In this rich and riveting narrative, a writer's search for the truth behind his family's tragic past in World War II becomes a remarkably original epic--part memoir, part reportage, part mystery, and part scholarly detective work--that brilliantly explores the nature of time and memory, family and history.

* This book has two main goals: to contextualize the phenomena of Holocaust artwork for the field of art therapy, and use that cannon of artwork to support the inclusion of logotherapy into art therapy theory and practice * Built on three sections of the author's doctoral work: theory, research, and practice * Themes are presented in practice in the third section can be used to guide clients in art therapy practice within the existential philosophy of logotherapy, which emphasizes meaning making to facilitate healing and personal growth

The noted historian and Litvak (Jews of Lithuanian heritage), Josef Rosin, presents the history of 50 Jewish towns in Lithuania. The book includes information about the founding of the settlements, their development into vibrant communities, and their ultimate destruction in the Shoah (Holocaust). This is Josefs third book, which brings to 102, the number of communities that he has documented. The thorough coverage shows the rich culture from which many American, South African and Israeli Jews of Litvak heritage can trace their history. This book is a rich resource for Litvak genealogists to extend their knowledge to understand the communities from which their ancestors came. This book is a valuable resource for libraries, synagogues and Litvak homes. Below is the list of towns with the Yiddish name first, and the Lithuanian name in parenthesis: Akmyan (Akmen), Anishok (Onukis), Erzhvilik (Ervilkas), Gelvan (Gelvonai), Girtegole (Girkalnis), Grinkishok (Grinkikis), Grishkabud (Grikabdis), Gudleve (Garliava), Kaltinan (Kaltinnai), Kamai (Kamajai), Krakinove (Krekenava), Kruzh (Kraiai), Kurshan (Kurnai), Laizeve (Laiuva), Leipun (Leipalingis), Loikeve (Laukuva), Ludvinove (Liudvinavas), Luknik (Luok), Maliat (Moltai), Miroslav (Miroslavas), Nemoksht (Nemakiai), Pashvitin (Pavitinys), Pikeln (Pikeliai), Plotel (Plateliai), Pumpyan (Pumpnai), Rasein (Raseiniai), Remigole (Ramygala), Riteve (Rietavas), Sapizishok (Zapykis), Shadeve (eduva), Shidleve (iluva), Siad (Seda), Srednik (Seredius), Survilishok (Survilikis), Svadushch (Svedasai), Trashkun (Troknai), Trishik (Trykiai), Tsaikishok (ekik), Tsitevyan (Tytuvnai), Vabolnik (Vabalninkas), Vaigeve (Vaiguva), Vainute (Vainutas), Vekshne (Viekniai), Velon (Veliouna), Vidukle (Vidukl), Yelok (Ylakiai), Yezne (Jieznas), Zharan (arnai), and Zhidik (idikai).

This book concerns building an idealized image of the society in which the Holocaust occurred. It inspects the category of the bystander (in Polish culture closely related to the witness), since the war recognized as the axis of self-presentation and majority politics of memory. The category is of performative character since it defines the roles of event participants, assumes passivity of the non-Jewish environment, and alienates the exterminated, thus making it impossible to speak about the bystanders' violence at the border between the ghetto and the 'Aryan' side. Bystanders were neither passive nor distanced; rather, they participated and played important roles in Nazi plans. Starting with the war, the authors analyze the functions of this category in the Polish discourse of memory through following its changing forms and showing links with social practices organizing the collective memory. Despite being often critiqued, this point of dispute about Polish memory rarely belongs to mainstream culture. It also blocks the memory of Polish violence against Jews. The book is intended for students and researchers interested in memory studies, the history of the Holocaust, the memory of genocide, and the war and postwar cultures of Poland and Eastern Europe.

Leading international Holocaust scholars reflect upon their personal experiences and professional trajectories over many decades of immersion in the field. Changes are examined within the context of individual odysseys, including shifting cultural milieus and robust academic conflicts.

