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Journal articles on the topic 'Holocaust representation'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Niven, Bill. "Remembering the Holocaust: Representation, Neglect and Instrumentalization." European History Quarterly 36, no. 2 (April 2006): 279–91. http://dx.doi.org/10.1177/0265691406062615.

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12

Mazur, Adam. "Negative Testimonials. Photographic Representation of Holocaust Memory." Teksty Drugie 2 (8), Special Issue English Edition (2015): 70–79. http://dx.doi.org/10.18318/td.2015.en.2.6.

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13

HODGKINSON, SARAH. "Rethinking Holocaust Representation: Reflections on Rex Bloomstein'sKZ." Howard Journal of Criminal Justice 54, no. 5 (September 2, 2015): 451–68. http://dx.doi.org/10.1111/hojo.12144.

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14

Baumel, Judith Tydor. "Women and the Holocaust: Narrative and Representation." Women's Studies International Forum 24, no. 1 (January 2001): 124. http://dx.doi.org/10.1016/s0277-5395(00)00153-9.

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15

Farmer, Sarah. "Going Visual: Holocaust Representation and Historical Method." American Historical Review 115, no. 1 (February 2010): 115–22. http://dx.doi.org/10.1086/ahr.115.1.115.

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16

Braun, Robert. "The Holocaust and Problems of Historical Representation." History and Theory 33, no. 2 (May 1994): 172. http://dx.doi.org/10.2307/2505383.

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17

Feliuga, Dino Franco. "Holocaust Iconoclasm and the Crisis of Representation." Theory & Psychology 7, no. 2 (April 1997): 270–73. http://dx.doi.org/10.1177/0959354397072010.

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18

Levitt, Laura. "Unwanted Beauty: Aesthetic Pleasure in Holocaust Representation." Comparative Literature 61, no. 1 (January 1, 2009): 93–95. http://dx.doi.org/10.1215/00104124-2008-007.

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19

Keynan, Irit, and Noga Wolff. "The Representation of the Holocaust in Israeli Society and Its Implications on Conceptions of Democracy and Human Rights of “Others”." Genealogy 6, no. 1 (February 18, 2022): 18. http://dx.doi.org/10.3390/genealogy6010018.

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Much has been written about the representation of the Holocaust in Israel, but there is less awareness to its effects on attitudes toward democracy and the universal meaning of human rights. Representations of the Holocaust by Israeli socialization agents usually focus on hatred toward Jews, disregarding the broader theoretical-ideological context. This tendency is typical to groups that suffered such severe traumas in their past. Nonetheless, we argue that it does not allow a healing process and fosters a reduced perspective on the essential principles of democracy. It also particularizes the concept of human rights, thus excluding those of “others,” such as Palestinians. We further argue that a more extensive perspective on the Holocaust, which includes an understanding of Nazism within an ideological mosaic that denies democratic principles and humanity, may strengthen Israelis’ identification with democratic principles and universal human rights. We analyze the different approaches to teaching the Holocaust in the context of the collective trauma and explore their impact on society’s sense of victimhood and moral injury. The paper ends with a suggestion for further research that will explore the possibility that a school curriculum that emphasizes universal lessons will enable the memorialization of the Holocaust without succumbing to nationalistic perceptions.

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20

Robinson, Michael. "Shirley Jackson’s “The Lottery” and Holocaust Literature." Humanities 8, no. 1 (February 25, 2019): 35. http://dx.doi.org/10.3390/h8010035.

