapolates the influence of the international legal instruments that have been adopted to deal with the looting of works of art committed by the Nazis. Second, it examines the available means of dispute settlement that can lead to the “just and fair” solution of Holocaust-related cases in general and the Gurlitt case in particular. The objective of this analysis is to demonstrate that international law plays a key role in addressing and reversing the effects of the Nazi looting.
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Stone, Daniel. "Coverage of the Holocaust in Winnipeg’s Jewish and Polish Press 1939–1945." Polin: Studies in Polish Jewry 19, no. 1 (January 2007): 183–203. http://dx.doi.org/10.3828/polin.2007.19.183.

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Hamrin-Dahl, Tina. "This-worldly and other-worldly: a holocaust pilgrimage." Scripta Instituti Donneriani Aboensis 22 (January 1, 2010): 122–62. http://dx.doi.org/10.30674/scripta.67365.

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This story is about a kind of pilgrimage, which is connected to the course of events which occurred in Częstochowa on 22 September 1942. In the morning, the German Captain Degenhardt lined up around 8,000 Jews and commanded them to step either to the left or to the right. This efficient judge from the police force in Leipzig was rapid in his decisions and he thus settled the destinies of thousands of people. After the Polish Defensive War of 1939, the town (renamed Tschenstochau) had been occupied by Nazi Germany, and incorporated into the General Government. The Nazis marched into Częstochowa on Sunday, 3 September 1939, two days after they invaded Poland. The next day, which became known as Bloody Monday, approximately 150 Jews were shot deadby the Germans. On 9 April 1941, a ghetto for Jews was created. During World War II about 45,000 of the Częstochowa Jews were killed by the Germans; almost the entire Jewish community living there.The late Swedish Professor of Oncology, Jerzy Einhorn (1925–2000), lived in the borderhouse Aleja 14, and heard of the terrible horrors; a ghastliness that was elucidated and concretized by all the stories told around him. Jerzy Einhorn survived the ghetto, but was detained at the Hasag-Palcery concentration camp between June 1943 and January 1945. In June 2009, his son Stefan made a bus tour between former camps, together with Jewish men and women, who were on this pilgrimage for a variety of reasons. The trip took place on 22–28 June 2009 and was named ‘A journey in the tracks of the Holocaust’. Those on the Holocaust tour represented different ‘pilgrim-modes’. The focus in this article is on two distinct differences when it comes to creed, or conceptions of the world: ‘this-worldliness’ and ‘other- worldliness’. And for the pilgrims maybe such distinctions are over-schematic, though, since ‘sacral fulfilment’ can be seen ‘at work in all modern constructions of travel, including anthropology and tourism’.
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Dissertations / Theses on the topic "Holocaust, Jewish (1939-1945), and art"

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Liu, Dan. "Holocaust representation in Art Spiegelman's Maus." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456309.

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Frahm, Ole. "Genealogie des Holocaust : Art Spiegelmans Maus - a survivor's tale /." München [u.a.] : Fink, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2637876&prov=M&dok_var=1&dok_ext=htm.

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Curi, Fabiano Andrade 1971. "Maus de Art Spiegelman : uma outra historia da Shoah." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270246.

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Orientador: Fabio Akcelrud Durão
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-13T07:42:00Z (GMT). No. of bitstreams: 1 Curi_FabianoAndrade_M.pdf: 5800196 bytes, checksum: fa1306d7a4bd82f8efed9032794645d2 (MD5) Previous issue date: 2009
Resumo: Este texto tem o objetivo de apresentar a obra Maus, de Art Spiegelman, como uma nova forma de transmissão dos traumas da Shoah. Com a proximidade do fim das gerações de sobreviventes, as atenções se voltam para produção daqueles que tiveram contato indireto com a tentativa de aniquilamento de judeus nos campos de extermínio nazistas. Nesse grupo encontra-se o autor da obra que analisamos com um livro no formato de quadrinhos absolutamente inovador não só entre os testemunhos, mas também entre os próprios quadrinhos. A composição de textos e desenhos feita por Spiegelman enfrenta as mesmas limitações de outras obras de testemunhos diretos ou indiretos ao tentar narrar o que não se narra, mas traz elementos bastante interessantes na representação artística da memória, como a adequação dos relatos ao espaço dos quadros, as feições antropomórficas dos personagens e toda a discussão sobre a obra dentro dela mesma. Além disso, Maus traz uma série de experiências nesse tipo de literatura ao justapor a história de sobrevivente de Auschwitz narrada pelo pai com a sua própria vida de filho de sobrevivente com as difíceis implicações dessa situação. Dessa forma, Spiegelman trabalha em diferentes níveis de narrativa, alternando e relacionado biografia e autobiografia.
Abstract: This text aims to present the Art Spiegelman's work, Maus as a new way of transmitting the traumas of the Shoah. With the generations of survivors coming to an end, the attention has turned to the production of the new generations, who have had indirect contact with the attempt of annihilation of Jews in the Nazi?s extermination camps. In this group, there is the author of the work that we look with a comic book format that is absolutely innovative, not only among the Shoah?s narratives, but also among the comics itself. The composition of texts and drawings made by Spiegelman faces the same limitations that other important testimonies direct or indirect have on trying to tell what cannot be told, but has very interesting elements in the artistic representation of the memory and the suitability of reporting the area of the drawings, the anthropomorphic features of the characters and the whole discussion on the work inside itself. Moreover, Maus has a lot of experiences in this type of literature when juxtapose the story of an Auschwitz survivor narrated by his father with his own life as the son of a survivor with the difficult implications of this situation. As a result, Spiegelman works in different levels of narrative, alternating and linking biography and autobiography.
Mestrado
Mestre em Teoria e História Literária
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Furgang, Lynne Eva Art College of Fine Arts UNSW. "The city that never sleeps." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43556.

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This research documentation explores representations of the Holocaust in the visual arts in relation to the post-Holocaust ??ripple effect????the impact of the Holocaust on the world today, in both the wider arena of global political conflicts and in the lives of individuals. In the following chapters, I address the complex ethical and political aspects of representations of the Holocaust in the context of the evolution of Holocaust awareness and memorialisation. I also investigate recent developments in art and theory that challenge prevailing conventions governing Holocaust representation, especially how the relationship between the perceived political exploitation of the Holocaust and the intergenerational effects of Holocaust trauma is addressed. Given these are sensitive and contentious issues I discuss my studio work in terms of how trauma affects the political rather than as an overt polemically/politically motivated art. I examine my attempts to bypass controversy (maintaining respect for victims and survivors), yet maintain engagement with these issues in my art. In doing this I aim to liberate both my art and the viewer from habits of perception in regard to the subject. From this principle I propose a ??strategic?? form of self-censorship that paradoxically gives me the freedom to do this. This strategy enables me to create an art of ambiguity, which exists in an amoral zone. The art evokes reflective thought, uncertainty and ambivalence, where references to the Holocaust or political content are often not explicit, leaving room for lateral and open readings. My work, which incorporates interdisciplinary methods, is often based on photographs from a variety of sources. I also create three dimensional constructions. The sourced images and the constructions are disguised, decontextualised, cropped, erased or digitally altered, and also experiment with optical illusion. Through transformative processes these images are changed into drawings, paintings, photographs. This research documentation acknowledges the gap between the gravitas of the subject with its ethical and geo-political complexities and my idiosyncratic, subjective, introverted approach to making art. I conclude that there is potential in the exploration of an ??anxiety of representation?? in relation to the Holocaust in the contemporary context.
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Stenekes, Willem Jacob. "History denied a study of David Irving and Holocaust denial /." Sydney : UWS, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030704.164555/.

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Stenekes, Willem J. "History denied : a study of David Irving and Holocaust denial /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030704.164555/index.html.

