Search Results (41)

As first-hand testimonies and accounts of the Holocaust fade, scholars and artists alike have struggled to depict and contextualize the genocide’s monumental violence. But depicting violence and its aftermath poses several problems, including the question of how to recall loss without artificially filling in or effacing the absence so central to its understanding. In essence, remembering the Holocaust is a paradox: the preservation of an absence. Marianne Hirsch’s influential concept of postmemory addresses this paradox and asks questions about memorial capacity in the twenty-first century. This essay considers Hirsch’s postmemory in the context of W.G. Sebald’s 2001 novel Austerlitz, which uses a combination of prose and photography to engage the difficulties inherent in memory work without access to eyewitnesses. Through the interaction of printed text and images, Austerlitz subtly references Lurianic mysticism’s concept of tikkun and Tree of Life (ilanot) diagrams. The result is a depiction of memory that is both process-based and embodies absence. My reading of Austerlitz traces a Jewish heritage within the work of a non-Jewish German author by attending to a tradition of mystical thought embedded in the novel. This situates Sebald’s fiction in a much longer Jewish history that stretches out on either end of the event of the Holocaust. Structurally, Sebald develops a tikkun-like process of (re)creation which relies on gathering material scraps of the past and imaginatively engaging with their absences in the present. Images, just as much as text, are central to this process. Reading Austerlitz in the context of Kabbalah reveals an intellectual and artistic link to a Jewish history that, while predating the Holocaust, nonetheless sheds light on post-Holocaust memories of loss. Full article

In the wake of the Holocaust and the post-war reconstruction of Greece’s historic city centers, many Greek synagogues were demolished, abandoned, or appropriated, erasing centuries of Jewish architectural and communal presence. This study presents a thirty year-long research and documentation initiative aimed at preserving, recovering, and eventually digitally reconstructing these “lost” synagogues, both as individual buildings and within their urban context. Drawing on architectural surveys, archival research, oral histories, and previously unpublished materials, including the recently rediscovered Shemtov Samuel archive, the project grew through the use of technology. Beginning with in situ surveys in the early 1990s, it evolved into full-scale digitally enhanced architectural drawings that formed the basis for further digital exploration, 3D models, and virtual reality outputs. With the addition of these new tools to existing documentation, the project can restore architectural detail and cultural context with a high degree of fidelity, even in cases where only fragmentary evidence survives. These digital reconstructions have informed physical restoration efforts as well as public exhibitions, heritage education, and urban memory initiatives across Greece. By reintroducing “invisible” Jewish landmarks into contemporary consciousness, the study addresses the broader implications of post-war urban homogenization, the marginalization of minority heritage, and the ethical dimensions of digital preservation. This interdisciplinary approach, which bridges architectural history, digital humanities, urban studies, and cultural heritage, demonstrates the value of digital tools in reconstructing “lost” pasts and highlights the potential for similar projects in other regions facing comparable erasures. Full article

This article examines Marcel Janco’s Holocaust drawings, positioning them within the broader discourse of Holocaust representation, trauma, and avant-garde aesthetics. Created in response to the Bucharest Pogrom of January 1941, these works resist both forensic realism and pure abstraction, instead embodying rupture, instability, and fragmentation. Janco’s grotesque distortions neither document events with the precision of testimony nor dissolve into conceptual erasure; rather, they enact the instability of Holocaust memory itself. This essay argues that Janco’s Holocaust works, long overshadowed by his modernist and Dadaist contributions, challenge dominant frameworks of remembrance. Through comparative analysis with artists, such as David Olère, Anselm Kiefer, and George Grosz, it situates Janco’s approach at the limits of witnessing, exploring how his figures embody violence rather than merely depict it. While Olère reconstructs genocide through forensic detail and Kiefer engages with the material traces of memory, Janco’s grotesque forms share an affinity with Grosz’s politically charged distortions—though here, fragmentation serves not as critique but as testimony. Furthermore, the study interrogates the institutional and critical neglect of these works, particularly within Israeli art history, where they clashed with the forward-looking ethos of abstraction. By foregrounding Janco’s Holocaust drawings as both aesthetic interventions and acts of historical witnessing, this article repositions them as crucial yet overlooked contributions to Holocaust visual culture—demanding recognition for their capacity to unsettle, resist closure, and insist on the incompleteness of memory. Full article

