Relevant bibliographies by topics / Holocaust representation

Academic literature on the topic 'Holocaust representation'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Holocaust representation"

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Lee, Kyoung-Jin. "Beyond the Prohibition of Images: The Representation of the Unrepresentable in the Film Son of Saul." Sookmyung Research Institute of Humanities 12 (October 31, 2022): 209–40. http://dx.doi.org/10.37123/th.2022.12.209.

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Direct representation of genocide has long been considered taboo in Holocaust cinema. In particular, the ‘image prohibition’ claimed by Claude Lanzmann, the director of Shoah, a milestone film in Holocaust film history, had a tremendous effect on artistic work concerning the Holocaust. However, Nemes László's film Son of Saul (2015) convincingly refutes the prevalent concerns about visual representation of Shoah. It manages to reconstruct the experience of a Sonderkommando member, a key witness of the Holocaust, by the careful arrangement of the camera's views, depth of field, and sound. To do this, the director takes seriously the issues regarding the Holocaust's unrepresentability, rather than ignoring or disputing them. If Shoah cannot be portrayed, it is because Shoah is a double annihilation in that it annihilated the Jews as well as the evidences of their annihilation. The film shows how the Nazi's destruction of representability can be placed in the order of representation at the level of not only film aesthetics but also narrative.
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Dean, Carolyn J. "History and Holocaust Representation." History and Theory 41, no. 2 (May 2002): 239–49. http://dx.doi.org/10.1111/0018-2656.00203.

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Schneider, Stephanie. "Representation of the Holocaust: Alternative Views." Social Studies Research and Practice 11, no. 2 (July 1, 2016): 71–79. http://dx.doi.org/10.1108/ssrp-02-2016-b0005.

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This article examines the use of alternative texts to represent the Holocaust and to teach secondary students about this event. An alternative text is anything other than a traditional textbook. Alternate texts may include poetry, novels, graphic novels, films, or plays. By using alternative texts, teachers can engage students in multiple perspectives to stimulate critical thinking in their classrooms. Alternative texts, furthermore, can shift the paradigm of how teachers and students think about morally and ethically complex subjects. In order to facilitate such a shift, teachers, scholars, and students should view different ways of representing difficult subjects in the classroom. The Holocaust is a difficult subject to teach due to the scale of moral issues and scope of this crime against humanity. Traditional means of teaching the Holocaust, using maps, textbooks, and primary source documents are important but fail to create changes in students perspectives because there is little space for students to become more empathetic and apply history to current world events. Providing students with texts including narratives, poetry, and first-person accounts can add humanity into what some view as one of the most inhumane events in history and thus shift the paradigm for high school students.
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Vetö, Silvana. "Maus y la ética de la representación después del Holocausto Narrativas post-traumáticas, elaboración y post-memoria. / Maus and the Ethics of Representation After the Holocaust Post-traumatic narratives, elaboration and post-memory." Revista Liminales. Escritos sobre Psicología y Sociedad 1, no. 01 (April 1, 2012): 71–113. http://dx.doi.org/10.54255/lim.vol1.num01.217.

