Singer Theme

In the early 1940s, over six million Jews were slaughtered due to the irrational belief of their imperfection. Each day, people make decisions, and those decisions are guided by thoughts, and everyone has the right to those opinion; however, many people fail to believe that their thoughts and actions can affect the lives of others. There are people with a strong moral compass that carry around the weight of the horrific actions of others such as Peter L. Fischl, author of the poem, “To the Little Polish Boy Standing with His Arms Up.” Throughout the poem, the author expresses how some people are in denial but others are haunted by the horrific events of the past. The narrator speaks to this young Polish boy, standing with his arms above his head, waiting patiently for his demise. Life is full of difficulties; if there were no struggles in life then it would not be life at all. The author creates a lead into the poem with the title, using a symbol for vulnerability. If someone stands with their arms in the air it means they are surrendering, they are vulnerable and defenseless. As the little Polish boy walks past the guards, he has his arms raised, knowing he has no say in what is yet to come. In the poem “To the Little Polish Boy Standing With his Arms Up” Fischl uses repetition and symbolism to enhance, that one’s actions affect the lives of others, and at times those on the sidelines have a worsening effect after all.

When it comes to the topic of Simon Wiesenthal not forgiving a dying SS soldier for his crimes, most of us will readily agree that it’s a debatable topic. Where this agreement usually ends, however, is on the question of if Wiesenthal should have forgiven the soldier. Whereas some are convinced that he made the right choice in not forgiving the soldier, others maintain that he should have let the soldier die peacefully, guilt free, and forgiven. I agree with Wiesenthal’s decision to not forgive the dying SS soldier because he cannot speak for all the other Jews who have been killed by this man. In Simon Wiesenthal’s book, The Sunflower, he asks the reader what they would have done in his position with the SS soldier. If I was Wiesenthal, I wouldn’t have forgiven the man as I cannot make decisions for others and because the soldier was not sincere in his apology for the crimes he was involved in.

As I began to hear the testimony, I recalled all the various wars that have created us into what we are today. Brother against brother, kings that ruled the land, and dictators that overtook anything they desired. Survivors from various disasters have had a chance to let others hear and feel what they have gone through when they were younger like us. Cesia Kingston, one of the many survivors of the disastrous Holocaust, shares her many experiences throughout her life. Some too precious to forget, but others filled with pain and sorrow. Through every word Cesia spoke, they filled my thoughts like a wave, but at the same moment I remembered the times when pain and fear overtook me.

In Simon Wiesenthal’s The Sunflower, he recounts his incidence of meeting a dying Nazi soldier who tells Simon that he was responsible for the death of his family. Upon telling Simon the details, Karl asks for his forgiveness for what he helped accomplish. Simon leaves Karl without giving him an answer. This paper will argue that, even though Karl admits to killing Simon’s family in the house, Simon is morally forbidden to forgive Karl because Karl does not seem to show genuine remorse for his committed crime and it is not up to Simon to be able to forgive Karl for his sins. This stand will be supported by the meaning of forgiveness, evidence from the memoir, quotes from the published responses to Simon’s moral question, and arguments from

When one loses someone or something valuable to them, the grief can be intense. But what happens when what they lose is actually a piece of them? Novels depicting a witness account of The Holocaust (1941 - 1945) paint a picture of the violence and moral anguish, which is accompanied by a loss to the protagonist. The plot shows a process of events that ultimately leads to death and devastation. Both protagonists in Elie Wiesel’s Night and Wladyslaw Szpilman’s The Pianist gradually fall into the abyss of inhumane behaviour. Post Holocaust, they embark on a new life free from social restraints and become either unmindful or compliant to the losses they faced on their journey. Elie and Wladyslaw

The film, Crazy Stupid Love starts off right away with Emily telling Cal that she wants a divorce. Feeling rather depressed, Cal turns to the bar scene to find some comfort and someone to listen to his sorrowful life story. Jacob, an expert on how to talk to and pick up women, feels sorry for Cal and decides to help him rediscover his manhood. Through doing this, Cal gains all sorts of confidence that he never knew he had, but also realizes that he misses his wife as well. There are a couple other sub-plots within the main storyline of the movie, and all of them have one thing in common, love. Love is the undisputed underlying theme of the movie. If you weren’t able to tell by the title of the film,

The terrors of the Holocaust are unimaginably destructive as described in the book Night by Elie Wiesel. The story of his experience about the Holocaust is one nightmare of a story to hear, about a trek from one’s hometown to an unknown camp of suffering is a journey of pain that none shall forget. Hope and optimism vanished while denial and disbelief changed focus during Wiesel’s journey through Europe. A passionate relationship gradually formed between the father and the son as the story continued. The book Night genuinely demonstrates how the Holocaust can alter one's spirits and relations.

