"April 2004" / Bibliography: leaves 284-295. / viii, 295 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This thesis discusses the work of the author Lily Brett, both in terms of the themes explored in her writing, and the political and historical contexts. The interrelationships between history, memory, identity and literature are explored in order to explain both the themes of Brett's writing, and how this writing is shaped by, and shapes, contemporary discourses on Jewish identity and the Holocaust. / Thesis (Ph.D.)--University of Adelaide, School of Social Sciences, Discipline of Gender Studies, 2004

Cannot copy abstract. / Thesis (M.Ed.)-University of KwaZulu-Natal, Durban, 2012

The subject of this thesis is the development of Holocaust commemoration in the city of Vancouver, British Columbia in the period between 1943-1975. In much of the current literature, the two decades following the Second World War are considered to have been a time when the Holocaust was virtually absent from the public discourse of North American Jewry. Commemoration, according to this view, is said to have been a private affair limited to survivors, a situation which changed only after the appearance of neo-Nazism in the early 1960s, the trial of Adolf Eichmann in 1961, and particularly in the wake of the Arab-Israeli wars of 1967 and 1973. Based on my own study of the oral and documentary materials pertaining to Warsaw Ghetto memorials in Vancouver, I argue that these assessments, which are largely based on the official announcements and priorities of the national Jewish leadership, are of limited value in a community context, where there is evidence of a considerable variety of responses to the murder of European Jewry long before the awareness-raising events said to have initiated "Holocaust consciousness".

The subject of this thesis is the development of Holocaust commemoration in the city of Vancouver, British Columbia in the period between 1943-1975. In much of the current literature, the two decades following the Second World War are considered to have been a time when the Holocaust was virtually absent from the public discourse of North American Jewry. Commemoration, according to this view, is said to have been a private affair limited to survivors, a situation which changed only after the appearance of neo-Nazism in the early 1960s, the trial of Adolf Eichmann in 1961, and particularly in the wake of the Arab-Israeli wars of 1967 and 1973. Based on my own study of the oral and documentary materials pertaining to Warsaw Ghetto memorials in Vancouver, I argue that these assessments, which are largely based on the official announcements and priorities of the national Jewish leadership, are of limited value in a community context, where there is evidence of a considerable variety of responses to the murder of European Jewry long before the awareness-raising events said to have initiated "Holocaust consciousness". / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

University of Macau / Faculty of Arts and Humanities. / Department of English

Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies.

Postmemory is an interpretive theory that describes the relationship between the children of Holocaust survivors (Second-generation witnesses) and the trauma suffered by their parents. This thesis extends postmemory in two ways: first, postmemory is extended to include refugees who escaped the Holocaust. Thus, refugee families are situated in the three familial paradigms of Holocaust memory. Second, postmemory is extended to Third-generation witnesses (grandchildren of Holocaust survivors and refugees). Manifestations and representations of postmemory in Third-generation refugee families is demonstrated by authorial narration of photographs in third-generation refugee writer Erika Dreifus's short story collection Quiet Americans. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection