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Genealogy
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Painful Truths and Unspoken Words: Remembering Genocides and the Holocaust...
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Painful Truths and Unspoken Words: Remembering Genocides and the Holocaust in Different Genres and Regions of the World

A special issue of Genealogy (ISSN 2313-5778).

Deadline for manuscript submissions: closed (31 December 2021) | Viewed by 7526

Special Issue Editor

Dr. Mark Malisa

E-Mail Website
Guest Editor
Educational Research and Administration, University of West Florida, Pensacola, FL 32514, USA
Interests: memory; film; genocide; ethnicity; education; museum

Special Issue Information

Dear Colleagues,

Initial world responses to the Holocaust included the declaration “never again” (Gilbert, 2000; Reese, 2017; Herman, 2018; Power, 2013). This Special Issue on “Remembering Genocides and the Holocaust” invites contributions from different fields, such as film, music, museums, and literature. Contributions may explore specific representations in their own right or the relationship between representations and lived experiences pertaining to genocide/the Holocaust. They may focus on how remembrances of the Holocaust and genocides have been transformed over time, including, but not limited to the globalization, nationalization or privatization of such memories. The following may help to illustrate the scope of the Special Issue but are not intended to limit the choice of topic:

Overview: How have portrayals of the Holocaust or other genocides changed in response to the activities of political movements or advocacy groups? Who decides official labels and categories, including the role of community representatives? Issues of societal acceptability of representations; the different conceptual bases in which such representations are grounded and the historical, social, and political underpinnings of such changes, etc.

  • Genocides/the Holocaust in Film and Media: representations in this genre and how these trends reflect changes in the visibility, support, and media coverage of different genocides or the Holocaust; the politics of such representations (what they seek to portray and the validity of these narratives), etc.
  • Genocide/Holocaust representations in Literature, memoirs, non-fiction, popular periodicals, and other literary genres: types of literary representations and their limitations; racial/ethnic groups, public figures, and when appropriate, heroines and villains as subjects of such portrayals; comparisons with lived experience and other counternarratives; the framing of genocide/the Holocaust in this genre and how such representations may reflect the race/ethnicity/gender of the authors of these representations.
  • Genocide/Holocaust representations in museums:how these museums portray memories of the Holocaust/Genocide; the location of these representations in niche and other market types; comparisons with lived experience and other counternarratives.
  • United Nations/Other International Organization and the Holocaust/Genocides: Representations of the United Nations and other international organizations in preventing Genocide/another Holocaust: e.g., as bridges between different racial/ethnic groups or as heralding an ostensible post-conflict era; coalitions and intergroup or international allegiances, e.g., in anti-genocide campaigns.
  • Global/Regional/National Representations of Genocide/the Holocaust. Articles that focus on different regions of the world or different nations.
  • Representations of the Holocaust/Genocide in specific policy contexts: there are diverse ways in which the holocaust/genocide are socially represented in policy settings, e.g., the way genocide/the Holocaust are articulated and constructed in education/sports and entertainment.

Reference:

Cohen, J. (2007). One hundred days of silence: America and the Rwanda Genocide

Moore, M. (2009). Genocide of the Mind: New Native American Writing

Melvern, L (2006). Conspiracy to murder: The Rwandan Genocide

Power, S. (2013). A Problem from Hell: America and the Age of Genocide

Key dates:

Abstract submission deadline: June 3, 2021. If interested send a 150 to 200 word abstract by June 3, 2021 to [email protected] and [email protected]. Abstracts should include the corresponding author’s email and affiliation. Please put “Genocide and Holocaust Special Issue” in the subject heading of your submission email. Please indicate in your submission the primary theme or area with which your paper belongs and the expected topic, argument, methodology, sources, and contribution. Abstracts will be assessed by the special issue guest editor along with the editors of Genealogy. Authors will be notified by July 14, 2021 regarding decisions on their abstracts. Authors of accepted abstracts will be invited to submit full papers no later than November 30, 2021. Please note that the acceptance of an abstract does not necessarily imply the acceptance of the full paper for the special issue. All full paper submissions will go through the standard double-blind review process for papers submitted to Genealogy.

Decision on abstracts, July 14, 2021. Email to [email protected] and [email protected]

Full article submission. November 30, 2021

Dr. Mark Malisa
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Genealogy is an international peer-reviewed open access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • genocide
  • education
  • memory studies
  • museums
  • united nations

Published Papers (3 papers)