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Shirley Jackson’s “The Lottery” has been notorious since its first publication in 1948, but rarely, if ever, has it been read in light of its immediate historical context. This essay draws on literature, philosophy, and anthropology from the period to argue that Jackson’s story, which scholars have traditionally read through the lens of gender studies, invokes the themes of Holocaust literature. To support this argument, the essay explores imaginative Holocaust literature from the period by David Rousset, whose Holocaust memoir The Other Kingdom appeared in English translation in 1946, anthropological discourse from the period on scapegoating and European anti-Semitism, and critical discourse on the Holocaust and anti-Semitism from the period by Hannah Arendt and Theodor Adorno. The analysis finds that, in representing the phenomena of scapegoating and death selection in a small town in the US, Jackson’s story belongs to an abstract discourse on Holocaust-related themes and topics that was actively produced at midcentury, as evidenced partly by Rousset’s influential memoir. A master of the horror genre, Jackson could have drawn on her own experience of anti-Semitism, along with her known interest in the study of folklore, to contribute this chilling representation of the personal experience of death selection to a discourse on Holocaust-related themes. As this article shows, the abstract discourse Jackson’s story joined is marked by skepticism about or disinterest in ethnic difference and anthropological concepts. Due to the fact that this article features comparative analysis of Holocaust literature, a sub-topic is the debate among scholars concerning the ethics of literary representation of the Shoah and of analysis of Holocaust memoir. Jackson’s story and its context invoke perennially important questions about identity and representation in discourse about the Shoah and anti-Semitism.

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21

Earl, Hilary. "Holocaust and Justice: Representation & Historiography of the Holocaust in Post-War Trials." Global War Studies 9, no. 1 (June 1, 2012): 122–24. http://dx.doi.org/10.5893/19498489.09.01.24.

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22

Coakley, Sarah. "‘Humorous Is the Only Truthful Way to Tell a Sad Story’: Jonathan Safran Foer and Third Generation Holocaust Representation." Genealogy 3, no. 4 (October 30, 2019): 55. http://dx.doi.org/10.3390/genealogy3040055.

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Jonathan Safran Foer’s representation of the Holocaust in his first novel, Everything is Illuminated, has been the subject of much controversy and critical debate. Several critics and Holocaust survivors have objected to the work for the lack of historical accuracy in its mythological narrative and the irreverence of its humour. However, such responses fail to take into account its specific form of generational representation: The Holocaust of Everything is Illuminated is always perceived through a third-generation lens, and its provocative elements instead highlight aspects of the experiences of the grandchildren of survivors. With this in mind, this paper examines Foer’s approach to the Holocaust in Everything is Illuminated and Liev Schreiber’s film adaptation (2005), making specific reference to the challenges faced by the third generation. Drawing upon theories of the transgenerational transmission of trauma and postmemory, it will explore the roles of creativity and humour in resilience, in addition to the reconstruction of a historical narrative under threat of erasure. Ultimately, by offsetting the tendencies to reduce the complexity of the Holocaust into unequivocal moralities (as exhibited in the film adaptation) with the idiosyncrasies of the third-generation experience, an alternative contextual perspective on the Holocaust is propounded, containing its own discrete set of ethical questions and concerns.

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23

Strilchuk, Maryna V. "The Holocaust in Ukraine." Universum Historiae et Archeologiae 1, no. 1-2 (December 30, 2019): 128. http://dx.doi.org/10.15421/2611815.

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The national historiography of the Holocaust was analyzed in the article. The author described the main forms of representation of the theme in the Ukrainian researchers’ papers. The main trends and stages of Holocaust Studies in Ukraine were determined. The author analyzed the socio-political conditionality of the Holocaust historiography in different stages, from Soviet time till modernity. The author concluded that Ukrainian historians focuses on the key points of the history of the Holocaust in their papers: anti-Semitic propaganda in the occupied territory of Ukraine, the methods and forms of Jewish resistance to the Nazis, Ukrainian-Jewish relations during the Second World War, politics and culture of the memory of the Holocaust.

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24

Lang, Jessica. "Third-Generation Holocaust Representation: Trauma, History, and Memory." Studies in American Jewish Literature (1981-) 38, no. 1 (March 2019): 80–83. http://dx.doi.org/10.5325/studamerjewilite.38.1.0080.

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25

Kushner, T. "Holocaust Testimony, Ethics, and the Problem of Representation." Poetics Today 27, no. 2 (June 1, 2006): 275–95. http://dx.doi.org/10.1215/03335372-2005-004.