Baker’s memoir portrays the value of memory in humanising the objectiveness of historical truth and its role in developing an individual’s ability to understand how past events shape their cultural identity. Throughout The Fiftieth Gate, Baker’s position as a historian colours his perspective in understanding the past events of the Holocaust; in his use of polyphonous voices, the multiple voices are able to provide insight into different perspectives and their memories. He finds that his parents’ memories are valuable in deepening his understanding of the past and his Jewish culture, as

No one can truly understand sympathy until they have suffered. In his The Chosen, a postmodern novel, Chaim Potok surveys the meaning of compassion learned through suffering. Danny Saunders, a brilliant Hasidic Jew, lives in Williamsburg, Brooklyn along with his friend, Reuven Malter, in the 1940s. With his photographic memory, Danny aspires to become a psychologist, but he knows that he will have to inherit his father’s position as the rabbi of their community. In addition to this, his father, Reb Saunders, will not speak to him about anything other than the holy book of Talmund. Danny is forced to keep his ideas and experiences to himself, leading to him suffering because of this silence. Chaim Potok’s The Chosen uses Danny’s gradual shift

Alan L. Berger, a Professor of the Holocaust and Religion, expresses in The Sunflower that Simon even though being an imprisoned jew could not take the apology on the behalf others. He refers to Judaism that there are two types of sins; one against god and one against another human. Berger states about forgiveness that ‘I may forgive one who has sinned against me. I may

Alan L. Berger’s goal in the essay is to answer the questions that he had at the end of the book and Simon’s question. Berger’s response to Simon’s question was “My response is, do not forgive

A fact which we all have to emit is that humanity existence always creates conflicts and fighting which we call "WAR". In war, people kill each others for many reasons ---- resources, personal benefits, territories, powers, revenge, etc. In war, one becomes a hero for killing human lives and eventually he gets honored and well-known in people 's heart. The Holocaust, according to Germans, was the war between Germans and Jews. Approximately six million Jews included 960,000 innocent children died during Hitler 's regime called Nazism. Unlike the "hero(s)" whom people honor, the Holocaust was a hideous crime and the participants were bloody murderers. Today people are taught about the Holocaust

“One can forgive but one should never forget.” - Marjane Satrapi. A memoir is a collection of unique memories that one may never forget. They tell the story of a person’s life and grasp experiences that may be wonderful or absolutely terrifying. In Persepolis: The Story of a Childhood, Marjane Satrapi narrates her childhood in Iran during the Islamic Revolution and illustrates the devastating effects it had on her life. Similarly, Elie Wiesel narrates his horrifying journey as a Jew who endured the unimaginable cruelty of the Holocaust in his novel: Night. Although these memoirs are narrated in different time periods and locations, the authors are both marginalized because of their race and must battle traditional group barriers with their

When one cannot deal with guilt within oneself, the feeling of guilt can be transferred to affect another. Art struggles throughout his life to understand why he never had a great relationship with his father. After trying to write with no luck, Art heads to his regular appointment with Pavel, another Holocaust survivor. Pavel suggests that maybe “(Vladek) took his guilt out on YOU, where it was safe… on the REAL survivor.” (7, p 44) Vladek felt guilty about surviving the Holocaust, but instead of accepting it,

“Can the past be forgiven? Can people who have been traumatized live with memory and each other again? What do they need to be healed?” (Marrus 27). In a world growing smaller each day, people cannot afford to hold onto the traumas and wrongs that have been committed unto them. At the same time, how can the world ask people who have been tortured, abused, systematically raped, and their lives forever changed to live with their aggressors once again? Can these people forgive their transgressors and come to a place of reconciliation? The steps taken by the Germany after the Second World War give one example of how to acknowledge atrocities. The Holocaust is an example of horrors on a global scale, but despite the scale or length of