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"This unique guidebook offers concise information about five 20th-century cases of genocide, as well as the responses of international justice. By relevant use of illustrations and references, and by using the most recent literature, this is an indispensable work offering new insight, in the processes of genocide." -- back cover.
This unique guidebook offers concise information about five 20th-century cases of genocide, as well as the responses of international justice. By relevant use of illustrations and references, and by using the most recent literature, this is an indispensable work offering new insight, in the processes of genocide.
The Holocaust – the murder of approximately six million Jewish men, women and children by Nazi Germany and its collaborators in the Second World War – was a crime of unprecedented and unparalleled proportions, perpetrated in innumerable locations across the European continent. Now in its third edition, The Holocaust Sites of Europe is the most comprehensive and accessible guide to these sites, serving as both a work of historical reference and a practical resource for visitors to them today. It includes all major Holocaust sites in Europe, covering more than 20 countries and encompassing not only iconic locations such as Auschwitz-Birkenau and Bergen-Belsen, but also lesser known yet similarly significant sites like Maly Trostenets and Sajmište. It addresses extermination, forced labour and concentration camps, massacre sites, and cities which were homes to major Jewish populations and – often – ghettos, as well as Nazi 'euthanasia' centres and locations associated with the genocide of Roma and Sinti. In so doing, the book also covers the many museums and memorials which commemorate the Holocaust. This new edition has been fully updated to reflect developments which have affected sites in the 2010s and 2020s, ranging from the establishment of new museums to growing threats from climate change and state-sponsored distortion of history. The Holocaust Sites of Europe is thus an indispensable and sensitive guide to both the history and the modern reality of the most traumatic sites in European history."
This book explores the diverse ways in which Holocaust representations have influenced and structured how other genocides are understood and represented in the West. Rebecca Jinks focuses in particular on the canonical 20th century cases of genocide: Armenia, Cambodia, Bosnia, and Rwanda. Using literature, film, photography, and memorialisation, she demonstrates that we can only understand the Holocaust's status as a 'benchmark' for other genocides if we look at the deeper, structural resonances which subtly shape many representations of genocide. Representing Genocide pursues five thematic areas in turn: how genocides are recognised as such by western publics; the representation of the origins and perpetrators of genocide; how western witnesses represent genocide; representations of the aftermath of genocide; and western responses to genocide. Throughout, the book distinguishes between 'mainstream' and other, more nuanced and engaged, representations of genocide. It shows how these mainstream representations – the majority – largely replicate the representational framework of the Holocaust, including the way in which mainstream Holocaust representations resist recognising the rationality, instrumentality and normality of genocide, preferring instead to present it as an aberrant, exceptional event in human society. By contrast, the more engaged representations – often, but not always, originating from those who experienced genocide – tend to revolve around precisely genocide's ordinariness, and the structures and situations common to human society which contribute to and become involved in the violence.
This case study highlighting the story of Raphael Lemkin challenges everyone to think deeply about what it will take for individuals, groups, and nations to take up Lemkin's challenge. To make this material accessible for classrooms, this resource includes several components: an introduction by Genocide scholar Omer Bartov; a historical case study on Lemkin and his legacy; questions for student reflection; suggested resources; a series of lesson plans using the case study; and a selection of primary source documents. Born in 1900, Raphael Lemkin, devoted most of his life to a single goal: making the world understand and recognize a crime so horrific that there was not even a word for it. Lemkin took a step toward his goal in 1944 when he coined the word "genocide" which means the destruction of a nation or an ethnic group. He said he had created the word by combining the ancient Greek word "genos" (race, tribe) and the Latin "cide" (killing). In 1948, three years after the concentration camps of World War ii had been closed forever, the newly formed United Nations used this new word in a treaty that was intended to prevent any future genocides. Lemkin died a decade later. He had lived long enough to see his word widely accepted and also to see the United Nations treaty, called the Convention on the Prevention and Punishment of the Crime of Genocide adopted by many nations. But, sadly, recent history reminds everyone that laws and treaties are not enough to prevent genocide. Individual sections contain footnotes.
***NATIONAL JEWISH BOOK AWARD FINALIST (2012)*** Part of the Jewish Encounter series The capture of SS Lieutenant Colonel Adolf Eichmann by Israeli agents in Argentina in May of 1960 and his subsequent trial in Jerusalem by an Israeli court electrified the world. The public debate it sparked on where, how, and by whom Nazi war criminals should be brought to justice, and the international media coverage of the trial itself, was a watershed moment in how the civilized world in general and Holocaust survivors in particular found the means to deal with the legacy of genocide on a scale that had never been seen before. Award-winning historian Deborah E. Lipstadt gives us an overview of the trial and analyzes the dramatic effect that the survivors’ courtroom testimony—which was itself not without controversy—had on a world that had until then regularly commemorated the Holocaust but never fully understood what the millions who died and the hundreds of thousands who managed to survive had actually experienced. As the world continues to confront the ongoing reality of genocide and ponder the fate of those who survive it, this trial of the century, which has become a touchstone for judicial proceedings throughout the world, offers a legal, moral, and political framework for coming to terms with unfathomable evil. Lipstadt infuses a gripping narrative with historical perspective and contemporary urgency.
Using the framework of genocide, this volume analyzes the patterns of persecution of the Roma in Nazi-dominated Europe. Detailed case studies of France, Austria, Romania, Croatia, Ukraine, and Russia generate a critical mass of evidence that indicates criminal intent on the part of the Nazi regime to destroy the Roma as a distinct group. Other chapters examine the failure of the West German State to deliver justice, the Romani collective memory of the genocide, and the current political and historical debates. As this revealing volume shows, however inconsistent or geographically limited, over time, the mass murder acquired a systematic character and came to include ever larger segments of the Romani population regardless of the social status of individual members of the community.
"In this study Polish emigre Raphael Lemkin (1900-1959) coined the term 'genocide' and defined it as a subject of international law"--Provided by publisher.
Film and Genocide brings together scholars of film and of genocide to discuss film representations, both fictional and documentary, of the Holocaust, the Armenian genocide, and genocides in Chile, Australia, Rwanda, and the United States. Since 1955, when Alain Resnais created his experimental documentary Night and Fog about the Nazis’ mass killings of Jews and other ostracized groups, filmmakers have struggled with using this medium to tell such difficult stories, to re-create the sociopolitical contexts of genocide, and to urge awareness and action among viewers. This volume looks at such issues as realism versus fiction, the challenge of depicting atrocities in a manner palatable to spectators and film distributors, the Holocaust film as a model for films about other genocides, and the role of new technologies in disseminating films about genocide. Film and Genocide also includes interviews with three film directors, who discuss their experiences in working with deeply disturbing images and bringing hidden stories to life: Irek Dobrowolski, director of The Portraitist (2005) a documentary about Wilhelm Brasse, an Auschwitz-Birkenau prisoner ordered to take more than 40,000 photos at the camp; Nick Hughes, director of 100 Days (2005) a dramatic film about the Rwandan mass killings; and Greg Barker, director of Ghosts of Rwanda (2004), a television documentary for Frontline.