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Thesis (PhD) -- University of Western Sydney, 2002.
"A thesis presented to the University of Western Sydney in the fulfillment of the requirement for the degree of Master of Arts (Honours), May 2002." Bibliography: p. 300-333.
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Motl, Kevin C. "Victims of Hope: Explaining Jewish Behavior in the Treblinka, Sobibór and Birkenau Extermination Camps." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2558/.

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I analyze the behavior of Jews imprisoned in the Treblinka, Sobibór, and Birkenau extermination camps in order to illustrate a systematic process of deception and psychological conditioning, which the Nazis employed during World War II to preclude Jewish resistance to the Final Solution. In Chapter I, I present resistance historiography as it has developed since the end of the war. In Chapter II, I delineate my own argument on Jewish behavior during the Final Solution, limiting my definition of resistance and the applicability of my thesis to behavior in the extermination camp, or closed, environment. In Chapters III, IV, and V, I present a detailed narrative of the Treblinka, Sobibór, and Birkenau revolts using secondary sources and selected survivor testimony. Finally, in Chapter VI, I isolate select parts of the previous narratives and apply my argument to demonstrate its validity as an explanation for Jewish behavior.
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Lincoln, Margaret L. "The Online and the Onsite Holocaust Museum Exhibition as an Informational Resource." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5407/.

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Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.
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Altomonte, Jenna A. "The Postmemory Paradigm: Christian Boltanski's Second-Generation Archive." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1244047774.

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Decoster, Charlotte. "Jewish Hidden Children in Belgium during the Holocaust: A Comparative Study of Their Hiding Places at Christian Establishments, Private Families, and Jewish Orphanages." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5468/.

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This thesis compares the different trauma received at the three major hiding places for Jewish children in Belgium during the Holocaust: Christian establishments, private families, and Jewish orphanages. Jewish children hidden at Christian establishments received mainly religious trauma and nutritional, sanitary, and medical neglect. Hiding with private families caused separation trauma and extreme hiding situations. Children staying at Jewish orphanages lived with a continuous fear of being deported, because these institutions were under constant supervision of the German occupiers. No Jewish child survived their hiding experience without receiving some major trauma that would affect them for the rest of their life. This thesis is based on video interviews at Shoah Visual History Foundation and Blum Archives, as well as autobiographies published by hidden children.
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Books on the topic "Holocaust, Jewish (1939-1945), and art"

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Gilbert, Martin. The Holocaust: The Jewish tragedy. London: Folio Society, 2012.

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Zahava, Seewald, and Musée juif de Belgique, eds. Holocaust. Antwerp, Belgium]: Pandora, 2000.

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1946-, DeCoste F. C., and Schwartz Bernard 1937-, eds. The Holocaust's ghost: Writings on art, politics, law, and education. Edmonton, Alta., Canada: University of Alberta Press, 2000.

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Baigell, Matthew. Jewish-American artists and the Holocaust. New Brunswick, N.J: Rutgers University Press, 1997.

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B'nai B'rith Klutznick National Jewish Museum., ed. Art and the Holocaust: Destruction and survival. Washington, DC: B'nai B'rith Klutznick National Jewish Museum, 1995.

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Godfrey, Mark. Abstraction and the Holocaust. New Haven: Yale University Press, 2007.

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Toll, Nelly S. When memory speaks: The Holocaust in art. Westport, Conn: Praeger, 1998.

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Nagy, Katalin S. Emlékkavicsok: Holocaust a magyar képzőművészetben 1938-1945. Budapest: Glória, 2006.

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Baigell, Matthew. Jewish artists in New York during the Holocaust years. Washington, D.C: United States Holocaust Memorial Museum, Center for Advanced Holocaust Studies, 2001.

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Liberman, Judith Weinshall. The Holocaust wall hangings. [Jerusalem]: Yad Vashem, the Museum, 1992.

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Book chapters on the topic "Holocaust, Jewish (1939-1945), and art"

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Antonelli, Valerio, Raffaele D'Alessio, Roberto Rossi, and Warwick Funnell. "Accounting and expropriation of Jewish property in Fascist Italy 1939–1945." In Accounting for the Holocaust, 164–95. London: Routledge, 2024. http://dx.doi.org/10.4324/9781032685328-8.

