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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Ducey, Corinne. "The representation of the Holocaust in the Soviet press, literature and film, 1941-1968." Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438304.
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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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Mitschke, Samantha. "Empathy effects : towards an understanding of empathy in British and American Holocaust theatre." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6362/.
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This thesis considers how and why empathy is important in Anglo-American Holocaust theatre, utilising close readings of selected plays, existing theories of empathy and Holocaust representation, and authorial formulations of new empathic definitions. The first chapter examines the empathic responses of Frances Goodrich & Albert Hackett and Meyer Levin to Anne Frank's Diary of a Young Girl, and how these subsequently affected their stage adaptations of the book. The second chapter interrogates how spectator empathy with child protagonists is problematic in terms of the 'Holocaust fairytale' narrative often used, leading to spectator misinformation in the context of historical fact. The third chapter investigates British critical responses to Bent in both 1979 and 1990 in terms of 'precocious testimony', establishing that Bent was only received in its proper socio-political context upon the emergence of overt contemporary queer oppression. The final chapter explores how 'empty empathy', engendered by 'Holocaust etiquette', can be challenged through inverting Holocaust signs, or 'balagan', in 'Holocaust cabarets' to evoke alternative audience responses. The thesis concludes that empathy is central in Holocaust theatre, enabling spectators to identify and engage with representative characters - fulfilling the didactic purpose of Holocaust theatre in teaching about the genocide and encouraging anti-prejudicial views.
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Omlor, Daniela. "Memory and self-representation in the works of Jorge Semprún." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1963.
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Jorge Semprún’s work is the fruit of an incarceration in the concentration camp of Buchenwald as a resistance fighter and his expulsion from the Partido Comunista Español in 1964. Due to these biographical circumstances, many critical literary studies to date limit the discussion of his works to the autobiographical and the realm of Holocaust studies. Together with the texts that do not fit adequately into this categories, his self-identification as a Spanish exile has up to now been neglected. The present thesis aims to provide a more global view of his oeuvre by extending the literary analyses to texts that have deserved little critical attention. In order to achieve this, it investigates the role played by memory and self-representation in a variety of works by Semprún. Aspects connected to memory such as exile and nostalgia, the Holocaust, the interplay between memory and writing, politics and collective memory, postmemory and identity are examined by means of a detailed analysis of the selected works and are discussed thematically. Differences in genre are discarded for the discussion and interconnections between the various narratives are highlighted. With the help of memory and trauma theories, we come to the conclusion that memory is the overarching principle of Semprún’s writing and that he invests it with an aesthetic and ethical value which is interpreted as the justification for his devotion to writing.
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Randall, Martin C. "'Appointments to keep in the past' : history, memory and representation in British fiction of the 1990s : writing about the Holocaust." Thesis, University of Gloucestershire, 2005. http://eprints.glos.ac.uk/883/.
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The thesis examines British fiction of the 1990s, focusing on the `novel of history'. It contributes to the analysis of recent and contemporary British fiction, joining work by John Brannigan, Steven Connor, Peter Childs, Dominic Head, Rod Mengham, Nick Rennison and Alan Sinfield. Whilst these critics have written about the centrality of the historical novel, the significance of the Holocaust and its use in fictional narrative remains relatively under-theorised. Issues surrounding memory and representation and their relation to history are central to an understanding of how British 1990s Holocaust novels dramatise the events of the `real'. In this regard, the thesis contributes to the theory that the 1990s British novel often `looked backwards' over the waning century. Fiction attempting to represent the Holocaust has made a significant contribution to this `taking stock'. A number of issues arise surrounding the complex relationship between historical `event' and `imaginary' text. Given the extremity of the Holocaust and the persistence of it as a 'secular-sacred' discourse, such issues are further problematised. The central theme is how British writers in the 1990s, given their temporal, spatial and familial distance from the event, have negotiated the `limits of representation' inherent in the aesthetic apprehension of the Holocaust. The fiction under discussion is by Martin Amis, Justin Cartwright, Robert Harris, John King, Caryl Phillips, Michele Roberts, W. G. Sebald, Rachel Seiffert, Zadie Smith and D. M. Thomas. The `apocalyptic turn' that many have characterised as emblematic of the 1990s is interpreted as a turning back to an `apocalypse' that has already taken place. Tropes of fragmented temporality, absence and presence, the sublime, articulation and silence, trauma, atrocity and the inherent problems of retelling the past are interpreted in relation to each individual text. Recent writing on the representation of the Holocaust also informs the central arguments of the thesis. Work by Saul Friedlander, Geoffrey H. Hartman, Berel Lang, Dominick LeCapra, Daniel R. Schwarz and Sue Vice discuss both the enduring legacy of the Holocaust and the areas of contention surrounding the `speaking' of the event. Holocaust representation will thus provide a `bridge' between analysis of the historical novel since 1989 and theoretical work on imagining the `Final Solution'. The thesis title is taken from Sebald's Austerlitz and alludes to the theme of contemporary writers making imaginary and ethical `journeys' back to the `dark heart' of the century. It also suggests something of the impulse to remember and `serve witness' to a generation of survivors. In conclusion, the thesis argues that despite the hegemony of postmodern concepts of the `textuality' of history and the instability of narrative, the Holocaust embodies a fundamental challenge to cultural and political relativism. The novels embrace and argue back against postmodern literary strategies, and in doing so reveal how ethical and aesthetic issues of representation are profoundly `tested' in context of the Holocaust.
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Hall, Jeremy David Rumney. "Towards a postmodern ethics : representation, memory,responsibility with particular reference to literature of the Holocaust, Communist Czechoslovakia and apartheid of South Africa." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/1360/.
