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Different Horrors, Same Hell brings together a variety of essays demonstrating the breadth of contributions that feminist theory and gender analysis make to the study of the Holocaust. The collection provides new perspectives on central works of Holocaust scholarship and representation, from the books of Hannah Arendt and Ruth Kl ger to films such as Claude Lanzmann's Shoah and Steven Spielberg's Schindler's List. Interviews with survivors and their descendants draw new attention to the significance of women's roles and family structures during and in the aftermath of the Holocaust, and interviews and archival research reveal the undercurrents of sexual violence within the Final Solution. As Doris Bergen shows in the book's first chapter, the focus on women's and gender issues in this collection \"complicates familiar and outworn categories, and humanizes the past in powerful ways.\"

In this brave and original work, Federica Clementi focuses on the mother-daughter bond as depicted in six works by women who experienced the Holocaust, sometimes with their mothers, sometimes not. The daughters' memoirs, which record the \"all-too-human\" qualities of those who were persecuted and murdered by the Nazis, show that the Holocaust cannot be used to neatly segregate lives into the categories of before and after. Clementi's discussions of differences in social status, along with the persistence of antisemitism and patriarchal structures, support this point strongly, demonstrating the tenacity of trauma-individual, familial, and collective-among Jews in twentieth-century Europe.

‘Memory is Our Home' is a powerful biographical memoir based on the diaries of Roma Talasiewicz-Eibuszyc, who grew up in Warsaw before and during World War I and who, after escaping the atrocities of World War II, was able to survive in the vast territories of Soviet Russia and Uzbekistan.Translated by her own daughter, interweaving her own recollections as her family made a new life in the shadows of the Holocaust in Communist Poland after the war and into the late 1960s, this book is a rich, living document, a riveting account of a vibrant young woman's courage and endurance.A forty-year recollection of love and loss, of hopes and dreams for a better world, it provides richly-textured accounts of the physical and emotional lives of Jews in Warsaw and of survival during World War II throughout Russia. This book, narrated in a compelling, unique voice through two generations, is the proverbial candle needed to keep memory alive.

Although there is a growing body of literature on sexualized violence during the Holocaust, little scholarship discusses the topic of second-generation inherited sexualized trauma. We explore the subject of inherited sexualized trauma because it is not uncommon to second-generation women, as evidenced by the multiple representations of daughters of survivors who engage in Holocaust-related eroticisms. To make use of a generative case study, we examine Sonia Pilcer’s The Holocaust Kid. The protagonist, Zosha Palovsky, engages in Nazi-Jewess erotic fantasy and role play as a way of addressing, albeit obliquely, her inherited sexualized trauma. Drawing upon the power dynamics described in dominant-submissive sexual fantasies and encounters within Bondage/Domination/Sado-Masochism (BDSM) theory, we suggest that Zosha, by willfully submitting and allowing herself to be sexually dominated by a “Nazi,” paradoxically is in control of the erotic encounter. This control enables her to vicariously assert a measure of agency on behalf of her mother who was stripped of bodily autonomy in Auschwitz. Her vicarious assertion of agency functions as a means of negotiating her postmemory of sexualized violence during the Shoah.

The stories of the many Jewish youngsters who actively resisted Germany and its collaborators are virtually absent in Holocaust cinematic representations of children. Such erasures stem from two main sources. First, political efforts to discount Jewish heroism in the Holocaust, and second, such representations are increasingly considered incompatible with culturally acceptable notions of youth that privilege narratives of childhood innocence and vulnerability. Numerous feature films, shorts, and documentaries employ the theme of silence to describe suffering and/or murder of victims, persistence of post-Holocaust trauma, intergenerational transmission of trauma, and coverup and suppression of atrocities and crimes. But the silences addressed in this article are not those surrounding the murdered victims, they are rather the silences surrounding Jewish resistance, especially by child resisters. The omissions and distortions of the Jewish contribution to Holocaust resistance seem to violate the most minimal standards of representation. Because of the popularity of historical films, the erasure of a Jewish child's identity can have an outsized effect on audiences' understanding of the Holocaust. Because of their mass appeal, films become almost a consensual version of history itself. Further, the false inventions discussed in this paper exacerbate this phenomenon specifically by erasing the contributions and perils of Jewish children during World War II. In a world where the very existence of the Holocaust is sometimes called into question, the importance of these erasures cannot be understated.