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Research

13 pages, 268 KiB  
Article
Identity and the Genocide That Did Not Happen: An Analysis of Two Zimbabwean Plays 1983: Years Before and After and Speak Out!
by Cletus Moyo and Miranda Young-Jahangeer
Genealogy 2022, 6(2), 24; https://doi.org/10.3390/genealogy6020024 - 25 Mar 2022
Viewed by 1812
Abstract
Between 1983 and 1987, three years after Zimbabwe gained independence from Britain, there were disturbances in the Ndebele dominated Matabeleland and Midlands provinces, resulting in the massacre of an estimated 20,000 unarmed civilians by an elite armed unit sent by the newly elected [...] Read more.
Between 1983 and 1987, three years after Zimbabwe gained independence from Britain, there were disturbances in the Ndebele dominated Matabeleland and Midlands provinces, resulting in the massacre of an estimated 20,000 unarmed civilians by an elite armed unit sent by the newly elected democratic (Shona dominated) government. This has become known as the Gukurahundi. The atrocities ended with the signing of the Unity Accord in 1987; however, the Gukurahundi issue has remained sensitive, due to the official silence on this painful period, which has lasted many decades. Victims and families in this community have been given no closure. This article examines the portrayal of identity/genealogy issues by two stage plays: 1983: Years Before and After and Speak Out! The view that we take is that theatre offers a map of individual and social experience that provides a tapestry of the people’s suffering, pain, concerns, hopes, and aspirations. We observe that the plays under study grapple with issues of identity emanating from the undocumented deaths and disappearances of people during the Gukurahundi, whose effects manifest today in the lives of the survivors and children of victims, through failure to obtain birth certificates and identity documents, and through an identity crisis. We conclude that theatre has provided an avenue for the victims of the Gukurahundi to share their experiences and to protest against their continued marginalisation. Full article
(This article belongs to the Special Issue Painful Truths and Unspoken Words: Remembering Genocides and the Holocaust in Different Genres and Regions of the World)
12 pages, 277 KiB  
Article
The Representation of the Holocaust in Israeli Society and Its Implications on Conceptions of Democracy and Human Rights of “Others”
by Irit Keynan and Noga Wolff
Genealogy 2022, 6(1), 18; https://doi.org/10.3390/genealogy6010018 - 18 Feb 2022
Cited by 1 | Viewed by 2458
Abstract
Much has been written about the representation of the Holocaust in Israel, but there is less awareness to its effects on attitudes toward democracy and the universal meaning of human rights. Representations of the Holocaust by Israeli socialization agents usually focus on hatred [...] Read more.
Much has been written about the representation of the Holocaust in Israel, but there is less awareness to its effects on attitudes toward democracy and the universal meaning of human rights. Representations of the Holocaust by Israeli socialization agents usually focus on hatred toward Jews, disregarding the broader theoretical-ideological context. This tendency is typical to groups that suffered such severe traumas in their past. Nonetheless, we argue that it does not allow a healing process and fosters a reduced perspective on the essential principles of democracy. It also particularizes the concept of human rights, thus excluding those of “others,” such as Palestinians. We further argue that a more extensive perspective on the Holocaust, which includes an understanding of Nazism within an ideological mosaic that denies democratic principles and humanity, may strengthen Israelis’ identification with democratic principles and universal human rights. We analyze the different approaches to teaching the Holocaust in the context of the collective trauma and explore their impact on society’s sense of victimhood and moral injury. The paper ends with a suggestion for further research that will explore the possibility that a school curriculum that emphasizes universal lessons will enable the memorialization of the Holocaust without succumbing to nationalistic perceptions. Full article
(This article belongs to the Special Issue Painful Truths and Unspoken Words: Remembering Genocides and the Holocaust in Different Genres and Regions of the World)
18 pages, 277 KiB  
Article
Bearing Witness in Analog and Digital Witness Films: Ethical Aesthetics in Shoah [1985] and Waltz with Bashir [2008]
by Louis Levi Breitsohl
Genealogy 2022, 6(1), 14; https://doi.org/10.3390/genealogy6010014 - 11 Feb 2022
Cited by 1 | Viewed by 1984
Abstract
In the ongoing and passionate debates over the digitalization of visual media, many questions about the ontology or materiality of the new digital image have been raised. Analog representation is often thought of in terms of indexicality and sometimes a naive belief in [...] Read more.
In the ongoing and passionate debates over the digitalization of visual media, many questions about the ontology or materiality of the new digital image have been raised. Analog representation is often thought of in terms of indexicality and sometimes a naive belief in the truthfulness of the photographic image, whereas the digital image is, in a way, no longer an image anymore, but a set of data in flux, superficially coded and easy to manipulate. The following article examines how this shift to digitalization affects the ethical genre per se: the witness film. In a film analytical close reading of Claude Lanzmann’s Shoah and Ari Folman’s Waltz with Bashir, resonances become visible to psychoanalysis, Deleuzian film philosophy and the debates over the materiality of the analog and digital image. Lanzmann draws on a specific kind of indirect indexicality, which is highly interested in the psychic and embodied realities of surviving, witnessing and the passing of time, whereas Folman develops a politics of the powers of the false: truthfulness, accessibility and memorability are abolished in favor of false images, screen-memories and traumatic mis/representation, which are staged noticeably digital and altered, revolving around the impossibility to grasp the ungraspable. Full article
(This article belongs to the Special Issue Painful Truths and Unspoken Words: Remembering Genocides and the Holocaust in Different Genres and Regions of the World)
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