Jacob Gens, the head of the Vilnius Ghetto Police Force, and eventually the entire Ghetto during the Holocaust, was murdered on 14 September 1943 by the head of the Vilnius Gestapo. Historical documents and Holocaust survivor testimonies indicate that he was killed at a site that became known as the Rasu Street Prison, and not the Gestapo Headquarters, as it is widely believed. In 2016, research was completed at the Rasu Street Prison site using ground penetrating radar (GPR) and electrical resistivity tomography (ERT) to locate subsurface reflection patterns that possibly indicate the location of where Jacob Gens is buried. Intersecting GPR and ERT reflection patterns were discovered and a plan was put in place to excavate that location. The excavation revealed the presence of human remains at 1.45 m below the surface. A skull and upper torso were exposed, and two teeth were collected for DNA and radiocarbon analysis. The DNA from the tooth was compared to Jacob Gens’ daughter’s DNA, and this comparison yielded a negative result, so the human remains were not those of Jacob Gens. The radiocarbon analysis provided a date between 1685 and 1735. In 1705, a plot of land was donated to the Visitation Monastery, which used this plot, and which coincides with the location of the Rasu Street Prison, as a cemetery for the poor. In 1709 and 1710, a plague epidemic was prevalent in Vilnius, as was turmoil and famine associated with the Great Northern War (1700 to 1721). Based on these discoveries, rather than finding the remains of Jacob Gens, it is likely that we found human remains that are part of a forgotten 18th century cemetery associated with the Visitation Monastery. Full article

Immigration, particularly forced immigration, has a profound impact on every aspect of immigrants’ lives. One such aspect is their religious convictions and practices. Nowadays, Migration Studies is a major academic field that produces many books and articles each year. This article examines the impact of forced immigration on the daily practices and internal relationships between leaders and followers of a specific religious group—Hassidism, in one particular period—the early second half of the 20th century. It does so by examining how two Hassidic leaders, the Satmar Rebbe in America and the Viznitzer Rebbe in Israel, established their communities after the Holocaust. This is one of only a few academic studies that explore post-Holocaust Hassidism, with a specific focus on the effects of forced immigration on its development. Throughout Jewish history, large-scale immigration and the inevitable need to adapt to new political, religious, and cultural circumstances had a profound influence on the way Jews conducted their religious affairs. This article explores how the uprooting of Hassidism from Eastern Europe after the Holocaust and its transplantation in countries that were new to them prompted Hassidic leaders who wanted to reestablish their communities to adopt a new set of leadership priorities. The result was that despite bearing the same title, Hassidic communities that were established after the Holocaust were very different from those that operated in Europe previously. Full article

This article analyses the transformative impact of the Documentation of Jewish Records Worldwide (DoJR) project, launched in 2017, on Jewish genealogy. Jewish genealogy, deeply rooted in centuries of tradition and cultural significance, transcends mere ancestral tracing, embodying a comprehensive exploration of Jewish history and heritage. The DoJR project represents a monumental shift in this field, aiming to compile a comprehensive, freely accessible online catalog, JCat, of every existing document of every Jew who ever lived. This endeavor reshapes our approach to Jewish genealogy and profoundly deepens our understanding of Jewish history. This article delves into the historical context of Jewish genealogy, tracing its evolution from ancient times through various challenges, including the Holocaust’s devastating impact on Jewish genealogical records. It highlights the pioneering efforts in the field and the modern advancements that have facilitated the growth of Jewish genealogy, including DNA testing and digital technologies. Full article

Despite the increasingly diverse societal landscape in Greece for more than three decades within a context of migration, understandings of its fragile histories are still limited in shaping a sense of belonging that is open to ‘otherness’. While Greek communities have utilised history as a pathway to maintain identity, other parallel histories and understandings do not resonate with ‘Greekness’ for most, such as the case of Greek Jewry. Critical historical perspectives can benefit from tracing ‘re-membering’ as a feminist practice in the reassessment of societal values of inclusivity. Histories of violence and injustice can also include elements of ‘difficult histories’ and must be embraced to seek acknowledgement of these in promoting social change and cultural analysis for public humanities informing curation and curricula. Between eduscapes, art heritage spaces, an entry into contested and conflictual histories can expand a sense of belonging and the way we imagine our own connected histories with communities, place and nation. Greek Jews do not constitute a strong part of historical memory for Greeks in their past and present; in contrast to what is perceived as ‘official’ history, theirs is quite marginal. As a result, contemporary Greeks, from everyday life to academia, do not have a holistic understanding in relation to the identities of Jews in Greece, their culture or the Holocaust. Given the emergence of a new wave of artistic activism in recent years in response to the ever-increasing dominance of authoritarian neoliberalism, along with activist practices in the art field as undercurrents of resistance, in this intervention I bring together bodies of works to create a dialogic reflection with historical, artistic and feminist sources. In turn, the discussion then explores the spatiotemporal contestations of the historical geographies of Holocaust monuments in Greece. While interrogating historical amnesia, I endeavour to provide a space to engage with ‘difficult histories’ in their aesthetic context as a heritage of healing and social justice. Full article

