Oren Baruch Stier traces the lives and afterlives of certain remnants of the Holocaust and their ongoing impact. He shows how and why four icons—an object, a phrase, a person, and a number—have come to stand in for the Holocaust: where they came from and how they have been used and reproduced; how they are presently at risk from a variety of threats such as commodification; and what the future holds for the memory of the Shoah.
The Holocaust has bequeathed to contemporary society a cultural lexicon of intensely powerful symbols, a vocabulary of remembrance that we draw on to comprehend the otherwise incomprehensible horror of the Shoah. Engagingly written and illustrated with more than forty black-and-white images, Holocaust Icons probes the history and memory of four of these symbolic relics left in the Holocaust’s wake. Jewish studies scholar Oren Stier offers in this volume new insight into symbols and the symbol-making process, as he traces the lives and afterlives of certain remnants of the Holocaust and their ongoing impact. Stier focuses in particular on four icons: the railway cars that carried Jews to their deaths, symbolizing the mechanics of murder; the Arbeit Macht Frei (“work makes you free”) sign over the entrance to Auschwitz, pointing to the insidious logic of the camp system; the number six million that represents an approximation of the number of Jews killed as well as mass murder more generally; and the persona of Anne Frank, associated with victimization. Stier shows how and why these icons—an object, a phrase, a number, and a person—have come to stand in for the Holocaust: where they came from and how they have been used and reproduced; how they are presently at risk from a variety of threats such as commodification; and what the future holds for the memory of the Shoah. In illuminating these icons of the Holocaust, Stier offers valuable new perspective on one of the defining events of the twentieth century. He helps readers understand not only the Holocaust but also the profound nature of historical memory itself.
The photographs of the unknown Warsaw Ghetto little boy and the well-known Anne Frank became famous documents worldwide, representing the Holocaust. Many artists adopted them as a source of inspiration to express their feelings and ideas about Holocaust events in general and to deal with the fate of these two victims in particular. Moreover, the artists emphasized the uniqueness of both children, but at the same time used their image to convey social and political messages. By using images of these children, the artists both evoke our attention and sympathy and our anger against the Nazis’ crime of killing one and a half million Jewish children in the Holocaust. Because they represent different sexes, and different aspects - Western and Eastern Jewry - of Holocaust experience, artists used them in many contexts. This book will complete the lack of comprehensive research referring to the visual representations of these children in artworks.
The photographs of the unknown Warsaw Ghetto little boy and the well-known Anne Frank became famous documents worldwide, representing the Holocaust. Many artists adopted them as a source of inspiration to express their feelings and ideas about Holocaust events in general and to deal with the fate of these two victims in particular. Moreover, the artists emphasized the uniqueness of both children, but at the same time used their image to convey social and political messages. By using images of these children, the artists both evoke our attention and sympathy and our anger against the Nazis’ crime of killing one and a half million Jewish children in the Holocaust. Because they represent different sexes, and different aspects - Western and Eastern Jewry - of Holocaust experience, artists used them in many contexts. This book will complete the lack of comprehensive research referring to the visual representations of these children in artworks.
How is contemporary public consciousness of the Holocaust shaped and communicated? How is commitment to its memory expressed and engendered? This text offers a close and critical analysis of a range of cultural activities that mediate the Holocaust for a public increasingly distant from the events of World War II. Oren Baruch Stier argues that the manner in which those events are committed to memory, coupled with the fervent dedication to memory exhibited by many people and institutions, produces distinct memorial mediations of the Shoah.
Impossible Images brings together a distinguished group of contributors, including artists, photographers, cultural critics, and historians, to analyze the ways in which the Holocaust has been represented in and through paintings, architecture, photographs, museums, and monuments. Exploring frequently neglected aspects of contemporary art after the Holocaust, the volume demonstrates how visual culture informs Jewish memory, and makes clear that art matters in contemporary Jewish studies. Accepting that knowledge is culturally constructed, Impossible Images makes explicit the ways in which context matters. It shows how the places where an artist works shape what is produced, in what ways the space in which a work of art is exhibited and how it is named influences what is seen or not seen, and how calling attention to certain details in a visual work, such as a gesture, a color, or an icon, can change the meaning assigned to the work as a whole. Written accessibly for a general readership and those interested in art and art history, the volume also includes 20 color plates from leading artists Alice Lok Cahana, Judy Chicago, Debbie Teicholz, and Mindy Weisel.