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En este trabajo se examinarán algunos de los problemas éticos que el Holocausto ha planteado a los medios de representación de la historia, para luego ligar las distintas narrativas que resultan de dichas representaciones, con las posibilidades de duelo y elaboración. Se abordarán primero los planteamientos de Theodor Adorno respecto de las posibilidades del arte frente al sufrimiento. Luego se expondrán algunos aspectos del debate surgido al final de la década del 70 a propósito de la representación del Holocausto en medios de comunicación de masa y en la “alta” cultura. Se mostrará como persiste en ese debate una perspectiva dicotómica respecto del trauma, de la cual surgen dos tipos de narrativas post-traumáticas supuestamente irreconciliables, que no permiten una adecuada elaboración y un duelo satisfactorio respecto de las pérdidas implicadas en el acontecimiento traumático. Finalmente, analizaremos en detalle la novela gráfica Maus. Relato de un superviviente, cuya narrativa experimental permite cuestionar y deconstruir la dicotomía redención/aporía de manera novedosa, planteando nuevos problemas vinculados a la memoria del Holocausto y a la posibilidades de duelo. In this work, we will focus on some of the ethical problems that the Holocaust has posed to the representation of historical limit-events. We will then link the different narratives emerging from these representations to the possibilities of mourning and elaboration. First, we will examine the German philosopher Theodor Adorno’s propositions concerning the possibilities of art in the face of suffering. Then, we will present some aspects of the debate that arose in the late 70s regarding the representation of the Holocaust in mass media and in ‘high’ culture. It will be shown how in this debate there persists a dichotomist perspective of trauma, which creates two supposedly irreconcilable types of post-traumatic narratives that do not permit an appropriate elaboration and mourning of losses caused by the traumatic event. Finally, we will analyze the graphic novel Maus. A Survivor’s Tale, whose experimental and open narrative allows an original questioning and deconstruction of the redemption/aporia dichotomy, putting forward new problems related to the memory of the Holocaust and the possibilities of mourning.
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Vetö, Silvana. "Maus y la ética de la representación después del Holocausto Narrativas post-traumáticas, elaboración y post-memoria. / Maus and the Ethics of Representation After the Holocaust Post-traumatic narratives, elaboration and post-memory." Revista Liminales. Escritos sobre Psicología y Sociedad 1, no. 01 (April 1, 2012): 71–113. http://dx.doi.org/10.54255/lim.vol1.num01.217.

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En este trabajo se examinarán algunos de los problemas éticos que el Holocausto ha planteado a los medios de representación de la historia, para luego ligar las distintas narrativas que resultan de dichas representaciones, con las posibilidades de duelo y elaboración. Se abordarán primero los planteamientos de Theodor Adorno respecto de las posibilidades del arte frente al sufrimiento. Luego se expondrán algunos aspectos del debate surgido al final de la década del 70 a propósito de la representación del Holocausto en medios de comunicación de masa y en la “alta” cultura. Se mostrará como persiste en ese debate una perspectiva dicotómica respecto del trauma, de la cual surgen dos tipos de narrativas post-traumáticas supuestamente irreconciliables, que no permiten una adecuada elaboración y un duelo satisfactorio respecto de las pérdidas implicadas en el acontecimiento traumático. Finalmente, analizaremos en detalle la novela gráfica Maus. Relato de un superviviente, cuya narrativa experimental permite cuestionar y deconstruir la dicotomía redención/aporía de manera novedosa, planteando nuevos problemas vinculados a la memoria del Holocausto y a la posibilidades de duelo. In this work, we will focus on some of the ethical problems that the Holocaust has posed to the representation of historical limit-events. We will then link the different narratives emerging from these representations to the possibilities of mourning and elaboration. First, we will examine the German philosopher Theodor Adorno’s propositions concerning the possibilities of art in the face of suffering. Then, we will present some aspects of the debate that arose in the late 70s regarding the representation of the Holocaust in mass media and in ‘high’ culture. It will be shown how in this debate there persists a dichotomist perspective of trauma, which creates two supposedly irreconcilable types of post-traumatic narratives that do not permit an appropriate elaboration and mourning of losses caused by the traumatic event. Finally, we will analyze the graphic novel Maus. A Survivor’s Tale, whose experimental and open narrative allows an original questioning and deconstruction of the redemption/aporia dichotomy, putting forward new problems related to the memory of the Holocaust and the possibilities of mourning.
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Craig, Joanne, Marianne Hirsch, and Irene Kacandis. "Teaching the Representation of the Holocaust." Rocky Mountain Review of Language and Literature 59, no. 2 (2005): 121. http://dx.doi.org/10.2307/3655064.

