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This article analyses key changes in public memory in the Netherlands. Its examination of memorials, and their relationships to official memory and creative practices, shows a gradual shift in focus from war heroes to collective and individual victims of the Nazi persecution. The second part of the article focuses on contemporary visual artists, whose works are inspired by their own family histories and by changing attitudes to the memory of the Shoah, which has gained increasing public visibility. In line with the changes observed in some memorials, their artworks demonstrate a key development of Holocaust remembrance since the end of the war, with a shift in emphasis towards remembering individual victims and circumstances. This shows a transition from commemorating the unpronounceable through symbols, towards a detailed memorialising of the Shoah through the names of victims and minute reconstructions via maps, models and portraits.

Disciplining the Holocaust examines critics' efforts to defend a rigorous and morally appropriate image of the Holocaust. Rather than limiting herself to polemics about the \"proper\" approach to traumatic history, Karyn Ball explores recent trends in intellectual history that govern a contemporary ethics of scholarship about the Holocaust. She examines the scholarly reception of Goldhagen's Hitler's Willing Executioners, the debates culminating in Eisenman's Memorial to the Murdered Jews of Europe in Berlin, Lyotard's response to negations of testimony about the gas chambers, psychoanalytically informed frameworks for the critical study of traumatic history, and a conference on feminist approaches to the Holocaust and genocide. Ball's book bridges the gap between psychoanalysis and Foucault's understanding of disciplinary power in order to highlight the social implications of traumatic history.

The United States Holocaust Memorial Museum's largely unknown Josef Nassy Collection is situated at the intersection of multiple cultural histories of migration and oppression. Josef Nassy (1904-76) was an artist of African, Sephardi, and European descent from the Dutch Caribbean colony of Suriname. While interned in Belgium and Germany from 1942-45, he created a poignant visual diary that brings into view unfamiliar facets of the Nazi camp system as well as unexpected points of intersection between Jewish and African diaspora experience. This article traces the story of the Nassy Collection's wartime creation and postwar reception to illustrate how entrenched categories ofart and victimhood can obstruct our access to the past. In contrast to this reception history, Nassy's artworks encourage a relational approach to Holocaust studies, one that is attuned to the entanglement of European and colonial wartime experience and the diversity of Jewish identities.

Based on an ethnographic field study in Cologne, this article discusses the connection between memory practices and emotion ideologies in Holocaust education, using Sara Ahmed's concept of affective economies. Moral goals, political demands, and educators' care for their students lead to tensions in the education process. Two case studies illustrate how educators and learners express different, often contradictory concepts of emotion. In these studies, emotions are selectively opposed to rationality. In some contexts, emotions are considered inferior to facts and obstacles to the learning process; in others, they are superior to facts because they can communicate moral messages reliably.

On the 80th anniversary of its liberation, survivors of the Holocaust gathered at the extermination camp at Auschwitz-Birkenau in Poland. Of the more than six million Jews murdered by the Nazis, 1.1 million were killed at Auschwitz, nearly a quarter million children. Special correspondent Malcolm Brabant reports on a project to preserve the shoes of the war's smallest victims.

That the Drancy transit and internment camp—the main camp from which Jews were deported from France—is currently inhabited, having reverted to its pre-war name ‘La Muette’ and initial function as a housing estate at the end of the 1940s, remains little-known. As a result of this multi-layered history, the site is deeply ambivalent, being both haunted and inhabited. Through a theoretical framework informed by psychogeography, this article brings to light the concentrationary presence that is layered onto the space of everyday life at the site of Drancy–La Muette and investigates the possibility of resisting the resulting spatial politics of dehumanisation. Through a close reading of Alexandre Lacroix’s novel La Muette (2017) and its spatial poetics, this article argues that it is by elaborating new ways of seeing, whereby the interpenetration of past and present, the visible and the invisible, comes to the fore, that the traumatic space of Drancy–La Muette may open up. This, in turn, allows for the circulation of affective resonances between the built environment and the individual, which resist the concentrationary logic.

This article examines the Israeli initiative in the 1950s to confer postmortem citizenship upon Holocaust victims. This commemoration initiative, which became a clause in the law establishing Yad Vashem, the Israeli Holocaust Remembrance Center, failed. Jewish communities in the diaspora refused to make their dead an endowment to the State of Israel. Tracing the history of this extraordinary idea and the various discussions about it, I show that it was not merely a national Holocaust commemoration initiative, but a transnational legal, political and moral debate between a new nation-state and its diaspora regarding the terms and boundaries of a new national citizenship.