Pros And Cons Of Gunter Demnig

In the Holocaust by Bullets Father Patrick Desbois recounts the tale of the mission he gave himself to discover and inspect all the mass burial sites of a million Jews exterminated by Nazi Mobile Units in Ukraine amid World War II. He started by wanting to travel to the burial site in Rawa Ruska where his grandfather Claudius had been taken during world war II. He finally got the chance to visit Rawa Ruska in the mid-90s.On another visit he asked the mayor where the Jews from the work camp were buried and the mayor said he didn’t know and he changed the subject. A year later there was a new memorial put up and at the celebration Desbois asked a violin player if he knew where the mass grave for the Jews from the work camp was and he knew and

Wiesel is effective with his speech by blending forensic rhetoric within his discourse. He questions the guilt and responsibility for past massacres, pointing specifically at the Nazi’s while using historical facts, such as bloodbaths in Cambodian and

In the poem, The Little Polish Boy Standing With His Arms Up, by Peter L. Fischl, the author informs the reader that the world should have seen the horrible and dehumanizing behavior of the Nazis and their Nazi machine gun bullets. In the poem, the little Polish boy represents all of the Jews that were being held concentration camps and those that had to endure the severe brutality and torture from the Nazis. In order to draw attention to the inhumanity of the German society at that time, Fischl advises the reader that he would paint a picture, “A painting so bright to blind the eyes of the world” (Stanza 11) to remember the little Polish boy. Peter L. Fischl instinctively informs us about him want to make a concerto of

With this book, Wiesel has helped to ensure that the holocaust is never forgotten. The events that he and the other Jews endured and put in this book are memorable to any reader. Jews whose job were to help in the crematories, sometimes even help with putting others to death is pretty memorable. One man had to put his own father into the furnace (35). This is very memorable because they had to watch others just like them being burned to death, and one day others might have to do the same to them. They had to work in a place full of the dead, until they themselves were put to death. Another memorable event was when the dead bodies were thrown off the wagon (94) as if they were useless weight. That was memorable because those people had a previous life, with families that loved them, and their dead body meant absolutely nothing to the SS. It is moments like these must be remembered, in honor of the diseased. As Wiesel said, “For the survivors who chooses to testify, it is clear: his duty is to bear witness for the dead and the living...to forget the dead would be akin to killing them a second time” (XV). Using good imagery and drilling the suffering of those who lived in these camps into the reader's mind, he has helped assure that

The artist’s overall message portrayed in the poster is ultranationalism. For instance, the poster depicts a clenched fist symbolizing unity, strength and defiance. Furthermore it conveys feelings of bondage to the Germans who are viewing it because of the chain. As a result of these two images which overshadow the factory in the background, a desire to free the Germans from the Dews plan grows within the hearts of the

There are also monuments that are more salient and mention the concentration camps that the individuals survived (Appendix B, Figure 2). The community purposefully includes monument inscriptions to show an individual’s connection to the Holocaust. This action creates tribute to those who were victims of the Holocaust. This practice also creates a collaborative means for the community to mourn over these survivors.

In this book, the author describes the long process it takes to create a national museum that will commemorate the Holocaust. He covers issues such as, the location of it, the design and construction aspects of the museum building. He informs readers about how they’ve tried to represent the Holocaust through the museum with sensitivity. I will use specific facts from this book to show that this museum was built with the help of many and required a lot of thought into it. I will show that this museum does in fact show sensitivity to an individual.

Funder’s use of symbolism in order to explore themes relevant to her own personal struggle with finding comfort and security within the former GDR is a concept central to Stasiland. The author’s more abstract use of darkness enables Funder to draw parallels between her own difficulty living in the former GDR and those who endured the true terror of the Stasi Regime, particularly in the retelling of Miriam Weber’s attempted escape to West Berlin. ‘It was dark...’ on the Eastern side of the Wall, and ‘...in the west the neon shone.’ West Berlin is painted as a safe haven, away from the dangerous and frightening ‘dark’ GDR.

