The Holocaust: A Narrative Analysis

The Holocaust did not happen like a movie; it is impossible to recreate fully the horrific and grotesque events that occurred. However; in Spielberg’s telling of a true story from the Holocaust, it strived for historic accuracy and exemplified realism to Hollywood’s

That is where motifs and other forms of figurative language are of use. Although we can never truly describe the terror of the Holocaust in words, this would be one of the most effective ways of describing it to someone who hasn’t been through it. When writing about an event like the Holocaust, a writer must use all the tools possible if they wish to convey the obscenity of such a crime. In Night, those tools include motifs. Without motifs, Wiesel would be using one less tool to describe the Holocaust, and in doing so, not describing the Holocaust as best as he

Karl Schleunes published his book titled The Twisted Road to Auschwitz in 1970. The title of the book has a symbolic meaning that pertains to the Holocaust. The Holocaust, taking place between 1933 and 1945, was characterized by the death of millions of European Jews in the hands of Nazi Germany led by Adolf Hitler and nations that collaborated with the Nazis (Dwork & Pelt 2). After crumpling of the Nazi regime, historians began to examine and come up with constructs leading up to the Holocaust. From the mid-1960s to the 1980s, historians established two metanarrative schools of thought emerged explaining the period and circumstances leading up to the Holocaust. These schools of were labeled ‘Intentionalists’ and ‘Functionalists.’ These schools present

The Holocaust was perhaps one of the most gruesome and horrific time period that the world has ever seen. The Holocaust was the time period when the Jews were being horrible treated and were being executed by German forces in World War Two. In several books about the dark and horrible time period, the authors used many different techniques to convey the central idea and the theme. However, the authors uses different techniques in different genres to get shoe the reader the central idea and theme. For instance, there are different techniques in historical fiction and nonfiction, but they both develop the same theme and central idea.

I am and SS officer. I was stationed at Auschwitz. More Jews were coming in every day. There were eighty to a cattle cart. There were so many families that had to go separate ways from one another. I had killed mothers and the babies and weakest of the men that couldn’t work. It was horrible, I do say. If I could say no I would never do it again. I loved my country and Hitler at the time, so I was willing to do whatever it took to get noticed. I was then stationed at a woman’s concentration camp. They all had gotten shaved, had no gold teeth, and had had tattoos on their arms. It was their identification code. They were so skinny it was just skin stuck to the bones. They looked like corpses, but alive. I wonder how many died soon after.

The Holocaust was a very important tragic event that occurred in history. Many of the stories belonging to the jews were lost and never told, many of the innocent souls were unknown, but never forgotten. For years, people have tried to dig up these stories and explain it to many generations, because the Holocaust wasn't something to be forgotten about or left unknown. Sometimes it is hard to understand the truth without a visual. Movies such as Schindler’s list or books such as Maus try to give a message as well as a visual to better understand the content.

The pain, the cold harsh wind biting at the ankles of hundreds of thousands of people. Human beings enduring torture so great it was not life, it was survival for beasts. Pain so great that no word in any dictionary can describe it. The emanation of a thousand rotting corpses lying in the snow. The wailing of millions so intense it was like it was from the depths of Tartarus watching as they trudged on. The cold snatching hundreds of lives and the only heat sources are from the eternal fires of death. The holocaust, the hand of hell descending on the world. Jews crammed into cattle cars and sent to concentration camps. Families were separated into different camps and many died in the rigorous selection process. Survivors were worked to near death by German SS officers as shown in Elie Wiesel’s Night, a memoir of the holocaust. Imagery, Symbolism, and Comparisons are all viable writing tools that provide a writer the best

The Holocaust in the eyes of historians all across the country reiterate the importance of the Holocaust. As the first mass genocide so major in a group of people, it’s relevance continues to make a stand. Taking place in 1933 all the way until 1945, the Holocaust changed so much in so little time. Amass, 5-6 million jewish people dying from either being worked to death for taken to gas chambers and killed quietly. Though nothing about the Holocaust was quiet, as it’s name and hitler's wishes were spread across germany in its time of need. An event short enough to be considered just a blip, tacts itself up as one the largest genocides in history. It begs the question among educators and parents alike, whether schools should be teaching the Holocaust. But, the Holocaust is something that cannot be left untaught. The Holocaust should be vocalized to students because they have a right to an education and because it boosts their understanding of society and forms them into better civilians. Also because the side effects of bias in classrooms

