Kurt Gerstein entered the Waffen-SS in 1941 with the intention of working against the Nazi regime from the inside. Despite being required to participate in some of the criminal activities of the SS, Gerstein believed he could be most effective for the resistance if he remained in the SS. This thesis examines the evidence presented in and the results of three separate legal proceedings (a criminal trial, a Denazification hearing and a rehabilitation and compensation case) which took place in the 24 years following Gerstein's death in 1945. Each of the three proceedings was brought about for a different legal purpose, and therefore involved different laws and standards for judgment. However, all of the proceedings dealt with the problem of balancing the incriminating nature of Gerstein's means of resistance against what he had hoped to accomplish, or did accomplish, from that position.

No description available.

No description available.

Thesis (Ph.D.)--University of Hawaii at Manoa, 1994. / Includes bibliographical references (leaves 219-240). / Microfiche. / xx, 240 leaves, bound ill., maps (some folded) 29 cm

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.

Univ., Diss.--Klagenfurt, 2002. / Literaturverz. S. 351 - 384.

Univ., Diss.--Köln, 2004.

Thesis (Ph. D.)--Michigan State University. Dept. of French, Classics and Italian, 2008. / Title from PDF t.p. (viewed on Apr. 1, 2009) Includes bibliographical references (p. 256-262). Also issued in print.

Thesis (M.A.)--University of Toronto, 2007. / Source: Masters Abstracts International, Volume: 45-06, page: 2783.

Thesis (Ph. D.)--Lehigh University, 1998. / Includes vita. Includes bibliographical references (leaves 256-271).