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This paper considers the symbiotic relationship between iconic visual representations of the Holocaust – specifically film and Holocaust sites – and processes of Holocaust memorialization. In conjunction, specific sites and objects related to the Holocaust have become icons. I suggest that specific Holocaust sites as well as Holocaust films can be perceived as elements of one and/or multiple translocal assemblage/s. My focus in this analysis is on the role of knowledge production and witness creation in Holocaust memorialization. It is not my intention to diminish the role of Holocaust memorialization; rather, I seek to look beyond representational aspects, and consider the processual relationships involved in the commemoration of the Holocaust in institutions, such as memorial sites and museums, as well as through elements of popular culture, such as films. Furthermore, I analyze the tangible and intangible layers of memories and meaning present in Holocaust films and sites through the lens of palimpsests. These conceptual frameworks allow me to consider how visual representations of the Holocaust, such as film, and site inform each other? How are specific representations of Holocaust sites and objects shaping and informing the commemoration of the Holocaust in the 21st century? / Graduate / 0326 / 0335 / 0751 / myriamt@uvic.ca

Le témoin, le témoignage et la transmission constituent le centre des réflexions sur l’écriture de la Shoah, de sorte que toute œuvre qui rend ces notions moins opérationnelles se trouve classée dans les marges. Ce travail propose de changer de perspective en se concentrant sur ces marges et en supposant la présence d’un modèle mémoriel alternatif. Il s’appuie sur un corpus littéraire et plastique qui actualise le sujet de la Shoah grâce aux objets et propose d’examiner leur capacité de résonner à l’intérieur d’une œuvre concrète et dans l’ensemble de la création, de relever leur potentiel combinatoire et de voir comment s’articule leur absence. Se pose également la question de l’inscription de la photographie analogique dans les textes : à la fois objet et image, elle apparaît comme un élément constitutif de l’intrigue et permet de rappeler les disparus dans un contexte post-événementiel, sans toutefois accroître la visibilité et l’accessibilité du passé. Le caractère opaque et intègre des objets présents dans la création sur la Shoah les dote d’une valeur autonome et conduit à une réévaluation des rapports entre le personnage-témoin, le narrateur et le lecteur. Dans ce modèle, la présence du témoin n’est pas déterminante pour l’évocation du passé : c’est un personnage de la quête menée par le narrateur. Ce dernier revêt le rôle d’archéologue : il explore son présent, repère des résidus du passé, les décrit et tente de les interpréter, sans jamais aboutir à un récit cohérent. La création s’ouvre ainsi à un troisième acteur de la mémoire : elle émancipe le lecteur en l’invitant à formuler le sujet de l’œuvre et à devenir un véritable acteur du modèle archéologique. / Reflections upon Holocaust writings are centred on the witness, his testimony and its transmission, such that any work that makes these notions less applicable is shifted to the margins. This thesis suggests a change of viewpoint by focusing on these margins and by presuming the existence of an alternative memory model. It studies literary and visual works that unravel the Holocaust theme through objects and proposes to examine their ability to echo in a specific piece as well as in the creative production as a whole, to point out their combinatory capacity and to observe how their absence manifests itself. Analog photographs included in the narrative raise particular questions: being objects and pictures at the same time, they represent key elements of the plot, and although they bring the lost people into the post-event context, they do not enhance the visibility and the accessibility of the past. Their opaque and solid nature provides them with an independent value and imposes a reassessment of the relationship between the witness, the narrator and the reader. Within this model the presence of a witness is not essential for the recollection of the past: he is a character of the narrator’s quest. The latter assumes the role of an archaeologist exploring his present, discovering the remnants of the past, describing them and trying to interpret them, his attempts, however, never amounting to a coherent story. Thus the creative production reveals a third agent of the memory: it urges the reader’s emancipation challenging him to construct the subject matter and to become a true protagonist of the archaeological model.

This thesis compares the different trauma received at the three major hiding places for Jewish children in Belgium during the Holocaust: Christian establishments, private families, and Jewish orphanages. Jewish children hidden at Christian establishments received mainly religious trauma and nutritional, sanitary, and medical neglect. Hiding with private families caused separation trauma and extreme hiding situations. Children staying at Jewish orphanages lived with a continuous fear of being deported, because these institutions were under constant supervision of the German occupiers. No Jewish child survived their hiding experience without receiving some major trauma that would affect them for the rest of their life. This thesis is based on video interviews at Shoah Visual History Foundation and Blum Archives, as well as autobiographies published by hidden children.

As a secondary-level educator of literature and writing, I have observed the fundamental need for a sensitive, well-developed curriculum in the art of teaching Eliezer Wiesel's Night to high school students. This thesis contextualizes Wiesel's memoir by examining the history of Jewish persecution, the Holocaust itself, and Wiesel's background. Educational strategies and activities that use both literary analysis and creative writing to engender a comprehensive and thorough realization of the history as expressed through the literature are elucidated. Additionally, several ways in which teachers may lead students to examine the effects, implications, and ramifications of Wiesel's legacy are supplied. / by Dyanne K. Loput. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Ten Jewish second-generation men and women from metro Portland, Oregon were interviewed regarding growing up in the aftermath of the Holocaust. The American-born participants ranged in age from fifty-one to sixty-four years of age at the time of the interviews. Though the parents were deceased at the time of this study the working definition of a Holocaust survivor parent included those individuals who had been refugees or interned in a ghetto, labor camp, concentration camp, or extermination camp as a direct result of the Nazi Regime in Europe from 1933 to 1945. A descriptive phenomenological approach was utilized. Eight open-ended questions yielded ten unique perspectives. Most second-generation do not habitually inform others of their second-generation status. This is significant to conflict resolution as the effects of the Holocaust are trans-generational. The second-generation embody resilience and their combined emphasis was for all people to become as educated as possible.

Univ., Diss.--Hamburg, 2001. / Bibliographie S. [277] - 301.

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