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Processing the Holocaust and its disruption to society has emerged as a significant preoccupation, both privately and publicly, since the war ended almost seventy years ago. By taking up the topic, contemporary artists, often called the "third generation," die Enkel or die Dritten in German, argue that grappling with the past is a process that cannot yet be laid to rest. The cultural production of some of these artists is the focus of this study. Some, like German literary scholar Ernestine Schlant, have argued that past efforts to process history have been lacking. Her review of West German, post-war literature, The Language of Silence, is surveyed for the purpose of understanding how previous generations tackled the topic and how success in confronting the issues could be measured. Four artists represent their views on the burden of history in works produced in the first decade of the new century. In Schweigen die Täter, reden die Enkel, Claudia Brunner describes her efforts to recognize and deal with the feelings of Phantomschmerzen as a result of being a descendent of a Nazi perpetrator. Himmelskörper, by Tanja Dückers, portrays a new mother trying to discover the secrets her grandmother harbors; Uwe von Seltmann wrestles with the legacy of unpunished crimes in Karlebachs Vermächtnis; and, denial takes center stage as Jens Schanze documents his family's attempts to end the silence about a Nazi grandfather in the film Winterkinder. Lest it be thought contemporary artists saw no importance in the legacy of the Holocaust or were not inclined to tackle political issues, this study contends that modern artists are not only capable of confronting the past, but that they find the confrontation still necessary. Given their temporal distance to the era, they have an advantage over previous generations to approach the issues with more objectivity and composure. They do this work in service to others who seek to understand the pain and guilt they feel; to those who sense secrets in their family's history that remain buried and harmful; to those who were wronged; to those who suffer from long-suppressed conflict; and, to those who care deeply, also from afar, that German society successfully digest, but not forget, the history.

This thesis examines how the First World War and the Holocaust fit into Western history and literary history by. It takes as its point of departure two arguments that currently enjoy, the favor of many specialists. First, it critiques the idea that the literature of the First World War is firmly embedded in the Western literary heritage while that of the Holocaust lies outside the realm of expression, a position that Jay Winter has taken a leading role in developing. Second, it challenges the notion that the Holocaust is an occurrence in history to which no other event offers parallels. The study argues that these points of view obscure our understanding of each disaster. In reality, personal narratives demonstrate that many survivors responded to the First World War and the Holocaust in similar ways. If this is true, then the Great War cannot be firmly embedded in the European cultural tradition while the Holocaust destroys it. A more accurate representation is that the first episode of industrial mass slaughter, the Great War, initiated a rupture in the Western historical and literary heritage that the Holocaust completed. / Department of History

Thesis (M.A.)--Miami University, Dept. of French and Italian, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 63-64).

Thesis (D.A.)--Illinois State University, 2000. / Title from title page screen, viewed May 2, 2006. Dissertation Committee: Lawrence McBride (chair), Donald E. Davis, Niles Holt, Alvin Goldfarb. Includes bibliographical references (leaves 291-296) and abstract. Also available in print.

This master's thesis focusses on long-term effects of the Holocaust on the generation of survivors as well as on their offspring. Firstly, the theoretical part defines the terms 'stress' and 'trauma'. This is followed by an outline of possible reactions to severely stressful situations as well as questionnaires that can be used to measure the levels of traumatization. Afterwards, attention is focused on the phenomenon of posttraumatic growth, mainly based on the perspectives of L. G. Calhoun and R. G. Tedeschi who identify five domains of growth. The possibility of facilitating posttraumatic growth is briefly mentioned alongside with one inventory that can be used to measure the extent of positive change following traumatic experiences. Furthermore, the complexity of the Holocaust is discussed and generations of the Holocaust survivors and their offspring are characterised. In conclusion, attention is drawn to the studies that are concerned with the transgenerational transmission of trauma. The empirical component of the thesis is dedicated to the mapping of specific aspects of posttraumatic stress and growth in Holocaust survivors and their offspring. This data was collected by using a PTSD CheckList (PCL-C) and a Posttraumatic Growth Inventory (PTGI), and afterwards was processed by quantitative...

The Holocaust represented humanities first confrontation with unparalleled destruction and evil unchecked. It continues to impact upon the lives of survivors, their children- the second generation- and generations thereafter. The study aimed to provide the second generation with a voice. Their roles within their respective family systems and the impact of the Holocaust upon them are explored. The theoretical framework is social constructionism. One-on-one in-depth interviews were conducted with three adults whose parent/s are survivors. The manner of analysis was `Hermeneutic.' The participants' narratives took the form of interview transcripts. These were analysed and themed by the researcher. Themes that repeated themselves were elaborated upon and later linked with the available literature. The researcher hopes that the dissertation will contribute to existing research on the multigenerational effects of trauma in relation to familial and individual roles and memory. / Psychology / M. A. (Clinical Psychology)

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

The Holocaust represented humanities first confrontation with unparalleled destruction and evil unchecked. It continues to impact upon the lives of survivors, their children- the second generation- and generations thereafter. The study aimed to provide the second generation with a voice. Their roles within their respective family systems and the impact of the Holocaust upon them are explored. The theoretical framework is social constructionism. One-on-one in-depth interviews were conducted with three adults whose parent/s are survivors. The manner of analysis was `Hermeneutic.' The participants' narratives took the form of interview transcripts. These were analysed and themed by the researcher. Themes that repeated themselves were elaborated upon and later linked with the available literature. The researcher hopes that the dissertation will contribute to existing research on the multigenerational effects of trauma in relation to familial and individual roles and memory. / Psychology / M. A. (Clinical Psychology)