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Holtschneider, K. Hannah. "Writing the Holocaust. Identity, Testimony, Representation." Journal of Jewish Studies 58, no. 2 (October 1, 2007): 358–59. http://dx.doi.org/10.18647/2750/jjs-2007.

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Reiter, Andrea. "Writing the Holocaust. Identity, testimony, representation." Mortality 13, no. 1 (February 2008): 91–93. http://dx.doi.org/10.1080/13576270701783025.

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Díaz Bild, Aída. "“The zone of interest”: honouring the Holocaust victims." Journal of English Studies 16 (December 18, 2018): 47. http://dx.doi.org/10.18172/jes.3423.

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Amis has always found the question of the Holocaust’s exceptionalism fascinating and returns to the subject in “The Zone of Interest”. After analysing how the enormity of the Holocaust conditions literary representation and Amis’s own approach to it, this article focuses on one of the main voices of the novel, Szmul, the leader of the Sonderkommando, whose members were Jewish prisoners forced to clean the gas chambers and dispose of the bodies. Through him we confront directly the horrors of the Holocaust. One of Amis’ greatest achievements is precisely that he humanizes and rehabilitates the figure of the Sonder by transforming Szmul into a comic hero who, in spite of the atrocities he witnesses, reaffirms the unconditional value of life and fights to give meaning to his terrible predicament. The novel is dedicated to the writer and Holocaust survivor Primo Levi, whose voice can be heard throughout the text.
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CHUTNIK, SYLWIA. "Holo-polo, or the sweet tales of the Holocaust." Analecta política 12, no. 22 (2022): 1–11. http://dx.doi.org/10.18566/apolit.v12n22.a05.

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This article describes the phenomenon of editorial kitsch trends around the Holocaust literature and its impact on the Holocaust memory. "Holo-polo" is a way of dealing with the “discomfort” of the horrors of war and violence, by creating a more comfortable version of it. The article problematizes the ways of representation of a frequently debated and controversial issue, the Holocaust. By analyzing individual publications, the article addresses the issues of memory, forgetting, objectivity and truth of historical representation, and, inevitably, the ethical issue of historical fiction. The article argues that embellishing the history of the Holocaust is not only inappropriate, but also indecent. Instead of describing the horrors of the Holocaust, Holo-polo trivializes and misrepresents its significance, depicting melancholy, sentiment, and nostalgia in the light of a pop-cultural emotional trap. Or maybe is it just being moved by our own emotions. Kitschy clichés are misused and certainly do not serve memory, literature, or respect for Holocaust victims and survivors.
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Dissertations / Theses on the topic "Holocaust representation"

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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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Waxman, Zoë Vania. "Writing the Holocaust : identity, testimony, representation /." Oxford ; New York : Oxford University Press, 2006. http://catalogue.bnf.fr/ark:/12148/cb41056871t.

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Faber, Jennifer A. "HOLOCAUST MEMORY AND MUSEUMS IN THE UNITED STATES: PROBLEMS OF REPRESENTATION." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114120239.

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Stevenson, Mariela Jane. "Dramatic narratives and the holocaust." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/781/.