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26

Moore, Yael. "Thoughts on representation in therapy of Holocaust survivors1." International Journal of Psychoanalysis 90, no. 6 (December 2009): 1373–91. http://dx.doi.org/10.1111/j.1745-8315.2009.00218.x.

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27

Baer, Elizabeth Roberts. "Image and Remembrance: Representation and the Holocaust (review)." Biography 27, no. 3 (2004): 657–60. http://dx.doi.org/10.1353/bio.2004.0050.

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28

Manchel, Frank. "Mishegoss: ‘Schindler's List’, Holocaust representation and film history." Historical Journal of Film, Radio and Television 18, no. 3 (August 1998): 431–36. http://dx.doi.org/10.1080/01439689800260271.

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29

Rapaport, Lynn. "Women and the Holocaust: Narrative and Representation (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 20, no. 4 (2002): 111–13. http://dx.doi.org/10.1353/sho.2002.0079.

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30

Feinstein, Steve. "Image and Remembrance: Representation of the Holocaust (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 23, no. 1 (2004): 143–45. http://dx.doi.org/10.1353/sho.2005.0015.

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31

Mandel, Naomi. "Traumatic Realism: The Demands of Holocaust Representation (review)." Cultural Critique 51, no. 1 (2002): 241–45. http://dx.doi.org/10.1353/cul.2002.0020.

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32

Howorus-Czajka, Magdalena. "BETWEEN REAL AND SYMBOLIC SPACE. DEATH REPRESENTATION IN WIKTOR TOŁKIN’S MARTYROLOGY MONUMENTS." Muzealnictwo 62 (June 29, 2021): 143–52. http://dx.doi.org/10.5604/01.3001.0015.0031.

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It is the representation of death in the monuments by Wiktor Tołkin found at the former concentration camps: Stutthof (at Sztutowo) and Majdanek (in Lublin) that is discussed. As an art historian, the Author confronts Tołkin’s monuments with the theorical framework related to the aesthetics of death representations in martyrology museums. The monuments were created in the late 1960s. The Author has studied how the monuments coincide with the contemporary exhibition strategies used in Holocaust-dedicated museums.

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33

Giergiel, Sabina, and Katarzyna Taczyńska. "“When Night Passes” and “When Day Breaks” – Between the Past and the Present. Borderlines of Holocaust in Filip David’s Works." Colloquia Humanistica, no. 6 (November 22, 2017): 75–96. http://dx.doi.org/10.11649/ch.2017.007.

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When Night Passes and When Day Breaks – Between the Past and the Present. Borderlines of Holocaust in Filip David’s WorksThe primary objective of the text is the analysis of Filip David's latest work. The Serbian writer is the author of the novel House of Memories and Oblivions (Kuća sećanja i zaborava, 2014), award for Best Novel of the Year by the NIN weekly (Nedeljne Informativne Novine). On the one hand, the output of this Serbian novelist is of interest to us as a continuation and representation of the contemporary discourse on the Holocaust in Serbia. On the other – we look at the literary realization of the Holocaust topic. The fortunes of the main characters in the novel (children who survived Holocaust) serve as the cases on which we present where the author draws the borderline of the ever-present Holocaust in their lives; how much and in what way the past affects their present; where the borderline of memory, forgetting and oblivion is. Kad padne noć i Kad svane dan - między przeszłością a teraźniejszością. Granice Holocaustu w twórczości Filipa DavidaPodstawowym celem tekstu jest analiza najnowszej tworczości Filipa Davida, autora nagrodzonej Nagrodą Tygodnika NIN („Nedeljne Informativne Novine") powieści Dom pamięci i zapomnienia (2014, Kuća sećanja i zabovrava). Z jednej strony twórczość serbskiego prozaika interesować nas będzie jako kontynuacja i reprezentacja współczesnego dyskursu na temat Holokaustu w Serbii. Z drugiej zaś – przyjrzymy się jego literackiej realizacji. Na przykładzie losów głównych bohaterów powieści (dzieci, które przeżyły Zagładę) pokażemy, gdzie przebiega rysowana przez autora granica istnienia Shoah w ich życiu. Na ile i w jaki sposób przeszłość wpływa na ich teraźniejszość, gdzie przebiega granica pamięci, niepamięci i zapomnienia oraz w jakim stopniu ich życie definiuje rozdzielenie rzeczywistości od fikcji.

