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Keywords = wartime rape

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13 pages, 274 KiB  
Article
“I BROKE FREE” Youth Activism and the Search for Rights for Children Born of War in Bosnia
by Burcu Akan Ellis
Genealogy 2023, 7(4), 73; https://doi.org/10.3390/genealogy7040073 - 26 Sep 2023
Cited by 1 | Viewed by 2424
Abstract
The rise in recognition of children’s agency—that is, their status as inalienable right-bearing actors—has been a welcome change in international organizations, albeit often through a set of media activities that depict children variously as victims or beneficiaries of moral leadership. Typically, a handful [...] Read more.
The rise in recognition of children’s agency—that is, their status as inalienable right-bearing actors—has been a welcome change in international organizations, albeit often through a set of media activities that depict children variously as victims or beneficiaries of moral leadership. Typically, a handful of children/youth affected directly by a particular tragedy become the recognizable faces of identified human rights abuses. This research explores media representation of children born of war in Bosnia, “invisible” children who only recently were legally categorized as victims of war. As children who were born of wartime rape, the lives of select young activists have been documented through movies and media interviews since their childhood. This paper explores the costs of such disclosure and performativity, and sacrifices that young activists make to expose their “truth” to gain recognition of their attendant rights. It ultimately highlights the tension between the search for the rights of affected children and the dilemmas inherent in the actions of the few youth activists who publicly embrace the conditions of their birth to bring voice to others. Full article
14 pages, 227 KiB  
Article
“To Extract from It Some Sort of Beautiful Thing”: The Holocaust in the Families and Fiction of Nava Semel and Etgar Keret
by Ranen Omer-Sherman
Humanities 2020, 9(4), 137; https://doi.org/10.3390/h9040137 - 23 Nov 2020
Viewed by 3882
Abstract
In literary narratives by Nava Semel (1954–2017) and Etgar Keret (b. 1967), both Israeli children of Holocaust survivors, readers encounter the kinds of searching questions about inheriting the burden of traumatic inheritance, witnessing, and postmemory frequently intrinsic to second-generation literature in other national [...] Read more.
In literary narratives by Nava Semel (1954–2017) and Etgar Keret (b. 1967), both Israeli children of Holocaust survivors, readers encounter the kinds of searching questions about inheriting the burden of traumatic inheritance, witnessing, and postmemory frequently intrinsic to second-generation literature in other national contexts. However, their works are further distinguished by acute examinations that probe the moral fabric of Israeli society itself, including dehumanization of the enemy through slogans and other debased forms of language and misuses of historical memory. In addition, their fiction measures the distance between the suffering and pain of intimate family memory (what Semel once dubbed their “private Shoah”) and ceremonial, nationalistic forms of Holocaust memory, and the apartness felt by the children of survivors who sense themselves somehow at odds with their society’s heroic values. Semel’s numerous articles, and fiction as well as nonfiction books, frequently address second and third-generation trauma, arguably most impressively in her harrowing five-part novel And the Rat Laughed (2001) that spans 150 years but most crucially juxtaposes the experiences of a “hidden child” in a remote wartime Polish village repeatedly raped with that of her grandchild writing a dutiful report for her class in contemporary Israel. Elsewhere, in a distant future, a bewildered but determined anthropologist is set on assembling a scientific report with coherent meaning from the fragmented “myths” inherited from the barbaric past. Over the years, Keret (generally known more for whimsical and surreal tales) has often spoken in interviews as well as his memoir about being raised by survivors. “Siren”, set in a Tel Aviv high school, is one of the most acclaimed of Keret’s realist stories (and required reading in Israeli high schools), raises troubling questions about Israeli society’s official forms of Holocaust mourning and remembrance and individual conscience. It is through their portrayals of the cognitive and moral struggles of children and adolescents, the destruction of their innocence, and gradual awakening into compassionate awareness that Semel and Keret most shine, each unwavering in preserving the Shoah’s legacy as a form of vigilance against society’s abuses, whether toward “internal” or “external” others. Full article
(This article belongs to the Special Issue The Literary Response to the Holocaust)
12 pages, 23982 KiB  
Article
Between Grief and Grievance: Memories of Jews in France and the Klaus Barbie Trial
by Michael G. Levine
Humanities 2017, 6(4), 93; https://doi.org/10.3390/h6040093 - 21 Nov 2017
Cited by 1 | Viewed by 4455
Abstract
Working between the Amos Gitai film One Day You’ll Understand (2008) and the 1987 Klaus Barbie trial against which it is set, the article explores how the trial marked a decisive turning point in France’s relationship to its wartime past. Of Barbie’s hundreds [...] Read more.
Working between the Amos Gitai film One Day You’ll Understand (2008) and the 1987 Klaus Barbie trial against which it is set, the article explores how the trial marked a decisive turning point in France’s relationship to its wartime past. Of Barbie’s hundreds of crimes, including murder, torture, rape, and deportation, only those of the gravest nature, 41 separate counts of crimes against humanity, were pursued in the French court in Lyon. Not only did the trial raise crucial juridical questions involving the status of victims and the definition of crimes against humanity but, extending into the private sphere, it became the occasion for citizens to address heretofore silenced aspects of their own family histories and conduct trials of a more personal nature. Whereas the law in general seeks to contain historical trauma and to translate it into legal-conscious terminology, it is often the trauma that takes over, transforming the trial into “another scene” (Freud) in which an unmastered past is unwittingly repeated and unconsciously acted out. Such failures of translation, far from being simply legal shortcomings, open a space between grief and grievance, one through which it is possible to explore both how family secrets are disowned from one generation to the next, and how deeply flawed legal proceedings such as the Barbie trial may “release accumulated social toxins” (Kaplan) and thereby expose unaddressed dimensions of French postwar (and -colonial) history. Full article
(This article belongs to the Special Issue Wounded: Studies in Literary and Cinematic Trauma)
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