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This thesis analyses dramatic and historical narratives about the Holocaust. Primarily, it focuses on Israeli, German and Austrian writers from the time of the Final solution (1941) to the mid 1990s. In particular, I will highlight how the 'trauma' of the Holocaust has influenced collective identity in these countries and how writers have either affirmed or deconstructed narratives of history and identity which have emerged since World War Two. To understand fully the various narratives which have developed, it is important to refer to the artistic achievements both of the victims of National Socialism and the survivors whose accounts are often at variance with narratives typical of Israeli and German writers. Chapter One, therefore, is a detailed account of how those who were experiencing Nazism first hand interpreted their situation in contrast to how those in exile or in Palestine emplotted the atrocity stories from Europe. The rest of the thesis charts how narratives of the Holocaust are subtly re-figured according to political Zeitgeist - what Walter Benjamin called Jetztzeit, the blasting of history out of its continuum to service contemporary political needs. This thesis aims to show that narratives and representations of the Holocaust both in Israel, Germany and Austria mutate according to contemporary events. Today, whilst it is generally agreed that there is no such thing as an objective, concrete past, and that historic events are called upon to help interpret current complexities, the Holocaust in Israel and the Germanies has been consciously deployed to shape interpretations of present considerations by revisionism. This has caused consternation among many in the Jewish community who assert that, as the Holocaust is a unique event, to use it for analogous discussion denigrates the memory of the victims. Others maintain that the Holocaust is but one example of human depravity and holds many lessons for the contemporary world. This thesis asks whether the Holocaust can be viewed simultaneously both as a typical and an atypical event without denigrating the victims or generating simplistic analogies.
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Mackarey, Amelia. "Representation and Imagination of the Holocaust in Young Adult Literature." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1613.

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The intent of this thesis is to examine and interpret the representation of the Holocaust in young adult literature. The tone, style, and emotion used to convey the Holocaust experience, both in fiction and nonfiction stories, in eyewitness and indirect accounts, affects its representation to a young adult audience. I will study the effects of sentimentality, realism, and fun and their impact on our understanding and remembrance of the Holocaust. I will analyze several texts, including Island on Bird Street, The Book Thief, and Night. The paradox of finding an appropriate balance between presenting a realistic portrayal of the Holocaust and understanding that we could never fathom the horrors of the Holocaust is one that plagues both writers and readers of this genre of literature and I plan to critique the ways in which different works discuss the subject. Ultimately, I will consider the conflict of how we negotiate between complete repression versus obsessive memorialization. What is the role of memory? What is the proper way to move on from the horrors of the past while still honoring the innocent people who lived and died? Through my analysis, I hope to attempt to answer these questions and, perhaps, provide suggestions for appropriate representation and memorialization.
B.A.
Bachelors
English
Arts and Humanities
English Literature
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Waxman, Zoë. "The Holocaust and the entwinement of identity, testimony, and representation." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395981.

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Polak, Alan David. "The cultural representation of the Holocaust in fiction and other genres." Thesis, University of Sheffield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412785.

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Mok, Man Hong Nicholas. "Negotiating the self with the unspeakable :holocaust representation as double universals." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953589.

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Banks, Catherine Sarah. "From Silence to the Heart of British Values: The Development of Holocaust Consciousness in Contemporary Britain." Thesis, Faculty of Arts and Social Sciences, School of Philosophical and Historical Inquiry, 2022. https://hdl.handle.net/2123/27351.

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This thesis traces the development of Britain’s Holocaust consciousness since the 1970s in order to understand the unfolding controversy surrounding the development of a new Holocaust memorial in the Victoria Tower Gardens, London. A comparison will be drawn with developments in Australia to reveal the unique features of the British historical context that have shaped the politics of Holocaust memory in Britain. This politicisation has resulted in the framing of Holocaust commemoration by the Conservative government in an uncritical language of ‘British values’ so as to distance British identity from a European identity.
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Brodie, Mark Phillip. ""From Darwin to the death camps" : a collage of Holocaust representation focusing on perpetrator atrocity discourse in literature, drama, and film /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Dissertations/BRODIE_MARK_43.pdf.

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Books on the topic "Holocaust representation"

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Spargo, R. Clifton. After Representation?: After Representation? The Holocaust, Literature, and Culture. Piscataway: Rutgers University Press, 2009.

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Waxman, Zoë. Writing the Holocaust: Identity, testimony, representation. Oxford: Oxford University Press, 2008.

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Marianne, Hirsch, and Kacandes Irene 1958-, eds. Teaching the representation of the Holocaust. New York, N.Y: Modern Language Association of America, 2004.

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Writing the Holocaust: Identity, testimony, representation. Oxford: Oxford University Press, 2006.