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34

Mevorah, Vera. "Two faces of mystification: the representation of the holocaust in Arnold Schoenberg's a survivor from Warsaw and Steve Reich's different trains." Muzikologija, no. 32 (2022): 183–98. http://dx.doi.org/10.2298/muz2232183m.

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The paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg?s A Survivor From Warsaw (1947) and Steve Reich?s Different Trains (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of ?heroism? and ?non-representability?.

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35

O'Donoghue, Samuel. "Figurations of Suffering in Concentration Camp Testimony." Comparative Literature Studies 58, no. 4 (November 1, 2021): 807–35. http://dx.doi.org/10.5325/complitstudies.58.4.0807.

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Abstract This article offers a close reading of the figurative language used to represent suffering in literary testimonies of the Nazi concentration camps. It begins with an overview of the debate over the legitimacy of figurative language in representations of the Holocaust and considers the arguments against metaphor by scholars in the field of pain research and Holocaust studies. Bringing into dialogue the disciplines of pain studies and Holocaust studies, the article advances the claim that figurative language is an effective means of expressing suffering and that an analysis of this language is valuable for understanding the experiences of the victims of Nazism. The article subsequently presents a comparative analysis of Se questo è un uomo (1947) by Primo Levi, Le grand voyage (1963) by Jorge Semprún, and K.L. Reich (1963) by Joaquim Amat-Piniella. It identifies two patterns in the representation of suffering by these author-survivors: first, the use of zoomorphic metaphors to describe bodily pain and, second, the depiction of anthropomorphized landscapes to portray psychological anguish.

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36

Williams. "‘Feel the Knife Pierce You Intensely’: Slayer’s ‘Angel of Death’—Holocaust Representation or Metal Affects?" Genealogy 3, no. 4 (November 14, 2019): 61. http://dx.doi.org/10.3390/genealogy3040061.

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This article tackles a well-known but little-studied phenomenon: the importance of Holocaust themes to heavy metal. The fascination of metal bands with evil and death has until recently been met outside the scene with such reactions as moral panic, disgust or indifference. In the last ten years, however, scholars in an emerging discourse of Metal Studies have attempted to engage more critically with the social and musical dimensions of metal, in order to contextualise and understand its lyrics and imagery. Although a number of writers have touched upon the recurrence of Holocaust imagery, no one has dealt at any length with extreme metal as a form of Holocaust memory. My article focuses on what might be called the founding text of extreme metal, Slayer’s ‘Angel of Death’, which lived up to the sub-genre’s name by pushing both its musical form and its lyrical content beyond previously maintained limits and taboos. It considers the song's mobilisation of affective intensities as involving problematic politics, but also a challenge to conceptions of Holocaust representation. I consider how affects are evoked by ‘Angel of Death’ through offering readings of the song itself as well as of ways that its reception have been recorded on social media, in concert videos, and reaction videos uploaded to YouTube.

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37

Prušková, Zora. "The Holocaust – the Border of Pragmatic Language." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 259–70. http://dx.doi.org/10.14746/pss.2017.12.17.

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The theme of the paper is observing and revealing non-pragmatic language that, when dealing with deliberately chosen texts about acts of violence, leads to productive aesthetic disturbance. In its substance, this language refers to the gulf between intensity of representation and ideological intention towards a reader declared in a complicated manner. The paper discusses five texts with the theme of the Holocaust. Three of them deal with the Holocaust as with a recent experience, namely Curzio Malaparte’s Caput (1944), Žofia Nalkowska’s Medallions (1945), and Leopold Lahola’s Last Thing (1949–1956, published in a book in 1968); whereas two other ones deal with the Holocaust after some time in a form of belles-lettres memoirs or testimony, namely Juraj Špitzer’s I Did Not Want to Be a Jew (1994) and Jerzy Kosiński’s Painted Bird (in English in 1965, Czech translation was published in 2011). All interpreted texts are marked by specific language situated beyond the border of traditional literary representation. This language is either extremely subjective, expressive and periphrastic – in this case it borders on with absurd Realism or nonsense (in case of C. Malaparte, J. Kosiński, and L. Lahola) – or, in its neutral representation (in case of Ž. Nalkowska, and J. Špitzer), it borders on with a melancholic self-referential document on limits of cultural humanism or of normal, common humanity.