Gottfried, Ted, and Stephen Alcorn. Deniers of the Holocaust: who they are, what they do, why

Anselm Kiefer was a German artist who was born directly after World War II. The art that Kiefer created focused on a reconciliation with the shame and horror surrounding the holocaust, aimed aimed to redefine what it meant to be German in a “post-Nazi World (Smith).” The piece I studied is located at the MoMa in San Francisco and is entitled “Shulamite”. “Shulamite” is a historical painting of a Nazi Memorial Site, which Kiefer created it in 1983. In this painting, Kiefer transformed the architecture of a site which was meant to honor Nazi heroes into a memorial for their victims. Kiefer uses some very interesting aesthetic techniques to reflect the intense emotions of that time and to reflect the rage, grief, and shame that Germans felt in response to the Holocaust. His intention was to reconcile with the country’s dark past through memorializing the persecuted while painting the country as no longer representative of it’s dark past.

In creating a monument and memorializing an event, the group or agency should consider its importance in bringing together a community, thus providing a sense of attachment. In creating public monuments, it furnishes “a face-to-face encounter in a specially valued place set aside for collective gathering” (Source A). Essentially connecting the past and the present, monuments stand as an absolute reminder of our past. Not only does it serve as a reminder, but it also acts as a holy site as people come together to experience the monument in a simple but powerful way. Monuments establish the sense of community in both a real and imagined fashion. Connections between the people among themselves visiting the authentic public space, and connections between people and history are made. As Source A states, “The public monument speaks to a deep need for attachment that can be met only in a real place, where the imagined community actually materializes.” With memorializing an event, it is important that the emotional connection built off of its fundamental historical significance is considered. Based on Source E, controversy over not only just creating the monument, but also the idea of memorializing the Holocaust was deliberated. Because the United States made little to no effort in preventing the Holocaust, the memorialization of the event drew protest as opponents felt as if this act of remembrance would be offensive emotionally. From this, it is clear that it is important to assess the emotional underlying behind an event and how it could affect communities consequently. Memorializing an event should connect a community, not divide

The public’s perspective of the architectural works in Nuremberg were utterly important to the concept that MacDonald uses called “cosmopolitan memory”. The concept of cosmopolitan memory is the spread of memories to those who were not in direct correlation to the events. The idea of this memory is not contained by the border of a nation, but can now be relevant to all because of the ability of tourists to interpret their sightings as their own. MacDonald’s interviews with tourists while in Nuremberg help attribute to the idea of public memory of Germany’s difficult

“Germany's Holocaust Memorial Problem-and Mine” is an article that analyzes the complexities of creating a memorial that will represent a great amount of Jewish people that perished in the hands of the Nazi Germany during the 1930's and early 1940's. James E. Young author of this article, was part of a five member committee that would agree whether or not to build a memorial and the process was very difficult because they had to make sure that the jewish community accepted the memorial and the Germans would not feel offended or targeted. What made things awkward in a way was that Young was Jewish so he would be responsible of the criticism for either accepting or denying a memorial option. What was significant in the article was that the topic

Memorialization of any sort can be a tedious process, but those regarding Holocaust remembrance were particularly challenging given the surrounding social and political controversies that ensued. This is primarily seen through the issue of representation, which consistently played a key role in the creation of both the Holocaust museum in Washington D.C., and the Dachau concentration camp memorial. While the Dachau memorial’s conception stages, the designers were contemplating which victim groups to include. For instance, the mayor of Dachau stated, “Please do not make the mistake of thinking that only heroes died in Dachau. Many inmates were…there because they illegally opposed the regime of the day….You have to remember there were many criminals and homosexuals in Dachau. Do we want a memorial to such people?” (Harold Maruse, “Dachau,” 151). With this quote, the mayor implies that the memorial will only be dedicated to those he deems worthy of representation. Likewise, the White House officials orchestrating the American Holocaust Museum also debated a similar notion regarding the inclusion of ethic victim groups other than the Jews. However, Wiesel and other Holocaust survivors believed that commemorating non-Jews was an “…obscene incursion into the boundaries of Holocaust memory by those whose country-men had persecuted survivors” (Edward T. Linenthal, Preserving Memory, 53). For this reason, and in order to avoid the generation of false memories, these groups

Art, in essence, is one of the most crucial pieces of cultural history. It transcends language, emanates emotion, provokes thought, and stimulates imagination. In other words, art is of monumental value in its scope of what befalls under its umbrella. It was no wonder why during the Nazi regime from 1933 - 1945 that the Nazis would thieve some of Europe’s most treasured works but also those deemed “degenerate.” Egon Schiele’s Portrait of Wally is a perfect example as to what “degenerate” art would be considered and what the Nazis would have been interested in seizing, but why?