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Unwanted beauty: Aesthetic pleasure in Holocaust representation. Urbana, IL: University of Illinois Press, 2006.

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Clifton, Spargo R., Ehrenreich Robert M, and United States Holocaust Memorial Museum., eds. After representation?: The Holocaust, literature, and culture. New Brunswick: Rutgers University Press, 2009.

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Popescu, Diana I., and Tanja Schult. Revisiting Holocaust Representation in the Post-Witness Era. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137530424.

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author, Schult Tanja, ed. Revisiting Holocaust representation in the post-witnessing era. New York: Palgrave Macmillan, 2015.

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David, Bankier, and Michman Dan, eds. Holocaust and justice: Representation and historiography of the Holocaust in post-war trials. Jerusalem: Yad Vashem ; New York : Berghahn Books, 2009.

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Bartov, Omer. Murder in our midst: The Holocaust, industrial killing, and representation. New York: Oxford University Press, 1996.

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Book chapters on the topic "Holocaust representation"

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Walden, Victoria Grace. "Holocaust Film Beyond Representation." In Cinematic Intermedialities and Contemporary Holocaust Memory, 13–69. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10877-9_2.

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Waxman, Zoë. "Testimony and Representation." In The Historiography of the Holocaust, 487–507. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230524507_23.

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Webber, Jonathan. "Holocaust Memory, Representation and Education." In Remembering for the Future, 2129–39. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-66019-3_149.

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King, Nicola. "Teaching Holocaust Literature: Issues of Representation." In Teaching Holocaust Literature and Film, 48–62. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230591806_5.

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van Alphen, Ernst. "List Mania in Holocaust Commemoration." In Revisiting Holocaust Representation in the Post-Witness Era, 11–27. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137530424_2.

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Gundermann, Christine. "Real Imagination? Holocaust Comics in Europe." In Revisiting Holocaust Representation in the Post-Witness Era, 231–50. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137530424_15.

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Lewis, Ingrid. "‘Ordinary Women’ as Perpetrators in European Holocaust Films." In Revisiting Holocaust Representation in the Post-Witness Era, 214–30. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137530424_14.

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Borowicz, Jan. "Holocaust Zombies: Mourning and Memory in Polish Contemporary Culture." In Revisiting Holocaust Representation in the Post-Witness Era, 132–48. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137530424_9.

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Holtschneider, Hannah. "Holocaust Representation in the Imperial War Museum, 2000–2020." In The Palgrave Handbook of Britain and the Holocaust, 389–404. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55932-8_19.

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Cole, Tim. "Holocaust Tourism: The Strange yet Familiar/the Familiar yet Strange." In Revisiting Holocaust Representation in the Post-Witness Era, 93–106. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137530424_7.

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Conference papers on the topic "Holocaust representation"

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Marincean, Alina. "The Ethics of Elie Wiesel`s Storytelling as a New Theoretical Approach in Representing the Holocaust." In World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/39.

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Grounded on Giorgio Agamben's assertion that once the historical, technical and legal context of the Jewish genocide has been sufficiently clarified, we are facing a serious challenge when we really seek to understand it and becomes more thought-provoking when we try to represent it. The difference between what we know about the Holocaust and how this delicate issue should be represented is facing major challenges in the context of content abundance onboth Holocaust classical analyses or contemporary digital formats. Contemporary society is facing ethical and emotional limitation regarding Holocaust representation. What is the right way to represent the Holocaust after eight decades since the Holocaust took place is one of the relevant questions that arises in this context? How to live, what to do, and how do the consequences of my actions affect society after the Holocaust experience,are some of the questsof Elie Wiesel’s life.The paper will highlight how his storytelling provides some guidelines for shaping a possible good way of representing the Holocaust and what are its resources. It will also illustrate what are the ethical components of his storytellingthat constitute an example of ethical conduct and give some relevant suggestions on how to instrument them in order to place Holocaust representation on a progressive way of reflection.
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