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Arnds, Peter. "Translating Survival, Translation as Survival in Primo Levi's Se questo è un uomo." Translation and Literature 21, no. 2 (July 2012): 162–74. http://dx.doi.org/10.3366/tal.2012.0064.

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By way of Primo Levi's Se questo è un uomo (If this is a Man) this article discusses the challenges in translating Holocaust literature. On the one hand, the translation of witnessing ‘limit events’ such as the Holocaust into testimony is propelled by attempts to find forms of representation which push their own limits. Here myth often appears as a vehicle of representation, as is the case with Levi's use of the Tantalus myth and of Dante's Inferno. On the other hand, this article shows how the challenges of translating Holocaust literature into other languages can be facilitated by an acute awareness of debates and cultural theories surrounding genocide, such as Giorgio Agamben's theory of the homo sacer and of nuda vita. Such translation into other languages may reveal dimensions of the original that would remain dormant, buried, if the original were not translated. It is especially in the comparison of two or more translations that these deeper layers of the original are revealed.

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Krasuska, Karolina. "Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews." European Journal of Women's Studies 26, no. 3 (June 21, 2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.

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Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology.

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Lassner, Phyllis. "Testing the Limits of the Middlebrow: The Holocaust for the Masses." Modernist Cultures 6, no. 1 (May 2011): 178–95. http://dx.doi.org/10.3366/mod.2011.0009.

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This essay explores how analyzing popular Holocaust films as a representation of Middlebrow cultural production changes conventional assessments of each. Unlike those writers who have suffered the opprobrium of too much accessibility, of being relegated to Middlebrow marginalization from canonical cultural status, Holocaust writers struggle to find the language and forms through which to bear witness to their experiences, in short, to achieve accessibility. In turn, just as popular Holocaust films defy the promises of escapist fantasy, so they demonstrate how Middlebrow culture can be seen as questioning and revising traditional forms of realism and modernist experiment.

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Wolfson, Jeffrey E. "The Jew Uncut: Circumcising Holocaust Representation in Europa Europa." Humanities 10, no. 2 (April 7, 2021): 64. http://dx.doi.org/10.3390/h10020064.

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Film adaptations invariably yield insights into their written source material, at least to the extent that they elect to translate or omit what may be deemed the literature’s essential components. This is certainly the case for director Agnieszka Holland’s 1990 film, Europa Europa, which adapts Solomon Perel’s account of surviving the Shoah. By drawing on discourse in Holocaust studies and adaptation studies, and by examining the film adaptation’s points of alignment with what Perel records in his memoir, I argue that Europa Europa resists the dominant trend of de-Judaizing the Shoah in artistic representation. Europa Europa privileges explicitly Jewish content and an unmistakably Jewish point of view by focusing on the theme of circumcision. In doing so, the film succeeds in highlighting how the Shoah was, at its core, a campaign to annihilate not just the Jewish people, but also the longstanding principle of the Jewish covenant with the Eternal, as embodied by circumcision. Through its cutting and reshaping of the memoir’s details, Holland’s film seeks to establish a covenant with the viewer to bear witness to the Jewish spirit of the survivor’s testimony. The film presents a model for representing the Holocaust in art, a model that masterfully defies the de-Judaization of society that the Nazis envisioned and tried to make real.

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Chittiphalangsri, Phrae. "Trauma, Repressed Memory, and the Question of ‘Authenticity’: Reading see Under: Love and Beloved Through Bhabha." MANUSYA 8, no. 4 (2005): 43–56. http://dx.doi.org/10.1163/26659077-00804003.

