holocaust survivor
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2021 ◽  
pp. 0193841X2110694
Author(s):  
Matthew H. Lee ◽  
Molly I. Beck

Background American adults overwhelmingly agree that the Holocaust should be taught in schools, yet few studies investigate the potential benefits of Holocaust education. Objectives We evaluate the impact of a Holocaust education conference on knowledge of the Holocaust and several civic outcomes, including “upstander” efficacy (willingness to intervene on behalf of others), likelihood of exercising civil disobedience, empathy for the suffering of others, and tolerance of others with different values and lifestyles. Research Design We recruit two cohorts of students from three local high schools and randomize access to the Arkansas Holocaust Education Conference, where students have the chance to hear from a Holocaust survivor and to participate in breakout sessions led by Holocaust experts. Results We find evidence that the conference increased participants’ upstander efficacy, but fail to reject the null hypothesis that the conference would increase participants’ knowledge or other civic attitudes.


2021 ◽  

Steve Reich (b. 1936) is an American composer who, alongside Philip Glass, Terry Riley, and La Monte Young, is considered an originator of musical minimalism. His compositions consist primarily of instrumental pieces for various ensembles, ranging from solo instruments with prerecorded tape to pieces for full orchestra. The most frequent configurations make prominent use of melodic percussion instruments, attesting to his training as a percussionist. Reich engaged periodically with disparate musical traditions throughout his early career—technological experimentalism in the 1960s, African drumming and Hebrew cantillation in the 1970s—and has since forged a compositional idiom distinguished by its attention to pattern and pulsation. Born and raised primarily in New York City, Reich studied philosophy at Cornell University and music at Juilliard before moving across the country in 1961 to study at Mills College with Luciano Berio. Moving within the Bay Area’s experimental art scenes, Reich discovered the process of phasing when working with tape loops, leading to his first acknowledged pieces: It’s Gonna Rain (1965) and Come Out (1966). After relocating to downtown New York in 1965, Reich translated this phasing process into instrumental music, resulting in works such as Piano Phase and Violin Phase (both 1967), as well as his influential manifesto, “Music as a Gradual Process.” In the early 1970s, Reich’s palette expanded to encompass new timbres and processes of pattern and repetition. The large-scale Drumming (1970–1971) and Music for 18 Musicians (1974–1976)—both conceived for his ensemble, Steve Reich and Musicians—are exemplars of his mature minimalist style and helped establish his reputation both within and outside of the classical music world. By the early 1980s, Reich’s music began a process of legitimation within academia and performance institutions: Tehillim (1981) and The Desert Music (1983), for instance, were composed for major orchestras. Both reveal a rekindled interest in voice, text, and speech which found new expression in Different Trains (1988), a string quartet which utilized speech fragments of Holocaust survivor testimonies as generative melodic and harmonic material. Reich continued to explore this technique in large-scale documentary music video theater works (The Cave [1990–93] and Three Tales [2000–03]), as well as chamber works such as City Life (1995) and WTC 9/11 (2010). By the end of the millennium, Reich was widely regarded as America’s foremost living composer; his Pulitzer Prize in 2009 for Double Sextet (2007) seemed a belated affirmation of this perspective.


2021 ◽  
pp. 1-6
Author(s):  
Ruth Maytles ◽  
Maya Frenkel-Yosef ◽  
Amit Shrira

Abstract This study aimed to examine the caregiver burden among offspring of Holocaust survivors (OHS) caring for their parents during the COVID-19 pandemic, hypothesizing that caregivers whose parents suffer from posttraumatic stress disorder (PTSD) would report an increased burden. The sample consisted of 109 caregivers with older adult care recipient parents (average caregivers’ age = 57.67, SD = 8.49). Caregivers were divided into three groups: 20 OHS who reported that at least one care recipient had PTSD, 60 OHS who reported that their care recipients did not have PTSD, and 29 comparison caregivers (whose care recipients did not undergo the Holocaust). Caregivers completed questionnaires about SARS-CoV-2 exposure, COVID-19 concerns, helping their care recipients, their experiences of caregiver burden, and perceived changes to their caregiver burden during the pandemic. The caregivers also reported PTSD symptoms—in themselves as well as in their care recipients. Relative to comparisons, OHS with parental PTSD reported higher caregiver burden in four aspects: time-dependent burden, developmental burden, physical burden, and social burden. Furthermore, OHS reported a greater perceived increase in caregiver burden during the pandemic than the comparisons. The study findings illuminate the difficulties OHS caregivers, especially those whose care recipients have PTSD, face during the COVID-19 pandemic. This group of caregivers is at risk of experiencing more distress and may need help and support. Further research is needed to determine whether people taking care of their posttraumatic parents following other massive traumatic events also feel a heavier caregiver burden—both in general and specifically during the current pandemic.