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White, Nicholas John. "In the absence of memory? : Jewish fate and dramatic representation : production and critical reception of Holocaust drama on the London stage 1945-1989." Thesis, City University London, 1999. http://openaccess.city.ac.uk/7748/.
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Plays representing some aspect of the Holocaust produced in both the commercial and subsidised sectors of the London theatre throughout the Cold War period variously but consistently sought to evade, diminish or inappropriately qualify the cardinal fact that, in the formulation which was the Nazi's own, 'the Final Solution was that 'of the Jewish question in Europe'. Such dramatic distortions hinder perceptions of the identity and fate of the chief victims of the Holocaust. Playwrights', directors', managements', and to a marginally lesser degree, critics' failure to question or challenge these tendencies results not so much in the explicitly stated exoneration of those responsible for the Nazi genocide as the erasure or attenuation of both German guilt and Jewish suffering through dramatic speculation upon the universal human propensity to evil. In consequence the suggestion is made of Jewish agency in, and culpability for, their own fate during the Holocaust. At their most extreme these dramatic tendencies resort to the recurrent themes of anti-Semitic discourse. The ubiquitous dramatic strategies and tropes employed in the productions discussed, rather than succeed in their attempt to find and represent meaning in the respective episodes and events of the Nazi genocide dramatised, frequently re-present this elimination through the evasion, attenuation or erasure, of Jewish fate. The productions register the failure of dramatic art to find equitable metaphor and adequate representational means to provoke reflection of a kind which might transcend the meaningless facticity of mass murder and the impulse to annihilation, and are drawn into those same dynamics of annihilation, evidenced by the erasure of Jewish identity and fate. This phenomenon remains largely, but not entirely, unremarked in the immediate critical response of the British press, but almost wholly neglected in later commentary due to an 'absence of memoy: the lack of a specifically British critical discourse on dramatic representation and the Holocaust.
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Healy, Lynn Marie. "Framing the Victim: Gender, Representation and Recognition in Post-Conflict Peru." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440092938.
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Balmaceda, Paz. "La Crisis y su representación: Huellas de la violencia política en la narrativa chilena contemporánea." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/286735.
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Esta tesis se propone analizar cómo la literatura, ante determinados sucesos extremadamente violentos y circunstancias traumáticas, puede constituirse en un mecanismo fundamental para la sociedad para interpretar y asimilar tales procesos. A diferencia de la historiografía, que reconstruye documentalmente los hechos, la ficción literaria los encara mediante una reelaboración crítica que los integra en la memoria colectiva y, de este modo, ayuda a asimilarlos. Se plantea, así, un papel social de la literatura en sociedades que han padecido situaciones traumáticas, como lo fue la violencia ejercida desde el Estado por la dictadura chilena entre 1973 y 1990. Después de casi 25 años del retorno de la democracia, en Chile se vive un fecundo momento de representaciones literarias, audiovisuales, teatrales y visuales, que ponen en escena, dialogan y reinterpretan lo sucedido. Esta investigación busca examinar el tratamiento de la dictadura chilena en cuatro narradores contemporáneos: Germán Marín, Diamela Eltit, Roberto Bolaño y Arturo Fontaine.This thesis aims to analyze how literature, faced with some extremely violent events and traumatic circumstances, can become a key to interpret and assimilate them. Unlike historiography, that reconstructs the events searching for evidence in written records, literary fiction deals with it through a critical reworking that integrates these events in the collective memory and thus helps to assimilate them. By this means a new social role for literature emerges in societies which have suffered traumatic situations as the violence exercised by the state during the Chilean dictatorship between 1973 and 1990. In Chile, after nearly 25 years from the return of democracy, we are observing a prolific period of literary, theatrical, visual and audiovisual representations that stage, discuss and reinterpret what happened. This research examines how the Chilean dictatorship is dealt with by four contemporary storytellers, Arturo Fontaine, Roberto Bolaño, Diamela Eltit y Germán Marín.
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Timoshkina, Alisa. "Representations of the Holocaust in Soviet cinema." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/representations-of-the-holocaust-in-soviet-cinema(dcd31fd3-4d21-4e20-8e31-1399704c5d8d).html.
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The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. The USSR was one of the central participants in WWII and lost over a million of its Jewish population in the Holocaust. While the suffering of the Soviet nation was vividly depicted in arts and history texts, forming a significant part of popular culture, the violence against Jews often appeared to be a (deliberately) forgotten chapter. In the multi-ethnic and multi-national state – whose pre-Revolutionary anti-Semitic history produced the very concept of pogrom – official Soviet ideology, propagating a sense of unity, emphasised the Soviet identity of the victims and refused to differentiate between the dead. Moreover, the devastating statistics of all the casualties of the Soviet-German war (1941-1945) occupied a central place in popular memory, overpowering the proportionally smaller number of Holocaust victims. Throughout the period studied in this thesis, history and memory of the Holocaust underwent a series of repressions and re-evaluations, constantly shifting between the margins and the forefront, between official and unofficial knowledge. This thesis is a chronological study of the role played by Soviet cinema in relation to the shifting discourses of memory, knowledge and history of the Holocaust. Comprised of four chapters, my work traces the trajectory of cinematic portrayals through four main historical periods, under the respective leaderships of Joseph Stalin, Nikita Khrushchev, Leonid Brezhnev and Mikhail Gorbachev. Accounting for the interrelation between Soviet ideology, censorship, the Soviet film industry, cinematic genres and individual film texts, I tease out the complexity and versatility of Soviet cinema’s relationship with the subject of the Holocaust.
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Read, Madeleine Erica. "Misrepresenting the Shoah in American Film." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7214.
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How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielberg<'>s 1993 film Schindler<'>s List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantino<'>s Inglourious Basterds and Wes Anderson<'>s The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantino<'>s was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapra<'>s terms, embodies <"e>acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audience<'>s awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.
