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Over the past decades, the memory of the Holocaust has not only become a common cultural consciousness but also a cultural property shared by people all over the world. This collection brings together academics, critics and creative practitioners from the fields of Holocaust Studies, Literature, History, Media Studies, Creative Writing and German Studies to discuss contemporary trends in Holocaust commemoration and representation in literature, film, TV, the entertainment industry and social media. The essays in this trans-disciplinary collection debate how contemporary culture engages with the legacy of the Holocaust now that, 75 years on from the end of the Second World War, the number of actual survivors is dwindling. It engages with ongoing cultural debates in Holocaust Studies that have seen a development from, largely, testimonial presentations of the Holocaust to more fictional narratives both in literature and film. In addition to a number of chapters focusing in particular on literary trends in Holocaust representation, the collection also assesses other forms of cultural production surrounding the Holocaust, ranging from recent official memorialisation in Germany to Holocaust presentation in film, computer games and social media. The collection also highlights the contributions by creative practitioners such as writers and performers who use drama and the traditional art of storytelling in order to keep memories alive and pass them on to new generations. The chapters in this book were originally published as a special issue of Holocaust Studies: A Journal of Culture and History.
His name was Ziama – a beautiful Jewish name which he had to change to the Russian 'Zakhar' in order to conceal his origins. When all Jews were ordered to appear at a gathering point, he didn't go and persuaded others not to go either. Pretending to be a collaborator for the occupation authorities, he kept on saving lives. He rode his bike to nearby villages to barter goods for his family, at the same time trying to get in touch with partisan units. Like a real 'superhero', he always had a narrow escape until denounced by a traitor. Even then, in the concentration camp, forced to exhume and burn the corpses of those massacred in the first months of the occupation, he didn't think of death – he thought of freedom. And he led others with him - out from the camp, towards life and a happy future – just a day before their scheduled execution. In the night-time streets of Kiev, hiding from patrols, they made their way home, to reunite with their families. A dreamlike story, but a true one.Some say, Ziama never existed and the story is fiction. To contradict this statement and to prove the authenticity of the described events, I found transcripts of interrogations by the KGB of the witnesses and of those guilty of the crimes committed in Babi Yar, Kiev, in 1941-1943. This is the truth the world needs to know. The further away in time we are from the Holocaust, the more denial and the more lies we encounter. So that no Jew should ever have to hide under a Gentile name, so that no Jew should ever have his life threatened for the mere fact that he is a Jew – read and spread Ziama's message throughout the world. And if the worst happens and History repeats itself – let Ziama's heroism be an example to all of us on how to fight back and not allow anything to destroy us.Here at last, after 70 years, is the final truth about Babi Yar.
In the fall of 1965 the Israeli newspaper Haaretz sent a young journalist named Elie Wiesel to the Soviet Union to report on the lives of Jews trapped behind the Iron Curtain. “I would approach Jews who had never been placed in the Soviet show window by Soviet authorities,” wrote Wiesel. “They alone, in their anonymity, could describe the conditions under which they live; they alone could tell whether the reports I had heard were true or false—and whether their children and their grandchildren, despite everything, still wish to remain Jews. From them I would learn what we must do to help . . . or if they want our help at all.” What he discovered astonished him: Jewish men and women, young and old, in Moscow, Kiev, Leningrad, Vilna, Minsk, and Tbilisi, completely cut off from the outside world, overcoming their fear of the ever-present KGB to ask Wiesel about the lives of Jews in America, in Western Europe, and, most of all, in Israel. They have scant knowledge of Jewish history or current events; they celebrate Jewish holidays at considerable risk and with only the vaguest ideas of what these days commemorate. “Most of them come [to synagogue] not to pray,” Wiesel writes, “but out of a desire to identify with the Jewish people—about whom they know next to nothing.” Wiesel promises to bring the stories of these people to the outside world. And in the home of one dissident, he is given a gift—a Russian-language translation of Night, published illegally by the underground. “‘My God,’ I thought, ‘this man risked arrest and prison just to make my writing available to people here!’ I embraced him with tears in my eyes.”
A guide to the symphony, with commentary on 118 works by 36 composers.
This is the first book in any language on the films of Konrad Wolf (1925-1982), East Germany's greatest filmmaker, and puts Wolf in a larger European filmic and historical context.
This is a classic, standard resource for collection building and on-the-spot readers advisory absolutely indispensable for school and public libraries.
Examines how German-Jewish writers from Eastern Europe who migrated to Germany during or after the Cold War have widened European cultural memory to include the traumas of the Gulag.