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Trauma and the repressed memory of Jewish Holocaust survivors and African- American slaves are issues that require the notion of ‘authenticity’ in fictional representation. The Zionist discourse demands that Holocaust fictions be written by true witnesses of the genocide and with respectful seriousness, for the Holocaust is a sacred, incomparable phenomenon in Jewish history. In the same manner, the Black American narrative needs authenticity to articulate the Black’s own voice, which has been predominately constructed by White Americans since the early history of America. David Grossman’s See Under: Love (1999) nevertheless deals with the problem of ‘authenticity’ in describing the Holocaust, despite the fact that the writer never experienced the Holocaust directly and even wrote it in a postmodern, humorous, and fantastic manner. Likewise, Toni Morrison’s Beloved (1987) introduces a new way to write an authentic African- American narrative, i.e. magical realism. This essay explores the problem of authenticity by applying Homi K. Bhabha’s cultural theory to analyse it in four parts. The first part investigates the causes and the culturally specific backgrounds of the Zionist and the American Africanist’s views towards ‘authenticity’ in literary representation. The second part clarifies the argument by situating ‘authenticity’ in Bhabha’s framework of the pedagogical. The third part furthers the argument by detailing the performative use of the fantastic and magical realism to render the effect of liminality. The last part concludes the notion of ‘authenticity’ by pointing out the supplementary aspect of Bhabha’s theory when applied to the two novels.

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Boase-Beier, Jean. "Bringing Home the Holocaust: Paul Celan's Heimkehr in German and English." Translation and Literature 23, no. 2 (July 2014): 222–34. http://dx.doi.org/10.3366/tal.2014.0152.

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This article considers what it means to read Paul Celan's poem ‘Heimkehr’ with a view to translating it. Reading for translation is understood as a particular type of reading that constructs a poetics of the text as an expression of a particular way of thinking. The importance of etymology, the exploitation of polysemy and homonymy, the use of ambiguity and other stylistic features, are discussed with reference to the historical context of the original and possible counterparts in the translation. Such stylistic features of the poem are shown to be crucial both to a poetic representation of the post-Holocaust situation itself and to the problem of what Holocaust representation can and should do.

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Steir-Livny, Liat. "Aftereffects: The representation of the Holocaust, its universal moral implication and the transgenerational transformation of the trauma based on the Israeli documentary fim OY MAMA." Kultura Popularna 1, no. 50 (September 10, 2017): 118–0. http://dx.doi.org/10.5604/01.3001.0010.4080.

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Holtschneider, Hannah. "Holocaust Memory Reframed: museums and the challenges of representation." Journal of Modern Jewish Studies 15, no. 1 (January 2, 2016): 169–70. http://dx.doi.org/10.1080/14725886.2015.1127057.

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Shostak, Arthur. "Holocaust Memory Reframed: Museums and the Challenges of Representation." European Legacy 23, no. 3 (December 22, 2017): 343–46. http://dx.doi.org/10.1080/10848770.2017.1414922.

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Schmenk, Barbara. "Teaching the Representation of the Holocaust (review)." Seminar: A Journal of Germanic Studies 44, no. 3 (2008): 393–94. http://dx.doi.org/10.1353/smr.0.0025.

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Schweber, Simone A. "VICTIMIZED AGAIN? THE REPRESENTATION OF JEWS IN HOLOCAUST UNITS." Journal of Jewish Education 65, no. 1-2 (March 1999): 42–59. http://dx.doi.org/10.1080/0021624990650106.

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Strimple, Nick. "Musical Witness and Holocaust Representation. By Amy Lynn Wlodarski." Music and Letters 97, no. 2 (May 2016): 362–64. http://dx.doi.org/10.1093/ml/gcw032.

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Mandel, Naomi. "Ethics after Auschwitz: The Holocaust in History and Representation." Criticism 45, no. 4 (2004): 509–18. http://dx.doi.org/10.1353/crt.2004.0021.

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