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Munté, Ramos Rosa Áurea. "La ficción sobre el Holocausto: silencio, límites de representación y popularización en la novela Everything is Illuminated de Jonathan Safran Foer." Doctoral thesis, Universitat Ramon Llull, 2012. http://hdl.handle.net/10803/81073.
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La pregunta sobre com s’ha de representar l’Holocaust és i ha estat una qüestió problemàtica i essencial en els Estudis de l’Holocaust. Certs acadèmics i intel•lectuals han negat la possibilitat de representació de l’horror del genocidi dels jueus europeus, i en especial, s’ha negat l’ús de la ficció literària i cinematogràfica. Aquesta tesi analitza les tres etapes de recepció de l’Holocaust i els seus discursos acadèmics predominants. L’inicial silenci i la invisibilitat social del genocidi, en la que es formula el dictum adornià sobre la irrepresentabilitat del genocidi dels jueus europeus. Més endavant, l’Holocaust es fa socialment visible, i l’aparició d’obres de ficció controvertides obliguen a plantejar-se certs “límits de representació”. I contemporàniament, quan la ficció sobre l’Holocaust s’ha popularitzat i globalitzat, arribant a formar part de l’entreteniment i del consum mediàtic. En aquest context, en el que les representacions de ficció del genocidi dels jueus europeus ja formen part de la nostra cultura, l’estudi de cas es centra en l’anàlisi narratològica del llibre Everything is Illuminated (2002) de Jonathan Safran Foer, amb l’objectiu de presentar una opció de ficció de l’Holocaust.La pregunta sobre cómo se debe representar el Holocausto es y ha sido una cuestión problemática y esencial en los Estudios del Holocausto. Ciertos académicos e intelectuales han negado la posibilidad de representación del horror del genocidio de los judíos europeos, y en especial, se ha negado el uso de la ficción literaria y cinematográfica. Esta tesis analiza las tres etapas de recepción del Holocausto y sus discursos académicos predominantes. El inicial silencio e invisibilidad social del genocidio, en el que se formula el dictum adorniano sobre la irrepresentabilidad del genocidio de los judíos europeos. Más adelante, el Holocausto se hace socialmente visible, y la aparición de obras de ficción controvertidas obligan a plantearse ciertos “límites de representación”. Y contemporáneamente, cuando la ficción sobre Holocausto se ha popularizado y globalizado, llegando a formar parte del entretenimiento y del consumo mediático. En este contexto, en el que las representaciones de ficción del genocidio de los judíos europeos ya forman parte de nuestra cultura, el caso de estudio se centra en el análisis narratológico del libro Everything is Illuminated (2002) de Jonathan Safran Foer, con el objetivo de presentar una opción de ficción del Holocausto.
The question of how the Holocaust should be represented is and has been a problematic and essential question in Holocaust Studies. Certain academics and intellectuals have denied the possibility of representation, and very specially, have denied the use of literary and cinematographic fiction. This thesis analyses the three stages of reception of the Holocaust and their predominant academic discourses. The initial silence and social invisibility of the genocide, in which the Adornian dictum is formulated on the unrepresentability of the genocide of European Jews. Later, the Holocaust is made socially visible, and the emergence of controversial works of fiction force us to consider the option of certain “limits of representation”. And, recently, in which fiction about the Holocaust has become popularized and globalized, and become part of the entertainment and consumer mass media. In this context, in which fictional representations of the genocide of European Jews are now part of our culture, this case study focuses on the narratological analysis of the book, Everything is Illuminated (2002), by Jonathan Safran Foer, in order to present a fictional choice of the Holocaust.
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Fertoukh, Ariel. "Constances et évolutions de la représentation des victimes de la Shoah dans les cinémas américain, français et israélien." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010546.
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L’étude thématique de l’évolution de la représentation de la Shoah fait avant tout ressortir des constances dans ce corpus filmique. Les traditions propres au cinéma, la tendance des auteurs à esquiver les aspects inconcevables mais vrais de l’événement, et la subordination aux forces politiques et sociales expliquent ce phénomène. C’est ainsi que la représentation des chambres à gaz obéit à une constance d’ordre éthique. La révolte militaire des civils souffre d’une représentation servile. La mémoire de la Shoah, déterminée par les instances officielles des pays étudiés, correspond aux traditions de ces derniers et reflète leur nature profonde. L’instrumentalisation de la Shoah, différente d’un pays à l’autre, est une donnée essentielle de ce cinéma. La spécificité de la Shoah est ignorée : les enfants comme ultimes victimes, le caractère universel du judéocide. Le défaut de représentation des Conseils Juifs, la sous représentation des femmes par rapport aux hommes participent au défaut de représentation du cinéma. L’évolution relevée est le plus souvent le résultat de la conformité des œuvres aux changements politiques et sociaux du pays concerné. La Shoah a acquis, à travers le cinéma, le statut de mythe essentiel de la démocratie libérale, au nom de valeurs morales universelles, masquant ainsi le syndrome d’une société incapable de se référer à son propre passé et de se projeter dans l’avenir en l’absence de projet spirituel et moralThe thematic study about the evolution of the Holocaust representation emphasizes the works’ domination of the constancy. The Cinema’s proper traditions, the authors’ tendencies to evade the inconceivable but true aspects of the event, and the subordination to political and social strengths explain this phenomenon. Thus, the gas chambers’ representation obeils all ethical standards. The civilians’ military revolt suffers from an uninspiring representation. The Holocaust’s remembrance, determined by the official authorities of the studied countries, corresponds to the latter’s traditions and reflects their deep nature. The Holocaust’s instrumentalization, different from one country to another is an essential element of cinema. The Holocaust’s specificity is being ignored: children as the ultimate victims, the judeocide’s universal character, the Jewish Councils’ defect of representation, women’s under-representation as compared to men contribute to cinema’s fault of representation. The noticed evolution is most of the time the result of the works’ conformity with the political and social changes of the concerned country. Through cinema, Holocaust gained the status of an essential myth of the liberal democracy in the name of universal moral values, hiding thus the syndrome of a society unable to refer to its own past and to plan ahead in absence of spiritual and moral project
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Banaji, Ferzina. "The ethics of (dis)identification : representations of the Holocaust in French documentaries." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435360.