This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like “postmemory” link second-generation Jewish artists to past experiences and unveil the erasure of Jewish women’s memory of Jewish genocide. Analyzing Hersko and Hiller’s diverse works, from landscape photography and sculpture to performance art, it underscores their shared pursuit: illuminating lingering “ghosts” of the Holocaust in modern landscapes. Susan Hiller’s The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon. Judit Hersko’s art calls for bearing witness to a potential climate catastrophe in Antarctica. The article culminates in the exploration of “The Memorial” (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany. In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war. Full article

In recent times, global events have starkly illuminated the disturbing absence of ethnic tolerance, thrusting interethnic conflicts into the spotlight and casting shadows over both individual and collective identities. This research focuses on the Holocaust, delving into the annals of history through the lenses of recollection, personal identification, and genetic memory, as portrayed within the pages of the novel Echoes: From the Dead Grandfather to the Deceased. The primary aim is to fathom the gradual erosion of collective historical memory over time and discern its profound significance for future generations. Within this study, an examination of the interplay between the ‘collective unconscious’ and the ‘personal unconscious’ is undertaken. Additionally, the novel’s utilization of symbols and details is scrutinized. The research employs a multifaceted approach, encompassing historical-genetic, interpretative, narrative, and psychoanalytic methodologies. Through the protagonist’s transformative journey, the novel highlights the importance of preserving historical memory and recognizing its lasting impact on individual and collective consciousness. Full article

In this article, I analyze Julia Pirotte’s photographs of the immediate aftermath of the Kielce pogrom as a resource for conceptualizing the relationship between trauma and photography, gendered ways of seeing, memory and trauma, body and archive, vision and death, death and the archive, images and history, survival, and destruction. These specific atrocity pictures make a difference to contemporary conceptions of trauma photography and the female gaze in relation to racist, political violence. I work with theories that go beyond thinking about trauma and photography based on the Lacanian concept of tuché on the one hand, and Barthes’ punctum on the other. I investigate to what extent Pirotte’s documentation of the Jewish victims and survivors of the pogrom can be read as a belated encounter with the trauma of the Holocaust, and what it reveals about survival at the site of violence. The article is a work of a feminist academic oriented at reclaiming a space within the narrative on visual violence; the reflection on the female traumatic gaze is an element of a broader gesture aimed at reorienting the theory of atrocity pictures and documentations of political violence, as well as photography of trauma. Full article

Tourism is one of the most effective and attractive tools for achieving many goals including educational. Learning and gaining knowledge by traveling have been present in human history for centuries. Education does so well in tourism because it is accompanied by human curiosity about the world. Tourism can teach natural, social, and historical sciences. It is an important tool for learning about the past that influences the present and the future, especially if it is a difficult past such as the memory of the Holocaust. Tourism can help to draw conclusions about the past as long as it contributes to the acquisition of specific knowledge. Considering this role of tourism, it is worth asking when tourism starts? Many authors see the beginning of tourism at the stage of gathering information. The main assumption of this publication can be summarized as the consideration that the quality of an educational tourist product depends on the availability of information, its quality, and the manner in which it is provided. Today, the most important information distribution channel is digital media, including both websites and social media. Well-provided information accelerates the development of a resource, destination, or region; at the same time, information provided incorrectly or a lack of information in the virtual space may be an inhibitor of the development of educational tourism. The aim of the article is to assess the manner of communicating information related to the Holocaust of World War II, which took place in Nazi German-occupied Poland. The study was conducted with the use of qualitative methods—expert assessment and assessment of the information transfer effectiveness based on the scoring method. The research material included existing websites presenting the resources and methods of operation of museums dedicated to the Holocaust located in Poland. During evaluation, particular attention was paid to the scope of information, methods of its transmission, its internationalization, and timeliness of activities, especially in the field of promoting elements of the offer related to education and shaping attitudes. The aim of the research was to organize the official Internet resources, classify them, and discuss the functioning of information on the Holocaust in the virtual space, so as to use the potential of information in the most effective way to create a product for educational tourism. Full article