The holocaust was a tragic time which involved the killing of Jews to create a ‘pure race’ in Germany. Jacob Boas analyzes the stories of five young Jewish children through the book “We Are Witnesses,” who were forced through the hardships of war. Through the perspectives of David Rubinowicz, Yitzhak Rudashevski, Moshe Flinker, Éva Heyman, and Anne Frank, the struggles of the five children are clear as they try to hold on to their ideals while still fighting for their lives. “We Are Witnesses,” by Jacob Boas adopts repetition and diction through the eyes of David Rubinowicz, imagery using Yitzhak Rudashevski, repetition and imagery via Moshe Flinker, repetition with Éva Heyman, and repetition and syntax by Anne Frank to brandish how Jewish

Anxiety washed over the poor boy. It was dark, darker than Zerdek had ever know. With each second that passed, a low mumble could be heard from the corner. Something or someone else was here with him. Wherever here was. He shut his eyes thinking about the light. Thinking about anything that would make it seem like he was back at home. Home. He tried to remember the faces. He tried to remember each of the tree top building. Yet it was a blur. Everything that had happen with-in the last few hours, day, months was a giant blur from him. He had no concept of time. A click came from afar, as light came barreling in. Zerdek let out a low growl as he covered his eyes, unable to adjust to the light quickly enough. Arms reached out and pulled to two

Have you ever been hesitant to share a true story because you suspected that it would appear as a fabricated anecdote to your audience? Well, most of the time we add bunch of things or change a true story to make it sound genuine to our audience. We live in a judgmental and complex world where lying has become a part of our daily lives. Because of this habit, it is hard to differentiate the truth from a fabricated lie. Since I was a child, my parents always talked about battle of Adwa and many events that took place centuries ago. It is always amusing to listen to those stories because it is about heroic act that most of the kings of Ethiopia accomplished. Although I heard different versions of these stories, I always tend to believe my parents’ version. The reason is not simply the credibility of my parents’, but the way it was presented. According to the short story, “How to Tell a True War Story” by Tim O’ Brien, a true war story is hard to accept as true because some of the most agonizing parts are true, while some of the natural parts are not. Tim O’Brien’s narrative shows that a storyteller has the power to shape listeners’ views. We can change our perception because of the story teller, and neglect the fact that we are avoiding the actuality. Therefore by listening to different versions of a story, it will actually help the reader find greater truth of the story.

German narratives on the holocaust have changed since 1945 propelled by debates during that time along with political developments and distance from historical events. The German population tends to focus on their fate as to idolize their society’s behavior during the holocaust era. Germany’s students have trouble connecting German history to the holocaust.

The artistic representation of the Holocaust has created a controversial dialog that revolves around ethical, moral, and historical questions. Is art an accurate representation of the trauma and events that had occurred during the Holocaust? If it is, which mediums are the best in which to represent with? The purpose of art is to evoke strong feelings in the viewer, to create questions about society, and to depict the argument of the artist. Since art - be it a painting, a sculpture, a poem or a novel - is subjective, using it to represent the Holocaust has benefits but also restrictions. Portraying the lived experiences of survivors from an objective point of view is difficult as the horrors faced cannot be accurately captured; however, using art to express a traumatic experience for many people is a safe, therapeutic way of coping. This expression is highly individualized and therefore cannot represent the Holocaust as one cohesive experience. If the Holocaust is to be represented through artistic mediums such as a creative piece of writing, it must be supplemented with historical knowledge and be subjected to criticism.

When most people refer to literature that concentrates specifically on the Holocaust as the subjects, the first thought usually isn’t in the form of a graphic novel. Most people would believe a graphic novel is something only a child would read or someone to the same educational equivalent. Due to their engaging stories and appealing visuals though, graphic novels are idea for visual learners, inexperienced or unenthused readers, and just about anyone else who may not find traditional print books enticing. Graphic novels tend to show a relationship between the images and the text that makes for an experience in itself (1.). Sometimes even taking on a difficult subject, an example being the Holocaust can make for a different kind of experience. In Maus I & II, the author chose graphic novels as his medium. For that, “Maus shines due to its impressive ability to ‘speak the unspeakable’ by using the popular maxim, ‘a picture is worth a thousand words,’ to perfection” (3).

Historians use literary techniques and even poetic devices to craft historiographies that are compelling for readers. For example, a historian may construct a plot or narrative based on a series of events or on biographical data. A fiction author likewise relies on historical events and biographical data to construct plots: a process White calls "emplotment," (1714). Emplotment is basically the "encodation of facts," (White 1714). The storyteller is a historian, for no fiction is created out of thin air. Likewise, the historian is a storyteller, for readers of history require a