The association of Nazism with the symbol of ultimate evil - the devil - can be found in the works of Klaus and Thomas Mann, Else Lasker-Schuler, and Rolf Hochhuth. He appears either as Satan of the Judeo-Christian tradition, or as Goethe's Mephisto. The devil is not only a metaphor, but a central part of the historical analysis. Barasch-Rubinstein looks into this phenomenon and analyzes the premise that the image of the devil had a substantial impact on Germans' acceptance of Nazi ideas. His diabolic characteristics, the pact between himself and humans, and his prominent place in German culture are part of the intriguing historical observations these four German writers embedded in their work. Whether writing before the outbreak of WWII, during the war, or after it, when the calamities of the Holocaust were already well-known, they all examine Nazism in the light of the ultimate manifestation of evil.

The Holocaust Memorial Museum reveals and traces the transformation of ancient Jewish symbols, rituals, archetypes and narratives deployed in these sites. Demonstrating how cloaking the 'secular' history of the Holocaust in sacred garb, memorial museums generate redemptive yet conflicting visions of the meaning and utility of Holocaust memory.

In the last two decades our empirical knowledge of the Holocaust has been vastly expanded. Yet this empirical blossoming has not been accompanied by much theoretical reflection on the historiography. This volume argues that reflection on the historical process of (re)constructing the past is as important for understanding the Holocaust-and, by extension, any past event-as is archival research. It aims to go beyond the dominant paradigm of political history and describe the emergence of methods now being used to reconstruct the past in the context of Holocaust historiography.

Over 16 million copies sold worldwide 'One of the most remarkable books I have ever read' Susan Jeffers One of the outstanding classics to emerge from the Holocaust, Man's Search for Meaning is Viktor Frankl's story of his struggle for survival in Auschwitz and other Nazi concentration camps. Today, this remarkable tribute to hope offers us an avenue to finding greater meaning and purpose in our own lives.

In the early morning hours of May 18, 1944 the Russian army, under orders from Stalin, deported the entire Crimean Tatar population from their historical homeland. Given only fifteen minutes to gather their belongings, they were herded into cattle cars bound for Soviet Central Asia. Although the official Soviet record was cleansed of this affair and the name of their ethnic group was erased from all records and official documents, Crimean Tatars did not assimilate with other groups or disappear. This is an ethnographic study of the negotiation of social memory and the role this had in the growth of a national repatriation movement among the Crimean Tatars. It examines the recollections of the Crimean Tatars, the techniques by which they are produced and transmitted and the formation of a remarkably uniform social memory in light of their dispersion throughout Central Asia. Through the lens of social memory, the book covers not only the deportation and life in the diaspora but the process by which the children and grandchildren of the deportees returned and anchored themselves in the Crimean Peninsula, a place they had never visited.

Since its completion in 1955, Alain Resnais's Night and Fog (Nuit et Brouillard) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, identified on his return in 1945 as the 'concentrationary universe' which, now actualized, might release its totalitarian plague any time and anywhere? What kind of memory does the film create to warn us of the continued presence of this concentrationary universe? This international collection re-examines Resnais's benchmark film in terms of both its political and historical context of representation of the camps and of other instances of the concentrationary in contemporary cinema. Through a range of critical readings, Concentrationary Cinema explores the cinematic aesthetics of political resistance not to the Holocaust as such but to the political novelty of absolute power represented by the concentrationary system and its assault on the human condition.

."..the author has identified a significant and little examined subject for study, and displays a deep knowledge of it... Where previously the issue of Polish film and the Holocaust had been addressed in single articles or chapters on the depiction of the Holocaust in particular films, here, for the first time we have a history." Jeremy Hicks, University of London

During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska's "The Last Stage" (1948) and Aleksander Ford's "Border Street" (1949), and next explores the Polish School period, represented by Andrzej Wajda's "A Generation" (1955) and Andrzej Munk's "The Passenger" (1963). Between 1965 and 1980 there was an "organized silence" regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kie lowski's "Decalogue 8" (1988), Andrzej Wajda's "Korczak" (1990), Jan Jakub Kolski's "Keep Away from the Window" (2000), and Roman Pola ski's "The Pianist" (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland's national memory.