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Kent, Eleanor. "Graphic representations of the Holocaust and the Middle East : textual spaces of memory." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/12045/.
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This thesis examines five texts which explore what it means to live with or live within the memory of war and violence. The texts in question are Art Spiegelman’s Maus, Shoah directed by Claude Lanzmann, Waltz with Bashir directed by Ari Folman, Joe Sacco’s Footnotes in Gaza and The Photographer, by Didier Lefèvre, Frédéric Lemercier and Emmanuel Guibert. These texts work with comics, film and animation to generate new documentary forms in response to the unique challenges of their subject matter. I examine the way these texts balance the need for documentarian, the need to acknowledge and represent traumatic memory and imagination, and the need to address the pressurised interrelations of collective memory and contemporary politics. My analysis begins with the relations between memory and visuality in Maus and Shoah and develops these frameworks to show the influence of Holocaust representation upon other sites of conflict. In doing so, I explore the ways that trauma and postmemory set the terms for both modern representations of the Holocaust and connected but later territorial violence. I work towards an analysis which encompasses these themes within a human rights framework in order to show how the paradoxes of humanitarianism in a post 9/11 context require new form of representational witnessing.
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Marshman, Sophia Francesca. "From testimony to the culture industry : representations of the Holocaust in popular culture." Thesis, University of Portsmouth, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416226.
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This thesis addresses the issue of how the Holocaust has been represented in popular culture in recent decades. The starting point of my research relates to the question of whether, though the Holocaust appears to be firmly imprinted upon the public imagination, this engagement can be regarded as superficial. This thesis also examines how survivor testimony has been increasingly marginalised as the Holocaust has entered the sphere of popular culture and entertainment, and how this affects memory. In terms of methodology, I have adopted a case study approach, with each chapter of the thesis addressing a different form of Holocaust representation. Chapter One examines the importance of survivor testimony and its unique ability to convey the full horror of the Holocaust. This chapter also sets up the central debate which drives my research: the question of how we can hope to understand the Holocaust if we ignore the wealth of testimony in favour of the comforting inventions of popular culture. Chapter Two addresses the problems inherent in the genre of Holocaust fiction, and the ethical implications of literature which introduces elements of distortion, falsification and sexualisation to the `story' of the Holocaust. Chapter Three looks at the Americanisation of the Holocaust, with particular reference to the film Schindler's List. Chapter Four by contrast looks at the different approach of European Holocaust films and documentaries which are less entertainment-focused and therefore believed to represent the Holocaust more accurately. Chapter Five examines the growth in the number of museums devoted to the Holocaust, and the question of whether a heavy reliance on artefacts and images from the Holocaust/liberation era further dehumanises victims and encourages voyeurism. Chapter Six appraises the phenomenon of Holocaust tourism and the kind of memory communicated by authentic sites which are now essentially `empty', compromised by decay, reconstruction, and the commercialism which tourism inevitably encourages. Within the conclusion I offer an evaluation of the different approaches to the Holocaust with regard to their merits and shortcomings. In terms of a contribution to knowledge, my thesis draws together many different forms of Holocaust representation to evaluate which accurately represent the Holocaust, and which shield us from its harsher realities, indulge in sentimentalism and encourage consumption. i
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Newman, Petra. "The laugh of Merlin in representations of the Holocaust : fiction, film and television." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393926.
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Baker, Alexis M. "Identity and Resistance: Understanding Representations of Ethos and Self in Women’s Holocaust Texts." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469715753.
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Rauch, Stefanie Gudrun. "Making sense of Holocaust representations : a reception study of audience responses to recent films." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/31370.
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This thesis provides a complex and in-depth analysis of the reception, by actual audiences, of recent films about the Holocaust. Drawing on approaches from cultural studies, and using an original methodology developed for this project, the analysis of film text and context was combined with an empirical, qualitative reception study. Using Britain as a case study, it is demonstrated that the reception process of feature films and docu-dramas about the Holocaust is multi-faceted and cannot be fully understood through textual analysis alone. The thesis challenges the widespread generalisations about films’ alleged impact on ‘the public’ in the literature about Holocaust representations. By analysing the data, the ways in which a select number of films are made sense of immediately after the film viewing are explored, and how the Holocaust is understood through these films. It is demonstrated that the reading of films is simultaneously multiple and emanating from the text, which triggers and facilitates a range of interpretations. The process of making sense of Holocaust representations is an active process, which is influenced, guided and at times constrained by preconceptions, emotions, and the extent to which films are considered as authentic. As such, the thesis makes a long overdue contribution to the study of the representation of the Holocaust.
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Meyer, Birga Ulrike. "Difficult displays : Holocaust representations in history museums in Hungary, Austria and Italy after 1990." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46490.