Based on never previously explored personal accounts and archival documentation, this book examines life and death in the Theresienstadt ghetto, seen through the eyes of the Jewish victims from Denmark. "How was it in Theresienstadt?" Thus asked Johan Grun rhetorically when he, in July 1945, published a short text about his experiences. The successful flight of the majority of Danish Jewry in October 1943 is a well-known episode of the Holocaust, but the experience of the 470 men, women, and children that were deported to the ghetto has seldom been the object of scholarly interest. Providing an overview of the Judenaktion in Denmark and the subsequent deportations, the book sheds light on the fate of those who were arrested. Through a micro-historical analysis of everyday life, it describes various aspects of social and daily life in proximity to death. In doing so, the volume illuminates the diversity of individual situations and conveys the deportees' perceptions and striving for survival and 'normality'. Offering a multi-perspective and international approach that places the case of Denmark into the broader Jewish experience during the Holocaust, this book is invaluable for researchers of Jewish studies, Holocaust and genocide studies, and the history of modern Denmark.

Kurt and Sonja Messerschmidt met in Nazi Berlin, married in the Theresienstadt ghetto, and survived Auschwitz. In this book, they tell their intertwined stories in their own words. The text directly expresses their experiences, reactions, and emotions. The reader moves with them through the stages of their Holocaust journeys: persecution in Berlin, deportation to Theresienstadt and then to Auschwitz, slave labor, liberation, reunion, and finally emigration to the US. Kurt and Sonja saw the death of Jews every day for two years, but they never stopped creating their own lives. The spoken words of these survivors create a uniquely direct relationship with the reader, as if this couple were telling their story in their living room.

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.

Kurt and Sonja Messerschmidt met in Nazi Berlin, married in the Theresienstadt ghetto, and survived Auschwitz. In this book, they tell their intertwined stories in their own words. The text directly expresses their experiences, reactions, and emotions. The reader moves with them through the stages of their Holocaust journeys: persecution in Berlin, deportation to Theresienstadt and then to Auschwitz, slave labor, liberation, reunion, and finally emigration to the US. Kurt and Sonja saw the death of Jews every day for two years, but they never stopped creating their own lives. The spoken words of these survivors create a uniquely direct relationship with the reader, as if this couple were telling their story in their living room.

In 1961 Adolf Eichmann went on trial in Jerusalem for his part in the Nazi persecution and mass murder of Europe 's Jews. For the first time a judicial process focussed on the genocide against the Jews and heard Jewish witnesses to the catastrophe. The trial and the controversies it caused had a profound effect on shaping the collective memory of what became the Holocaust .

This volume, a special issue of the Journal of Israeli History, brings together new research by scholars from Europe, Israel and the USA.

American church-related liberal arts colleges are dedicated to two traditions: Christian thought and liberal learning. According to Haynes, the moral continuity of these traditions was severed by the Holocaust. Because so many representations of these traditions contributed to the Nazis' ideological and physical efforts to annihilate millions of men, women, and children, it is unclear whether these traditions can any longer be said to facilitate human flourishing. Haynes presents a convincing argument that the post-Holocaust church-related college can participate in the restoration of these ruptured traditions through a commitment to Holocaust Education. This book provides valuable information for teachers who already offer a Holocaust course or for those who are considering doing so. In addition, the author presents an accurate picture of Holocaust Education at church-related colleges through an analysis of his nationwide survey. This book will be an important resource for scholars, teachers, and administrators.

Still, what does that matter? I want to write, but more than that, I want to bring out all kinds of things that lie buried deep in my heart." Anne Frank The Diary of Anne Frank is the story of a 13=year-old Jewish girl and her family who are forced into hiding by the Nazis during World War II.