This paper considers the presence and potential educational impact of national exhibitions within the Auschwitz Birkenau State Museum in Poland. It takes a constructivist, personal-theoretical approach, drawing from autoethnography to explore possible visitor experiences at two of the national exhibits. Through detailed reflection on the French exhibition (Block 20) and the Dutch exhibition (Block 21), the author conducts a thematic analysis on the content in order to consider the constructions and possible intentions of the narratives presented. This is used to consider how the (relatively unvisited) exhibitions might contribute to visitors’ developing understandings of the complex history of the Holocaust. Particularly, the author considers how the national exhibits might contribute to the education of young people at the museum, and, by extension, at other sites, memorials, or educational spaces. The paper concludes that the inclusion of these complex national narratives is vital in young people gaining an understanding of the Holocaust as a multi-layered event. The paper offers a model for enabling inclusive Holocaust Education that embraces: (1.) divergent historical narratives (such as those in the national exhibitions), (2.) young people’s emotional engagement and responses to those narratives, and (3.) the Holocaust (and its representations) as a ‘contested space’ of history. Full article

This article considers the growing rift between Western and Eastern Europe regarding the commemoration of Europe’s recent past and related historical narratives of nationhood that shape contemporary political preferences. More specifically, it investigates the connections between collective memory, national identities, and democratic cultures as they manifest themselves in Germany and Poland. With the help of an interpretative analysis focused on the discourse of political elites in both countries, the article identifies competing ways of interpreting 20th-century history and providing it with meaning for contemporary audiences. The national case studies of Germany and Poland present a contrasting logic in this respect: the promise of freedom and democracy in Poland is primarily narrated as the liberation from foreign rule and the desire for national independence. This narration is significantly built around a notion of popular sovereignty in which dissenting views of the heroic national past tend to be discredited and largely banned from public debate. In contrast, in Germany, the memory of fascism and the Holocaust has established a stronger rights-based approach to democracy in the liberal tradition and an openness to contesting historical narratives in the public domain. Full article

While it is well established that articulations of identity must always be contextualized within time and place, only when we consider how bodies move through, touch, and are touched by physical, cognitive, and even imaginary spaces do we arrive at dynamic and intersectional expressions of identity. Using two divergent visual culture case studies, this essay first applies Setha Low’s theory of embodied spaces to understand the intersection and interconnection between body, space, and culture, and how the concept of belongingness is knotted with material and representational indicators of space at the Yad Vashem Holocaust History Museum in Israel. Marianne Hirsch’s ideas about the Holocaust and affiliative postmemory are also considered to further understand how Jewish bodies inherit their identifies and sense of belonging. To test how embodied spaces and affiliative postmemory or collective memory implicitly operate to help shape and articulate expressions of Jewish identities, the focus then shifts to a consideration of the eight-decade career of New York jazz musician and visual artist, Bill Wurtzel. The clever combination of “schtick and sechel” in Wurtzel’s artistic practice, activated by his movement through the Jewish spaces of his youth such as the Catskills, and through his interaction with Jewish design great, Lou Dorfsman, underscore how Jewish belonging and identity are forged at the intersection of physical and tactile “embodied spaces,” where the internal meets the external and human consciousness and experience converge. Full article

In this article, I examine two case studies of spatial representation of atrocity and trauma: Jerzy Skąpski’s poster Każdy Dzień Oświęcimia (Every Day at Auschwitz) (1974), published in the October 1978 edition of The Unesco Courier, and the aesthetic/activist action known as “El Siluetazo” (1983), which was created by Rodolfo Aguerreberry, Julio Flores, and Guillermo Kexel, and carried out as a memory-activist intervention by the Mothers of Plaza de Mayo and the Argentinian public on 21–22 September 1983. To examine the interconnections of Holocaust memory within these two case studies, I follow Michael Rothberg’s notion of multidirectional memory and Astrid Erll’s conceptualization of transcultural and travelling memory. In particular, I analyze how Skąpski’s use of silhouettes to spatially depict the victims of Auschwitz is adopted and transformed by the Argentinian artists and public to denounce the disappearance of 30,000 of their compatriots. I argue that in outlining the figures of the victims of the Holocaust and the Argentinian dictatorship, respectively, these creative works exemplify the transcultural use of silhouettes originating in Holocaust memory and the multidirectional influence, derived from their organic connection, of spatial visualizations of absent bodies as they commemorate and make present the victims of these traumatic histories. Full article