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This study analyses how history museums in Austria, Hungary and Italy, represent the Holocaust. With close reference to debates about European Holocaust commemoration, it addresses how these exhibitions in countries closely related to Germany during the Holocaust construct the past as an object of knowledge/power. It also examines how the conceptualisation of historical agency assigns meaning and creates specific subject positions for the visitor. The research includes 21 different permanent exhibitions, established after 1989/1990, from which four, deemed representative, form the case studies. In Austria the author chose the Zeitgeschichte Museum in Ebensee, in Hungary the Holokauszt Emlékközpont in Budapest, and in Italy the Museo della Deportazione in Prato and the Museo Diffuso della Resistenza, della Deportazione, della Guerra, dei Diritti e della Libertà in Turin. Within the case studies Birga U. Meyer analyses how prisoner uniforms, perpetrator photographs, objects from concentration camps, and (video-) testimonies of survivors are displayed. The method is a discourse analysis following Michel Foucault, applied to museum exhibitions by Mieke Bal. Daniel Levy’s and Natan Sznaider’s view that global, national and regional discourse formations form new, hybrid narratives provides the theoretical framework. The findings suggest that three worldwide approaches to the Holocaust structure the exhibitions: the division of the Holocaust into four stages; an emphasis on perpetrator history; and an attempted pluralisation of the victim groups. These structuring elements are explained via national narratives, which exemplify, change, adapt or supplement the worldwide components. Regional discourses are less decisive and European discourse formations not yet influential to the museum representations. The mode of representation draws in each case on an aesthetics understood as the adequate representation of the Holocaust in that national context. What the exhibitions have in common is an authoritative presentation of one historical truth and an illustrative, functional use of primary sources. Historical agency – the forces/actors responsible for historical developments – is assigned to different agents: developments within society; the perpetrators; the victims; or everyone. It is this that distinguishes the different exhibitions from one another: and in result the meaning given to the Holocaust and subject positions offered differ.
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Miller, Ana Katherine. "Under the shadow of the Holocaust : Litrary representations of violence and complicity in western modernity." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516266.
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Pettitt, Joanne. ""What kind of animal is the Nazi beast?" : representations of perpetrators in narratives of the Holocaust." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/54326/.
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This project seeks to explore representations of Holocaust perpetrators in literature. Such texts, often rather controversially, seek to undo the myth of “pure evil” that surrounds the Holocaust and to reconstruct the perpetrator in more “human” terms. Accordingly, significant questions of “how” and “why” are centralised and explored, providing fertile ground for examinations of the intersections between ethics, literature and history, and enabling ongoing discussions about the characteristics and obligations of perpetrator literature as a whole. Of central concern, these humanising discourses place emphasis on the contextual or situational factors that led up to the genocide. Following these issues through to their logical conclusion, this project takes the question of determinism seriously. This is not to suggest that it disavows individual responsibility, merely that it engages fully with the philosophical problems that are invoked through allusions to external influences, especially as they relate to ideas of contingency. A significant consequence of these discussions is the impact that they have on the reader. That is because, since situational aspects are featured so heavily in these narratives, questions are raised about his or her own capacity for wrongdoing. Consequently, the reader is drawn into the narrative as a potential perpetrator. The tensions that this creates constitutes the second major focus of this work. Ultimately, I hope to expose the challenges that face the reader when they encounter perpetrator narratives, and the ways in which these tensions impact upon our understandings of these figures, and of the Holocaust more generally. In order to provide a more comprehensive overview this project makes use of a large number (in excess of sixty) primary sources, examining both fictional and non-fictional accounts. My aim is not to offer close literary analyses of each of the texts under consideration but, rather, to trace paradigms across the full spectrum of perpetrator literature. In this way, I hope to contribute to the growing body of literature that engages with this topic.
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Starmes, Hazel Fiona. "The forgotten Holocaust? : post-war representations of the non-Jewish victims in the United States of America and the United Kingdom." Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442766.
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Munaro, Béatrice. "Destruction et métamorphoses du corps dans l'enfermement. Représentation de la déshumanisation chez Primo Levi, Georges Perec et Samuel Beckett." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA046.
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Cette thèse de littérature comparée a pour objectif de mettre en rapport des œuvres habitées par l’Histoire, et d’interroger les représentations littéraires du corps face à l’épreuve extrême de l’enfermement. Le but de cette recherche, qui se déploie en trois temps, est de questionner la nature humaine à travers le prisme de l’écriture face à l’expérience bouleversante des camps de concentration et d’extermination nazis pendant la Seconde Guerre mondiale, en mettant en parallèle des œuvres tant de témoignage que de fiction, qui puisent leurs ressources chacune dans le réel et le fictionnel, dans un jeu de vases communicants.Plus précisément, dans le cadre de la première partie, nous nous concentrons sur la manière dont l’expérience-limite de l’être se manifeste dans ces récits : la confusion identitaire et la déshumanisation y bousculent la représentation du corps, le mettent en doute. Ce doute s’inscrit dans le langage même : comment raconter ce qui paraît inimaginable ? Dans cette deuxième partie, nous mettons l’accent sur l’aspect indicible de l’évènement, et réfléchissons aux contournements, aux déplacements que peut offrir la littérature pour dire ce qui semble, au premier abord, inénarrable. Les images et symboles créent de nouvelles formes littéraires. Ces analyses nous permettent de développer enfin la thématique de ce que nous appelons l’écriture organique, qui se compose et s’articule autour de la corporéité. Langage et corps se superposent dans une dynamique architecturale. Écrire laisse une trace. L’écriture engendre. La littérature serait alors le terrain fécond d’une renaissance, de l’écriture d’un homme nouveau, à jamais métamorphosé par l’expérience concentrationnaireThis thesis of comparative literature aims to relate pieces inhabited by history and to question literary representations of the body in the face of the extreme hardship of confinement. The aim of this research, which unfolds in three parts, is to question human nature through the prism of writing when confronted with the traumatic experience of concentration camps and Nazi exterminations in the Second World War, by paralleling pieces, factual and fictional, which draw their ressources from both reality and fiction like interconnecting vessels. More specifically, as part of the first section we concentrate on the way the limit-experience of being manifests itself in these accounts. The confusion of identity and the dehumanization disrupt the representation of the body, thus impeaching it.This doubt fits into the language itself : how does one tell the unimaginable ? In the second section we focus on the inexpressible aspect of the event and reflect on the diversions, the displacements that literature can offer to say what, at first, seems indescribable. Imagery and symbolism create new forms of literature.This analysis allows us to develop the theme that we call organic writing, which is composed of and articulates itself through corporeity. Language and body superpose themselves in an architectural dynamic. Writing leaves a trace. Writing gives rise to new forms. Literature would therefore be the fertile soil of revival, the writing of a new human being, forever metamorphosed by the concentration camp experience
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Armstrong, David L. "De-simplifying the Holocaust : representation and the Nazi genocide in contemporary film /." 2005. http://wwwlib.umi.com/dissertations/fullcit/1428219.