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Michman, Dan. "Understanding the Jewish Dimension of the Holocaust." In The Fate Of The European Jews, 1939-1945 Continuity or Contingency?, 225–50. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195119312.003.0013.

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Abstract Holocaust historiography, by now unimaginable in its extent, deals with fragments or subtopics of the event itself. Few studies have been devoted to an effort to set the Holocaust “as a whole” within, as Amo Mayer put it, “the singular historical context in which it was conceived and executed.” Moreover, on examining those studies, one discovers that what is usually being “set in history,” what is usually being explained, is the persecution of the Jews-their expropriation, forced emigration and, ultimately, their murder. The paths of explanation differ, emphasizing variously Hitler’s will to world power; rabid eliminationist antisemitism; racism; the almost apocalyptic clash between Bolshevism and fascism; the modem bureaucratic state and economic modernization; and modernity itself; but all these theories share one characteristic: the subject of the analysis is one-dimensional-the issue of persecution or murder-and the explanation is placed linearly in German and/or European history. The Jews are thus perceived as an object, as “raw material,” and of minor importance in any explanation of the “event” as such.
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Brod, Peter. "Avigdor Dagan, Gertrude Hirschler and Lewis Weiner, editors. The Jews of Czechoslovakia. Historical Studies and Surveys. Vol. III. Philadelphia: The Jewish Publication Society of America. 1984. Pp. 700." In Polin: Studies in Polish Jewry Volume 1, 376–77. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781904113171.003.0041.

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This chapter evaluates The Jews of Czechoslovakia Vol. III (1984), which was edited by Avigdor Dagan, Gertrude Hirschler, and Lewis Weiner. This is the final volume of a remarkable undertaking. The first two volumes, published in 1968 and 1971, dealt with pre-1939 developments and set out the complex nature of Jewish tradition and life under the Habsburgs and during the twenty years of the first Czechoslovak Republic. Czechoslovak Jewry was a very heterogeneous phenomenon, divided along linguistic, religious, cultural, and political lines. Some of these divisions, such as those between the so-called ‘assimilationists’ and Zionists, are frequently mentioned in the present volume, but the overriding topic here is the Holocaust in all its aspects — Nazi policy, Jewish reactions, and the attitudes of non-Jews. It is in fact the first comprehensive one-volume treatment of the Holocaust in Czechoslovakia in any language.
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Bauer, Yehuda. "Some Introductory Comments." In The Fate Of The European Jews, 1939-1945 Continuity or Contingency?, 3–8. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195119312.003.0001.

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Abstract It is not for an introduction to become simply another article. This is especially the case in a book like this, which is not just an assorted collection of essays, but rather grapples with a theme of crucial significance: continuity versus contingency in the origins of the Holocaust. The articles presented here range from general, philosophical discourses on what caused the Holocaust to detailed analyses of concrete situations. And needless to say, the authors do not agree among themselves-not even in the definition of the subject, much less so in their approach. But that is precisely the value of such an enterprise. It provides the reader with a sharply defined but highly varied panorama. With that said, though, I do believe that there are some issues that deserve brief comment.
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Trochimczyk, Maja. "Jewish Composers of Polish Music after 1939." In Polin: Studies in Polish Jewry Volume 32, 371–86. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0020.

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This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in Poland. It discusses the inclusion of Jewish composers in the world of Polish music by its post-1945 historians. It also examines the presence of Jewish composers in Poland's musical world before 1939 and the disappearance of these composers as shown by official publications, dictionaries, and music histories up until 1989. The chapter reviews all the composers of Jewish origin who were alive in September 1939, regardless of their attitude and relationship with Judaism. It mentions the most important composers of Jewish descent but not of Jewish faith, such as Józef Koffler, who gave up his official Jewish religious allegiance in May 1939, and Roman Palester, who was baptized Catholic as a baby.
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STONE, DANIEL. "Coverage of the Holocaust in Winnipeg’s Jewish and Polish Press 1939-1945." In Polin: Studies in Polish Jewry Volume 19, 183–204. The Littman Library of Jewish Civilization, 2022. http://dx.doi.org/10.2307/j.ctv2kcwnw6.14.