Marek Haltof is Professor at Northern Michigan University in Marquette. His recent books include the "Historical Dictionary of Polish Cinema" (2007), "Australian Cinema: The Screen Construction of Australia" (in Polish, 2005), "The Cinema of Krzysztof Kie lowski: Variations on Destiny and Chance" (2004), and "Polish National Cinema" (2002).

Over three days in November 1941, in Sosenki Forest outside the city of Rovno, Ukraine, German death squads supported by local collaborationists murdered some 23,500 Jewish men, women, and children. Often remembered as "the second Babi Yar," the massacre was one of nearly a hundred similar German-sponsored, large-scale, anti-Jewish killing operations perpetrated in Soviet zones during the early months of World War II on the Eastern Front. Preceding the adoption of the "Final Solution" by the Third Reich, Rovno and other mass killings in the East were testing grounds for genocide. This study of the Rovno massacre is based substantially on remarkable new research that blends sources from multiple archives (and archival traditions), national memories, and first-person testimony that places victims' accounts side-by-side with those of German, Polish, Ukrainian, and Russian eyewitnesses. In its meticulous reconstruction of these events, The Holocaust in Rovno exemplifies the burgeoning movement to form a genuinely transnational history of the Holocaust.

Paris was home to one of the key European initiatives to document and commemorate the Holocaust, the Centre de documentation juive contemporaine . By analysing the earliest Holocaust narratives and their reception in France, this study provides a new understanding of the institutional development of Holocaust remembrance in France after the War.

Irmin Vinson's Some Thoughts on Hitler and Other Essays is a book about propaganda. Vinson explains how the organized Jewish community uses the memory of Adolf Hitler and the Holocaust as weapons to stigmatize the patriotism and ethnic pride not just of Germans, but of all whites, including those who fought against Hitler. In these clear, rational, and highly readable essays, Irmin Vinson demolishes this propaganda and exposes the insidious agenda behind it.

Sarah, nine years old, endures yet another air-raid in the street shelter in Blitz-torn England. At the same time nine-year old Claude is practising an escape should their house in occupied France be raided by the Gestapo. Sarah and Claude, Jews, and their families experience the devastating effects of Nazi Germany. The children are deeply traumatised, Sarah by the fate of her mother during an air-raid and Claude by the 'disappearance' of his family. The effects of their tragic experiences are played out very differently. The early lives of the children, though in different cultures and different circumstances, manifest very similar parallel experiences. It is only when the two central characters meet as adults that the effects of the trauma show themselves clearly and very dramatically. The novel traces four generations of the two families through to the final powerful and moving outcome.

Survival in Auschwitz: If This Is a Man is a book written by the Italian author, Primo Levi. It describes his experiences in the concentration camp at Auschwitz during the Second World War.

Levi, then a 25-year-old chemist, spent 10 months in Auschwitz before the camp was liberated by the Red Army. Of the 650 Italian Jews in his shipment, Levi was one of only twenty who left the camps alive. The average life expectancy of a new entrant was three months.

This truly amazing story offers a revealing glimpse into the realities of the Holocaust and its effects on our world.

Deportations by train were critical in the Nazis' genocidal vision of the "Final Solution of the Jewish Question." Historians have estimated that between 1941 and 1944 up to three million Jews were transported to their deaths in concentration and extermination camps. In his writings on the "Final Solution," Raul Hilberg pondered the role of trains: "How can railways be regarded as anything more than physical equipment that was used, when the time came, to transport the Jews from various cities to shooting grounds and gas chambers in Eastern Europe?" This book explores the question by analyzing the victims' experiences at each stage of forced relocation: the round-ups and departures from the ghettos, the captivity in trains, and finally, the arrival at the camps. Utilizing a variety of published memoirs and unpublished testimonies, the book argues that victims experienced the train journeys as mobile chambers, comparable in importance to the more studied, fixed locations of persecution, such as ghettos and camps.