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Cavaco, Paulo Jorge Teixeira. "A representação do holocausto em Ilse Losa." Master's thesis, 2012. http://hdl.handle.net/10400.2/2530.
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Dissertação de Mestrado em Estudos Portugueses Multidisciplinares apresentada à Universidade AbertaO Holocausto enquanto facto histórico de proporções sem precedente na história da Humanidade tornou-se um tema literário largamente abordado, inicialmente pelos sobreviventes, que sentiram a necessidade de partilhar a sua experiência, tendo o tema posteriormente também captado o interesse doutros autores. Este conjunto de obras literárias deu origem a um subgénero literário: a Literatura do Holocausto. Em Portugal, contudo, esta temática não suscitou o interesse do mundo literário, sendo Ilse Losa (1913-2006), autora de origem alemã, com ascendência judaica, vinda para Portugal em virtude da perseguição de que foi alvo pelos nazis na Alemanha, uma exceção. A temática do Holocausto é recorrente na obra narrativa desta escritora e constitui o tema da presente dissertação, intitulada A Representação do Holocausto em Ilse Losa. Este estudo centra-se na análise dos romances O mundo em que vivi (1949), Rio sem ponte (1952), Sob céus estranhos (1962) e em alguns contos integrados no volume Caminhos sem destino (1991). A leitura das narrativas da autora, focada no tema em questão, é entendida como uma proposta de roteiro de exploração, que, além de um capítulo dedicado à contextualização da obra losiana no âmbito da Literatura do Holocausto e da Literatura Portuguesa, se centra na análise dos seguintes aspetos: os períodos temporais que contextualizam o facto histórico (o tempo antes, durante e após o Holocausto) e os valores que predominam em cada um; os atores envolvidos no acontecimento (as vítimas, os perpetradores, os observadores passivos e os oponentes ao regime); as estratégias narrativas implementadas que sustentam essa representação (os tipos de narradores, o recurso à analepse e à prolepse, o uso da carta como recurso narrativo, a enunciação do ato de recordar e a descrição física); e os termos em que se pode conceber uma dimensão pedagógica nestas narrativas.
The Holocaust as an unprecedented fact in the history of mankind has become a widely literary subject initiated by the survivors who felt the need to share their experience and then captivate the interest of other authors. This body of works gave origin to a literary subgenre: the Holocaust literature. However, in Portugal, writers did not show interest in that subject, except for Ilse Losa (1913-2006), a Portuguese/German author born to a Jewish family who was forced to leave Germany due to Nazi persecution. The Holocaust is a recurring subject in the work of this writer and it is the subject of this dissertation The Representation of Holocaust in Ilse Losa. This study focuses on the analyses of the novels O mundo em que vivi (1949), Rio sem ponte (1952), Sob céus estranhos (1962) and some short stories in the volume Caminhos sem destino (1991). In addition to a chapter dedicated to the contextualization of the work of Ilse Losa’s Holocaust Literature and Portuguese Literature, this authors’ novels are perceived as a guide to explore what is concentrated in the analysis of the following aspects: the time periods of the historical fact (the years before, during and after the Holocaust) and the values that prevailed; the elements involved in that event (the victims, the perpetrators, the bystanders and the opponents of the regime); the literary devices that sustained this representation (the type of narrator, the flashbacks and the flashforwards, the use of the letter as a narrative technique, the act of remembering and the physical description); and the words in which one can conceive a pedagogical dimension in these novels.
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Geizhals, Emily Mea. "Simultaneous presence and absence : representation of the Holocaust at the Jewish Museum Munich /." 2008. http://hdl.handle.net/10288/504.
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Thompson, Allan Campbell. "Reading violence: representation and ethics." Thesis, 2009. http://hdl.handle.net/10539/6142.
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ABSTRACT
The textual representation of an instance of violence involves three principle considerations: a notion of representation, a conception of violence, and an inter-relationship between ethical and aesthetic evaluations. By investigating these
considerations within the context of postmodern thought, a more sensitive perception of textual representations of violence becomes possible. Any representation, prior to being read and interpreted, has no predetermined meaning, and therefore no inherent value. It is
only through a process of reading that verifiability, the principles of appraisal and personal cognition become actualised. As any text is necessarily iterable – subject to infinite (re)interpretation within an infinite number of future contexts – any interpretation
is determined by the intersection of the iterable text and the historically situated reader. Violence, which is defined as an act of direct or indirect intentional harm against a person’s body or mind or property, may be experienced either as an event, or as a representation of an event. In instances of the representation of violence, the ethical perspective of the reader is influenced to a large extent by expectations of the text’s
verifiability, the linguistic register of the text, and the inter-subjective ethical framework at the moment of reading the text. The aesthetic evaluation of the narrative, which is closely associated with its linguistic features, is also closely related to this ethical
perspective. However, normative systems of ethics are often inadequate in the face of the plurality of meaning and possibilities inherent in representations of violence, and therefore a postmodern conception of ethical thought seems most appropriate. Textual instances of violence therefore have the potential for representing a multiplicity of experiences and ethical responses, without necessarily having to rely upon problematic normative obligations of systemisation or duty. A recognition of postmodern ethical ambiguity, combined with a flexibility of moral outlook, allows the reader to develop a more nuanced approach to the ethical predicaments suggested by the representation of violence.