Sister in Sorrow offers a glimpse into the world of Hungarian Holocaust survivors through the stories of fifteen survivors, as told by thirteen women and two spouses presently living in Hungary and Israel. Analyzing the accounts as oral narratives, author Ilana Rosen uses contemporary folklore studies methodologies to explore the histories and the consciousness of the narrators as well as the difficulty for present-day audiences to fully grasp them. Rosen's research demonstrates not only the extreme personal horrors these women experienced but also the ways they cope with their memories.In four sections, Rosen interprets the life histories according to two major contemporary leading literary approaches: psychoanalysis and phenomenology. This reading encompasses both the life spans of the survivors and specific episodes or personal narratives relating to the women's identity and history. The psychoanalytic reading examines focal phases in the lives of the women, first in pre-war Europe, then in World War II and the Holocaust, and last as Holocaust survivors living in the shadow of loss and atrocity. The phenomenological examination traces the terms of perception and of the communication between the women and their different present-day non-survivor audiences. An appendix contains the complete life histories of the women, including their unique and affecting remembrances.Although Holocaust memory and narrative have figured at the center of academic, political, and moral debates in recent years, most works look at such stories from a social science perspective and attempt to extend the meaning of individual tales to larger communities. Although Rosen keeps the image of the general group—be it Jews, female Holocaust survivors, Israelis, or Hungarians—in mind throughout this volume, the focus of Sister in Sorrow is the ways the individual women experienced, told, and processed their harrowing experiences. Students of Holocaust studies and women's studies will be grateful for the specific and personal approach of Sister in Sorrow.

Looking back on the past four decades of historical studies on Jewish women and the Holocaust is no small task. I started my own research in the 1970s, focusing first on the German Jewish feminist movement, the Judischer Frauenbund, and later on women's roles in Jewish families in late nineteenth-century Germany. My interest stemmed from my family's refugee history and from my engagement with the women's movement as a student. But it took a while for me to gain the courage to address Jewish women and families in Nazi Germany. It felt too close. Still, as with my other scholarship, I wondered, \"Might women have experienced this era differently from men? And if so, how?\"

Using testimonies, Nazi documents, memoirs, and artistic representations, this volume broadens and deepens comprehension of Jewish women's experiences of rape and other forms of sexual violence during the Holocaust. The book goes beyond previous studies, and challenges claims that Jewish women were not sexually violated during the Holocaust. This anthology by an interdisciplinary and international group of scholars addresses topics such as rape, forced prostitution, assaults on childbearing, artistic representations of sexual violence, and psychological insights into survivor trauma. These subjects have been relegated to the edges or completely left out of Holocaust history, and this book aims to shift perceptions and promote new discourse.

This book provides a chronological account of the Auschwitz concentration camp from the camp's beginning in 1940 right up to its liberation in January 1945, and beyond. Chris Webb manages to find a balance between detailing the sufferings of the victims and the actions, characters, and fates of the perpetrators. He gives, in a concise form, a thorough and deeply disturbing overview of all aspects of Auschwitz and its many satellite camps. In addition, the book contains a vast collection of photographs and documents, some of them never shown in public before. It ends with the 2017 recollections by students who visited Auschwitz from Teesside University.

Theological argument with and protest against God has deep roots in Jewish tradition. Usually the role models for such protests are male biblical figures, such as Abraham, Moses, Jeremiah, Jonah and Job. In this article, I will present an exceptional hasidic interpretation of Sarah's death as an act of “protest within faith.” According to Rabbi Kalonymus Kalman Shapira, a hasidic rebbe in the Warsaw ghetto, Sarah “our matriarch” committed “suicide” for the sake of the people of Israel. Sarah died in order to demonstrate to God that her excessive suffering in the wake of Isaac's near sacrifice was absolutely unbearable. R. Shapira found himself at a time of utter collapse and extreme personal crisis at the beginning of World War II. I argue that, in his biblical exegesis, R. Shapira took Sarah's mode of besieged protestation upon himself as a spiritual leader of the Jewish people, a mantle he carried until his tragic death.