"A Partisan from Vilna" is the memoir of Rachel Margolis, the sole survivor of her family, who escaped from the Vilna Ghetto with other members of the resistance movement, the FPO (United Partisan Organization), and joined the Soviet partisans in the forests of Lithuania to sabotage the Nazis. Beginning with an account of Rachel's life as a precocious, privileged girl in pre-war Vilna, it goes on to detail life in the Vilna Ghetto, including the development and struggles of the FPO against the Nazis. Finally, the book chronicles the escape of a group of FPO members into the forest of Belorussia, where Rachel became a partisan fighter. Rachel Margolis received a Ph.D. in biology in and taught until the late 1980's. She then co-founded Lithuania's only real Holocaust museum, the Green House in Vilnius. She is also responsible for the discovery and transcription of the Kazimierz Sakowicz diary, published here in the US under the title, "Ponary Diary: A Bystander's Account of Mass Murder" (Yale University Press, 2004). The book opens with an introductory essay by renowned Polish historian, Antony Polonsky.

For more than thirty years Francesco Lotoro, an Italian pianist and composer has been on an odyssey to recover music written by the inmates of Adolf Hitler's concentration camps and the gulags of Stalin's Soviet Union. Between 1933, the year of the opening of the Dachau Lager in Germany, to Stalin's death in 1953 when thousands of Soviet prisoners were released, Lotoro pieces together the human stories of survivors whose only salvation was their love of music. Across three decades of relentless investigation, his findings as captured in Lost Music of the Holocaust are extraordinary and historically important. Lotoro unearthed over eight thousand unpublished works of music, ten thousand documents (microfilms, diaries, notebooks, and recordings on phonographic recordings), as well as locating and interviewing many survivors who in a previous life had been trained musicians and composers. Be it a symphony, an opera, a simple folk song or even a gypsy melody, Lotor has travelled the globe to track them down. Many pieces were hastily scribbled down ow whatever the composer could find: food wrappings, a vegetable sack and even a train ticket stub. To avoid discover by camp guards, Lotoro even discovered forgotten pieces of code inmates had invented to hide their real meaning - music. In many cases, the composers would be murdered in the gas chambers or worked to death, not knowing whether their music would be heard by the world. Until now. Their stories and their music adds colour and humanity to the horrors of the Holocaust and of Stalin's oppressive rule. It is a journey into music and history that reveals a new way of telling the darkest chapters of the twentieth century whilst shining a light on the beauty that could still be created amidst the horrors endured.

Based on the heart-breaking true story of Cilka Klein, Cilka's Journey is a million copy international bestseller and the sequel to the No.1 bestselling phenomenon, The Tattooist of Auschwitz

In 1942 Cilka Klein is just sixteen years old when she is taken to Auschwitz-Birkenau Concentration Camp. The Commandant at Birkenau, Schwarzhuber, notices her long beautiful hair, and forces her separation from the other women prisoners. Cilka learns quickly that power, even unwillingly given, equals survival.

After liberation, Cilka is charged as a collaborator by the Russians and sent to a desolate, brutal prison camp in Siberia known as Vorkuta, inside the Arctic Circle.

Innocent, imprisoned once again, Cilka faces challenges both new and horribly familiar, each day a battle for survival. Cilka befriends a woman doctor, and learns to nurse the ill in the camp, struggling to care for them under unimaginable conditions. And when she tends to a man called Alexandr, Cilka finds that despite everything, there is room in her heart for love.

Cilka's Journey is a powerful testament to the triumph of the human will. It will move you to tears, but it will also leave you astonished and uplifted by one woman's fierce determination to survive, against all odds.

Don't miss Heather Morris's next book, Stories of Hope. Out now.

Deportations by train were critical in the Nazis' genocidal vision of the "Final Solution of the Jewish Question." Historians have estimated that between 1941 and 1944 up to three million Jews were transported to their deaths in concentration and extermination camps. In his writings on the "Final Solution," Raul Hilberg pondered the role of trains: "How can railways be regarded as anything more than physical equipment that was used, when the time came, to transport the Jews from various cities to shooting grounds and gas chambers in Eastern Europe?" This book explores the question by analyzing the victims' experiences at each stage of forced relocation: the round-ups and departures from the ghettos, the captivity in trains, and finally, the arrival at the camps. Utilizing a variety of published memoirs and unpublished testimonies, the book argues that victims experienced the train journeys as mobile chambers, comparable in importance to the more studied, fixed locations of persecution, such as ghettos and camps.