Yoseph By Lyncher Summary

They used the hanging as a psychological tool against the inmates to gain power over them, as it was a death threat to those who stepped out of line. As a result, many of the prisoners began to lose trust in God. Considering that faith was one of the few things Holocaust victims were able to keep from the concentration camp guards, their questioning of God’s existence demonstrates the Nazis ability to demolish one’s hope and will to survive. Additionally, the use of the hanging as a threat to the other prisoners exhibits how the Nazis were able to take control of their victims by using scare tactics to enforce obedience. While the hanging of the child may only be one death among millions, the depression, grief, and fear it evoked in the prisoners was strong enough to penetrate their emotional toughness and expose their true vulnerability. Although it may not have been the first time the inmates were faced with the haunting prospect of death, it was the first time they viewed it as an act of merciless slaughter. They finally realized the terrifying circumstances they were in, and this caused them start losing trust in the God they had depended on for all their lives. Elie Wiesel's Night perfectly captures the inexplicable cruelty of the Holocaust, showing how the

officers, Eliezer and his father are both set up as the average prisoner. Now thought of as the age of 18, eliezer starts his new complicated life living in the shadow of oppression and lies. It’s at this concentration camp. Birkenau, that Eliezer has his first doubts in the “God Almighty”. As soon as the crematorium came into vision, Eliezer’s faith was cut off its dangling thread. Connecting to his primordial beast for the first time, Eliezer doesn’t even flinch as his father is beat over a simple question. After what felt like the worst it could get, Eliezer heads to a new concentration camp- Buna. His gold crown quickly becomes the interest of the week for both concentration camp workers and prisoners. Unfortunately, Franek the foreman wins the crown from Elier by the far too effective method of torture. Eventually the time of Rosh Hashanah comes, and Eliezer finally makes the conclusion that man is stronger than God. To some, this may not seem like a big deal, but when someone goes from devoting their entire life to God and then dismisses him as nothing, it is evident that something has drastically

In the background the sun is setting on the horizon. Elie and many others start to cry in anguish, but the worst has yet to come. They still have to march past the bodies of the hanging. “The two men were no longer alive. Their tongues were hanging out, swollen and bluish” (64). But then there was the revolting scene of the third rope. It was still moving, the child was not yet dead. He hanged there for more than half an hour wiggling like a worm, “lingering between life and death, writhing before our eyes” (65). When Elie passed him he was still alive and his tongue was still red, his eyes still open. Elie heard behind him, “For God’s sake, where is God?” (65). During that night Elie’s soup tasted of corpses.

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

Elie’s belief in God begins to falter at the concentration camps of Birkenau, Auschwitz when he sees the little angel boy hanging. The little boy, who had the face of a sad angel, was sentenced to be hanged. Since the child was so light, he didn't die immediately when he fell, and he remained alive, hanging

“But the third rope was still moving: the child, too light, was still breathing… And so he remained for more than half an hour, lingering between life and death, writhing before our eyes. And we were forced to look at him at close range. He was still alive when I passed him. His tongue was still red, his eyes not yet extinguished. Behind me, I heard the same man asking: “For God’s sake, where is God?” And from within me, I heard a voice answer: “Where He is? This is where- hanging here from this gallows...””(Wiesel 65). Throughout your book Night, a question could not help but reoccur during the tragic events. That question being, “Where is God?”. We believe in a God who is love, joy, strength, and peace. To me, questioning

The carving in real sense depicts the victory of Naram who was the fourth king of the Semite dynasty in the Akkadian empire. This carving depicts a different point of

The most significant of the hangings that Elie sees is that of three prisoners, one of which is a young pipel. Elie hears a man behind him ask “ "For God's sake, where is God?"”

The man's hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and the slack fell to the level of his knees. Some loose boards laid upon the sleepers supporting the metals of the railway supplied a footing for him and his executioners” (Bierce 1). This creates a gloomy and sorrowful mood.

writes towards the middle of his essay about seeing the prison being brought up to the hanging site and

The first subsection in the top left shows a bearded man and his right hand outstretched to the left side of the canvas, with his other hand hovering over a kneeling child, with another man standing behind him and some small animal, possibly a lamb, standing beneath the outstretched hand. According to Stokstad, this may be a depiction of the Binding of Isaac, in which Abraham passes the test of faith and willingly goes to sacrifice his firstborn son, Isaac, before divine intervention gives him a lamb as a replacement (Stokstad 168). This conclusion is consistent with the depiction, allowing the viewer to conclude that the outstretched hand is likely holding a knife and the figure present in the background is an angel, delivering the lamb in tribute. The subsection below the Binding of Isaac shows a seated man with a face of anguish, with two others standing over him, apparently

right corner. The assumes that are the enthusiastic center of the scene have been developed with

The way that the face expresses this emotion brings the entire piece together in a way that furthers the effect of making it look as if a mere statue could move like a living being. Nonetheless, its baffling to see such a silly faced young man looking as if he is striding successfully and confidently into a heated situation with his curly, and heavily detailed, mane of hair flowing from his head. Judging by the sculptures name, The Young Archer, a narrative presents itself where it is suggested that the young man is considered an incredibly talented archer who is currently walking away from battle, free of any visible wounds or bruises. On the other hand, it could be depicting the young man actually making his way to the fated battle in which his archery skills will be put to the

Vincent van Gogh created “Sorrowing Old Man (At Eternity’s Gate)” in the early 1890’s. Van Gogh used oil paint for this piece, and the piece is 80 centimeters by 64 centimeters. Van Gogh based his work off an early lithograph; he also painted this on canvas. In the painting there is an old man crying or looks as if he is in tears, for a reason that we do not know. He is sitting alone in a room in a chair that looks older.

After time passes, his father’s beloved youngest son dies. “He faded, and so calm and meek, / So softly worn, so sweetly weak, / So tearless, yet so tender—kind,” (Lines 187-189). He is the only survivor, and yet begins to give up on life. The prisoner reflects on his last youngest brother’s passing away in peace. That even in suffering his brother held on to who he is and that being imprisoned would not break him, nor the sickness that was killing him. Yet, the pain torments the prisoner’s mind, of how alone he is and how he could do nothing to save his brother. As the oldest of these brothers, he is responsible for them, also, to protect them from