“[A] pioneering work . . . Shed[s] light on the historic events surrounding the Holocaust from place, space, and environment-oriented perspectives.” —Rudi Hartmann, PhD, Geography and Environmental Sciences, University of Colorado This book explores the geographies of the Holocaust at every scale of human experience, from the European continent to the experiences of individual human bodies. Built on six innovative case studies, it brings together historians and geographers to interrogate the places and spaces of the genocide. The cases encompass the landscapes of particular places (the killing zones in the East, deportations from sites in Italy, the camps of Auschwitz, the ghettos of Budapest) and the intimate spaces of bodies on evacuation marches. Geographies of the Holocaust puts forward models and a research agenda for different ways of visualizing and thinking about the Holocaust by examining the spaces and places where it was enacted and experienced. “An excellent collection of scholarship and a model of interdisciplinary collaboration . . . The volume makes a timely contribution to the ongoing emergence of the spatial humanities and will undoubtedly advance scholarly and popular understandings of the Holocaust.” —H-HistGeog “An important work . . . and could be required reading in any number of courses on political geography, GIS, critical theory, biopolitics, genocide, and so forth.” —Journal of Historical Geography “Both students and researchers will find this work to be immensely informative and innovative . . . Essential.” —Choice
The renowned historian weaves a definitive account of the Holocaust—from Hitler’s rise to power to the final defeat of the Nazis in 1945. Rich with eyewitness accounts, incisive interviews, and first-hand source materials—including documentation from the Eichmann and Nuremberg war crime trials—this sweeping narrative begins with an in-depth historical analysis of the origins of anti-Semitism in Europe, and tracks the systematic brutality of Hitler’s “Final Solution” in unflinching detail. It brings to light new source materials documenting Mengele’s diabolical concentration camp experiments and documents the activities of Himmler, Eichmann, and other Nazi leaders. It also demonstrates comprehensive evidence of Jewish resistance and the heroic efforts of Gentiles to aid and shelter Jews and others targeted for extermination, even at the risk of their own lives. Combining survivor testimonies, deft historical analysis, and painstaking research, The Holocaust is without doubt a masterwork of World War II history. “A fascinating work that overwhelms us with its truth . . . This book must be read and reread.” —Elie Wiesel, Nobel Peace Prizing–winning author of Night
Deborah Lipstadt claimed that David Irving was a Hitler partisan wearing blinkers bending and manipulating evidence: the most dangerous spokesperson for Holocaust denial. Irving sued her and her publishers in a high profile case and lost.
An enthralling Arabian Nights-style fantasy perfect for fans of Bradley Beaulieu and N. K. Jemisin. Eiren, the youngest daughter of the Aleynian royal family, has been living in exile in the deep desert of their kingdom. When the invading force from Ambar captures her family and demands that Eiren alone return with the Ambarians to their distant, mountainous lands, she agrees for the sake of her people. Gentle, perceptive, and able to sense the thoughts and feelings of those around her, Eiren is a storyteller—and unsure why the Ambarians have chosen her instead of her more brazen siblings. As she grows closer to the masked and enigmatic Gannet, one of her captors, on the journey to Ambar, Eiren learns that her special gifts mark her as an icon—the rare, living embodiment of a god. Gannet, too, is an icon, and when he awakens more abilities within her, Eiren discovers a bitter truth: She is host to Theba, the goddess of destruction. A dark and dangerous force, Theba awakens similar appetites in Eiren. But there’s more the Ambarians aren’t telling her, and secrets Eiren has to uncover for herself. To know the truth of why she was taken from her home, Eiren must become one of the monsters from her stories, whether she wants to or not.