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Diner, Dan. "Memory and Method: Variance in Holocaust Narrations." In The Fate Of The European Jews, 1939-1945 Continuity or Contingency?, 84–99. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195119312.003.0007.

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Abstract It is common knowledge that history and memory are viewed as antithetical. Historical research is rightly skeptical about evidence recycled, as a purported reflection of reality, by memory. After all, historical sciences base their claims to verity on time-tested instruments of knowing and proof, a gamut ranging from source criticism to the densely aggregated fields of discourse and debate on method and epistemology. Nonetheless, historiography cannot escape the confrontation with memory, which represents a world that relativizes, and hence undermines, the claims to universal validity made by historical scholarship. This essay, then, explores the interrelationship of historiography and memory as related to an event still in search of its proper locus in historical research: the Holocaust.
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Langmuir, Gavin I. "Continuities, Discontinuities and Contingencies of the Holocaust." In The Fate Of The European Jews, 1939-1945 Continuity or Contingency?, 9–29. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195119312.003.0002.

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Abstract When it is a choice between “Holocaust,” “Shoah,” “Final Solution,” “War Against the Jews,” “Auschwitz,” or some other term, what’s in a name is a matter of some importance, for each term brings with it a particular perspective and concept of action and agency, whether religious, military, ethnic, Hitlerian, social, individualistic or some other. Perhaps “Holocaust” remains the best choice for historians. Even though it implies a particular (a Jewish) perspective and is a misnomer according to its original religious meaning, nonetheless, precisely because of its ambiguous religious overtones, the word suggests a cosmic or overarching perspective that could embrace all the structures, events, agents and causalities involved in the killing authorized by the government of Germany of more than five million Jews between 1941 and 1945.
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Marrus, Michael R. "Auschwitz: New Perspectives on the Final Solution." In The Fate Of The European Jews, 1939-1945 Continuity or Contingency?, 74–83. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195119312.003.0006.

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Abstract Auschwitz does not lend itself easily to a historical perspective.1 For most, the camp will forever be what it became: the largest and most important of the Nazi concentration camps, the most destructive and sophisticated killing machine ever developed, the place where the greatest number of Jews-close to one million-were killed during the Holocaust, and as a result, the largest cemetery in the world. No one intended this at the beginning, however, and for much of its history Auschwitz was, in Raul Hilberg’s striking phrase, “a site in search of a mission.”2 And because it took time for Auschwitz to become what it became, its history is complex, and there are different missions to explain. Looking back, our preoccupation with the camp’s ultimate significance interferes with our understanding of how the Auschwitz we know actually came to be. What I would like to do in this brief essay is to survey this history. Doing so, I think, is an aid to understanding what troubles people especially about the Nazi Holocaust-how people could do such things to other human beings.
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Paulsson, Gunnar S. "The Demography of Jews in Hiding in Warsaw, 1943‒1945." In Polin: Studies in Polish Jewry Volume 13, 78–103. Liverpool University Press, 2000. http://dx.doi.org/10.3828/liverpool/9781874774600.003.0005.

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This chapter provides a demography of the Jewish fugitives in Warsaw during the Holocaust, considering the Berman Archive. This archive contains the records of the Jewish National Committee (Żydowski Komitet Narodowy: ŻKN) and the personal papers of its chairman, Dr Adolf Berman. The documents from the Berman Archive that are of greatest interest to the chapter are lists of people who were receiving financial assistance from the committee. These lists contain, all told, some 7,500 individual entries, each consisting of some of the following information: name (of an individual or family group); number of people in the group; receipt number and amount received; age, or date, and place of birth; other identifying information such as occupation and place of origin; name of the responsible activist; and comments of various kinds. The interpretation of these documents requires some knowledge of the structure and function of the ŻKN and, indeed, of the whole organized effort to bring relief to Jews in hiding.
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