Auschwitz. Treblinka. The very names of these Nazi camps evoke unspeakable cruelty. Sobibor is less well known, and this book discloses the horrors perpetrated there.Established in German-occupied Poland, the camp at Sobibor began its dreadful killing operation in May 1942. By October 1943, approximately 167,000 people had been murdered there. Sobibor is not well documented and, were it not for an extraordinary revolt on 14 October 1943, we would know little about it. On that day, prisoners staged a remarkable uprising in which 300 men and women escaped. The author identifies only forty-seven who survived the war.Sent in June 1943 to Sobibor, where his wife and family were murdered, Jules Schelvis has written the first book-length, fully documented account of the camp. He details the creation of the killing centre, its personnel, the use of railways, selections, forced labour, gas chambers, escape attempts and the historic uprising.In documenting this part of Holocaust history, this compelling and well-researched account advances our knowledge and understanding of the Nazi attempt to annihilate the European Jews.Published in association with the United States Holocaust Memorial Museum.

'Extraordinary ... The beating heart of this novel is the exquisite empathy it demonstrates ... There is a gentle magnificence at work in its pages' Irish Times 'Tender, poignant and heartfelt ... A generous novel that celebrates communication, connection and courage' Daily Mail Marie owes Michka more than she can say - but Michka is getting older, and can't look after herself any more. So Marie has moved her to a home where she'll be safe. But Michka doesn't feel any safer; she is haunted by strange figures who threaten to unearth her most secret, buried guilt, guilt that she's carried since she was a little girl. And she is losing her words - grasping more desperately day by day for what once came easily to her. Jerome is a speech therapist, dispatched to help the home's ageing population snatch and hold tight onto the speech still afforded to them. But Michka is no ordinary client. Michka has been carrying an old debt she does not know how to repay - and as her words slide out of her grasp, time is running out. Delicately wrought and darkly gripping, Gratitude is about love, loss and redemption; about what we owe one another, and the redemptive power of showing thanks.

Adolf Eichmann was head of Gestapo Division IV-B4, the Third Reich's notorious Security Service, which was responsible for implementing the "Final Solution" of the European Jews in the Greater German Reich. False Gods is a book that will be controversial - not only with the Jewish community, but also with the historical "revisionists" who seek to deny the Holocaust. Eichmann's testimony not only challenges the generally accepted history of that period, but it provides much in-depth detail of the historical facts - facts which Eichmann himself was fully prepared to confirm from the surviving documents of the period that were submitted by both the prosecution and defense during his trial. In False Gods Eichmann states: "I shall describe the genocide of the Jews, how it happened and give, in addition, my thoughts of the past and of today. For not only did I have to see with my own eyes the fields of death, the battlefields on which life died away, I saw much worse. I saw how, through a few words, through the mere concise order of an individual to whom the state gave authority, such fields for the extinction of life were created. I saw the machinery of death. Grasping cogs within cogs, like clockwork. I saw those who observed the process of the work; and during the process. I saw them always repeating the work and they looked at the seconds-hand, which hurried; hurried like life to death. The greatest and cruellest dance of death of all time. That I saw. And I prepare to describe it, as a warning." Adolf Eichmann

The First Graphic Adaptation of the Multi-Million Bestseller '12th June, 1942: I hope I will be able to confide everything to you, as I have never been able to confide in anyone, and I hope you will be a great source of comfort and support.' In the summer of 1942, fleeing the horrors of the Nazi occupation, Anne Frank and her family were forced into hiding in the back of an Amsterdam warehouse. Aged thirteen when she went into the secret annexe, Anne Frank kept a diary in which she confided her innermost thoughts and feelings, movingly revealing how the eight people living under these extraordinary conditions coped with the daily threat of discovery and death. Adapted by Ari Folman, illustrated by David Polonsky, and authorized by the Anne Frank Foundation in Basel, this is the first graphic edition of the beloved diary of Anne Frank. 'Faithful to the spirit and often the language of the diary... Mr Polonsky's beautiful artwork offers a charming and convincing view of Anne on the page' THE ECONOMIST 'Folman and Polonsky have reclaimed Anne Frank in all of her humanity, and they allow us to witness for ourselves her beauty, courage, vision and imagination. And, in doing so, they have elevated the tools of the comic book to create an astonishing work of art.' JEWISH JOURNAL 'The illustrations [. . .] retell Anne's diary with great compassion, wit and ebullience' StANDPOINT