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"The City in View Comparative Representations and Historical Memory of the Warsaw Ghetto in Memoir and Film." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.57274.
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abstract: When the Warsaw Ghetto was demolished by German forces towards the end of World War II, there were few physical traces of the Ghetto left standing. As such, both historians and the public must look to other types of sources to understand what life and death were like for the inhabitants of the Ghetto, and how they have remembered their experiences within the Ghetto. These memories and representations of the Warsaw Ghetto can be found in memoir-style written works, and later, in films based on these works. This thesis will examine the ways in which the Warsaw Ghetto was represented by two authors who survived it, Władisław Szpilman and Marcel Reich-Ranicki, and how their memory of the Warsaw Ghetto is represented in the films based on their lives and survival, The Pianist, and Mein Leben: Marcel Reich-Ranicki.Dissertation/Thesis
Masters Thesis History 2020
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Bandyopadhyay, Sohini. "The holocaust and moral understanding : a study of the representation of moral issues in contemporary historical texts and films." Master's thesis, 2008. http://hdl.handle.net/1885/150968.
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Thiele, Martina. "Publizistische Kontroversen über den Holocaust im Film." Doctoral thesis, 2000. http://hdl.handle.net/11858/00-1735-0000-000D-F211-4.
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Rajala, Tero Markus. "Lives unremembered : the Holocaust and strategies of its representation : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/756.
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The Holocaust is a subject that seems to defy artistic representation by way of its sheer scale of tragedy and subsequent trauma. As I will demonstrate in this paper, it is hard to restore visibility – pictorial links between past and present realities – to crimes that have been deliberately submerged by its perpetrators. I will examine some of the common strategies used in representation of the victims of the Holocaust since the end of the Second World War, in the mediums of film and photography. As my main method of enquiry, I will examine three films from different eras, and of very different approaches in terms of their processing of the proposed original evidence, as examples to illustrate my arguments. In the second chapter Alain Resnais's documentary film Nuit et Brouillard (Night and Fog) is analyzed as a birthplace of the so-called iconography of the Holocaust. Chapter three examines workings of memory through the aesthetic form that was soon to follow; the role and testimony of the survivors is considered through Claude Lanzmann's Shoah. In the fourth chapter a new player is introduced: the second generation witness of postmemory, works of transmitted but unexperienced realities. In this chapter I will closer examine the workings of art in the game of reprocessing the evidence of the Holocaust, and through Dariusz Jablonski's film Fotoamator I aim to critique how the previously discussed approaches serve to further lock the Holocaust in an inaccessible canon. Moreover, the generalization implied – a drive toward universalization of the Holocaust as an idiom or even a metaphor for the dark sides of human history/character – derives from problems of representation; mainly that of anonymity in face of the proposed beauty of the spectacle, of tragedy and suffering in mass-media. A key problem is that any historical document, however we define one, is considered transparent and unmediated, whereas art is clearly something where a degree of mediation is necessarily recognized. In the face of this dichotomy it seems that all the collected "proof" of the Holocaust – witness accounts" photographs" films" material remains – achieves, is to stregthen the prevailing version of history.
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ČERNÁ, Lucie. "Fiktivní oběti, fiktivní viníci." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-381483.
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The diploma thesis deals with the possibilities of representing the victims and the culprits of the Nazi and communist totalitarian regime on selected procaic works of Czech literature (Zvuk slunečních hodin, Peníze od Hitlera, Vyhnání Gerty Schnirch, Chladnou zemí a Dobrou noc, sladké sny). In also focused on the theme of collective memory, postgeneration, identity, guilt and trauma.
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"Imagining Auschwitz: Postmodern representations of the Holocaust." Tulane University, 2002.
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This dissertation explores the Holocaust's relationship to modernity and postmodernity and the historic event's effects on a post-Holocaust world, culturally, socially as well as artistically. Showing the Holocaust's widespread influence on our postmodern unconscious, this study examines a variety of literary texts that demonstrate the haunting effects of the Holocaust on the present After a brief reading of Bernhard Schlink's The Reader that situates the concerns and parameters of this study, Chapter One looks at the theoretical relationship between the Holocaust and postmodernity. For the most part mutually exclusive, cautiously ignoring or, at best, dismissing one another, these fields ought not to be seen as antagonistic but can, instead, greatly contribute to our engagement with the past. Postmodern theory with its denial of universalism, its celebration of the imagination, and its emphasis on representation and representability is highly dangerous to Holocaust Studies. Likewise, postmodernism often shies away from addressing the Holocaust since the historic event comprises possibly its most serious challenge as this historic event questions the easy dismissal of absolute truths and values as well as the ludic treatment of history itself. Nevertheless, the two fields are intricately entwined and a postmodern approach to the Holocaust reveals new insight into both postmodernism and our study of the Holocaust Accordingly, Chapters Two through Four look at the cultural, linguistic, and psychological effects of the Holocaust on post-War life in close readings of E. L. Doctorow's and Walter Abish's postmodern historical novels, Raymond Federman's highly experimental texts and his readings of Samuel Beckett's work, and D. M. Thomas's controversial fictions. While these authors by no means present a comprehensive account of Holocaust literature, they offer a wide variety of reactions to the Holocaust, not only showing its exemplary role for postmodernism but also exhibiting a variety of ways in which postmodernism can offer new insights into our understanding of the Holocaust and its role in contemporary life. The dissertation concludes with an examination of identity politics within Holocaust, exemplified by the case of Binjamin Wilkomirski's Fragments and the scandal surrounding its receptionacase@tulane.edu
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Tomáš, Filip. "Holokaust jako fikce." Doctoral thesis, 2011. http://www.nusl.cz/ntk/nusl-311335.