2021 ◽  
pp. 455-485
Author(s):  
Laura Jockusch ◽  
Avinoam J. Patt

This chapter discusses the evolution of “Holocaust survivor diasporas” in the aftermath of World War II by examining how the experience of survival under Nazi occupation created a distinct and shared identity for those who would emerge from the war. In the early postwar period, survivors formed transnational networks on the basis of shared wartime experience, common geographical origin, and shared political agendas that were far more specific than the more general category of “Holocaust survivors” that would develop later, in the last decades of the twentieth century. Survivors and the distinct organizations they formed came to play a prominent role in both defining the categories of “Holocaust” and “survivor” and in shaping subsequent efforts at Holocaust education and memorialization.


2021 ◽  
Vol 14 (2) ◽  
pp. 51-73

This interview with Belgian-Israeli graphic novelist and political cartoonist Michel Kichka covers his growing up in Belgium during the Golden Age of bande dessinée. The author discusses his early readings and influences, as well as the development of his own career in teaching and drawing. The discussion focuses in particular on the creation and publication of his graphic novels Deuxième Génération [Second Generation] and Falafel sauce piquante [Falafel with Spicy Sauce], published in 2012 and 2018. These works foreground essential questions about Kichka’s experience as a second-generation Holocaust survivor and about his relationship with Israel. Taking an international perspective, the interview sheds further light on the emergence of the comics medium in Israel and the transnational reception of Franco-Belgian bande dessinée. It also considers Kichka’s work and engagement as a political cartoonist. Interview conducted via email, following Michel Kichka’s keynote at the “Tradition and Innovation in Franco-Belgian bande dessinée” conference.


2021 ◽  
Vol 17 (3) ◽  
pp. 164-175
Author(s):  
Claude-Hélène Mayer ◽  
Nataliya Krasovska ◽  
Paul J. P. Fouché

This article aims to uncover the meaning of life and death across the lifespan of the extraordinary person, Viktor E. Frankl (1905–1997). Frankl was purposively sampled due to his international acclaim as an Austrian neurologist and psychiatrist, who later became famous as a holocaust survivor and the founder of logotherapy. Through his approach of “healing through meaning,” he became the founder of the meaning-centred school of psychotherapy and published many books on existential and humanistic psychology. The study describes the meaning of life and death through two theoretical approaches: the archetypal analysis based on C.G. Jung’s and C.S. Pearson’s work and a terror management approach based on the melancholic existentialist work of Ernest Becker. The methodology of psychobiography is used to conduct the psycho-historical analysis of the interplay of archetypes and death annihilation anxiety throughout Frankl’s lifespan. The article evaluates how archetypes and death anxiety interacts and how they built meaning in different stages of Frankl’s lifespan. The theories are discussed and illustrated in the light of Viktor E. Frankl’s life.


2021 ◽  
Vol 83 ◽  
pp. 135-154
Author(s):  
Liat Steir-Livny ◽  

In the three years after World War II, prominent Jewish organizations in the United States and in the Land of Israel made films aimed at promoting Zionist goals. The film Adamah (Helmar Lerski, 1948) was produced in the Land of Israel with the support of the Jewish-American volunteer women’s organization Hadassah. It tells the rehabilitation story of Benjamin, a Holocaust survivor in the Land of Israel. When the final version was sent to Hadassah for approval, the directorate felt that the American public would not relate to it. Hadassah altered the footage and distributed its own version entitled Tomorrow’s a Wonderful Day (1949). This article presents a comprehensive analysis of the main differences between the two representations of trauma, which were taken from the same footage but shaped into two differing narratives. Based on studies in Zionism and a great deal of archival material, it shows how these films epitomized the differences in the perception of trauma and its representations between the Zionist organizations in the Land of Israel and the USA.


2021 ◽  
Author(s):  
Rachel Zolf

In No One's Witness Rachel Zolf activates the last three lines of a poem by Jewish Nazi holocaust survivor Paul Celan—“No one / bears witness for the / witness”—to theorize the poetics and im/possibility of witnessing. Drawing on black studies, continental philosophy, queer theory, experimental poetics, and work by several writers and artists, Zolf asks what it means to witness from the excessive, incalculable position of No One. In a fragmentary and recursive style that enacts the monstrous speech it pursues, No One's Witness demonstrates the necessity of confronting the Nazi holocaust in relation to transatlantic slavery and its afterlives. Thinking along with black feminist theory's notions of entangled swarm, field, plenum, chorus, No One's Witness interrogates the limits and thresholds of witnessing, its dangerous perhaps. No One operates outside the bounds of the sovereign individual, hauntologically informed by the fleshly no-thingness that has been historically ascribed to blackness and that blackness enacts within, apposite to, and beyond the No One. No One bears witness to becomings beyond comprehension, making and unmaking monstrous forms of entangled future anterior life.


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