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180 Abstract The English-language title of the work Holokaust jako fikce is not entirely unambiguous, because the equivalent, The Holocaust as a Fiction, due to its indefinite article, comes close to denial of the Holocaust as a historical phenomenon. That is of course utterly unacceptable nonsense; however, we encounter denial (concealment) of the Holocaust in history even during the course of the war. Here the author intends to emphasize the basic limits of his own theme. It is not the Holocaust as a historical event - the extermination of European Jewry by means of National Socialist politics in the years 1939-45 - but rather the literary works representing these events. The methodological point of departure is the theory of fictional worlds (Lubomír Doležel etc.), and what interests us is the transfer of actual events into possible and fictional worlds, the representation of the results of that crossover in literary works. The work is divided into four chapters. After delimiting the approaches terminologically and theoretically, each focuses on a functional approach to the given representation. The Holocaust is investigated in this manner in three main chapters: the Holocaust as testimony, the Holocaust as a limit situation and the Holocaust as a literary transduction. The Holocaust as testimony devotes...
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Williams, Pamela Lagergren. "A multidirectional Memory Approach to Representations of Colonization, Racism, and Genocide in Literature." 2013. https://scholarworks.umass.edu/dissertations/AAI3589222.
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This dissertation explores where historical memories concerning colonization, genocide, and racism intersect, merge, and overlap in multidirectional ways. The text opens by exploring the possibilities of using a multidirectional model of world history and then moves to a discussion of certain aspects of world political history that interrogates why some nations have dominated others. The focus then shifts to England's attitude toward perceived "others" in the crucial late sixteenth and early seventeenth centuries by examining contemporary theater drama. From there, the text moves on to current voices that have spoken out against the racism and genocide that have emerged as byproducts of empire building. Finally, possibilities for where we, as citizens of the world, can go from here in thinking through framing justice and equality for all its occupants is given the final voice in this text. My approach may be thought of as somewhat philosophical.
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Ristic, Danya. "These shining themes : the use and effects of figurative language in the poetry and prose of Anne Michaels." Thesis, 2011. http://hdl.handle.net/2263/28950.
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This study explores the manner in which Anne Michaels uses figurative language, particularly metaphor, in her poetry and prose. In her first novel, Fugitive Pieces, and in certain of her poems, Michaels demonstrates the powers of language to destroy and to recuperate. For her, metaphor is not simply a literary device; it is an essential mechanism in the creation of an authentic story or poem. Moreover, in contrast to other figurative language such as euphemism, which she feels can be used to conceal the truth and make moral that which is immoral, metaphor in her view can be used to gain access to the truth and is therefore moral. Thus, as this study demonstrates, Michaels proposes as well as utilises the moral power of language. The ideas of four language theorists provide the basis of this study, and prove highly useful in application to Michaels’s work. With the aid of Certeau and Bourdieu, we examine Michaels’s participation in and literary presentation of the relationship of domination and subordination in which people seem to interact and which takes place partly through language. In the light of Ricoeur’s explication of the precise functions of metaphor, we discuss Fugitive Pieces as a novel whose engagement with the topic of the Holocaust in intensely emotive and figurative language makes it controversial in terms of what may or may not constitute the appropriate manner of Holocaust literary representation. Klemperer’s meticulous, first-hand study of the Nazis’ use of the German language during the period of the Third Reich proves illuminating in our exploration of the works of Michaels that feature themes of oppression and dispossession. In certain of her poems, Michaels stands in for real people and speaks in their voices. This is also a form of metaphor, this study suggests, as for the duration of each poem Michaels requires us to imagine that she is the real-life person who expresses him- or herself in the first person singular, which she patently is not. We could see this as appropriation and misrepresentation of those people’s lives and thoughts; however, with the aid of the notion of empathic identification we learn that Michaels’s approach is always empathic – she imaginatively places herself in various situations and people’s positions without ever losing her sense of individuality and separate identity, and her portrayal of their stories is always respectful and carefully considered.Thesis (DLitt)--University of Pretoria, 2011.
English
unrestricted
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Gabi, Shingirirai. "Ambiguous space : representations of forgiveness in Left to tell: discovering God amidst the Rwandan Holocaust (2006), Inyenzi : a story of Love and genocide (2007) and God sleeps in Rwanda : a journey of transformation (2009)." Diss., 2016. http://hdl.handle.net/10500/20953.
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This study aims to interrogate the representations of forgiveness in post genocide Rwandan fiction. The novels analysed are Inyenzi: A story of Love and Genocide (2007), Left to Tell: Discovering God Amidst the Rwandan Holocaust (2006) and God Sleeps in Rwanda: A Journey of Transformation (2009). Inyenzi: A story of Love and Genocide represents romantic love as the possible beginning of reconciliation between the Tutsi and the Hutus
after and the devastations of the genocide. Left to Tell: Discovering God Amidst the
Rwandan Holocaust reveals that the individualistic portrayal of forgiveness is important to
create communication between antagonistic ethnic groups. God Sleeps in Rwanda: A
Journey of Transformation demonstrates that forgiveness and reconciliation have the
possibilities of being attainable on a national level through political reforms. The narratives succeed in portraying the representations of forgiveness but due to the subjectivities of the authors, the historicity of the genocide is undermined thereby compromising the foundations for forgiveness. This study suggests that future research on post genocide Rwandan could analyse creative works on forgiveness but focussing on the issue of restorative justiceEnglish Studies
M. A. (English Studies)