As Seen Through These Eyes Study Guide

Total Page:16

File Type:pdf, Size:1020Kb

As Seen Through These Eyes Study Guide As Seen Through These Eyes Study Guide Materials compiled by and original material created by: Douglas Wadley, M.S. Jewish Studies, Bradley-Bourbonnais Community High School, Bradley, IL and Heidi Oshin, J.D., M.Ed. © Menemsha Films, Inc. 2009 213 Rose Ave., 2nd Floor, Venice, CA 90291 310.452.1775 www.menemshafilms.com As Seen Through These Eyes As Seen Through These Eyes Page 1 Table of Contents National Standards for Learning covered in this study guide Synopsis of the Film History of the Holocaust – An Introduction Terezin (Theresienstadt) Concentration Camp Roma – also known as Gypsies, Rom, Rroma, Romani, etc. Dr. Josef Mengele – the Angel of Death Biographies Suggested Activities Pre-viewing Viewing Post-viewing National Standards for Learning covered in this study guide: NL-ENG.K-12.2 UNDERSTANDING THE HUMAN EXPERIENCE · Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience. As Seen Through These Eyes Page 2 NA-M.9-12.8 UNDERSTANDING RELATIONSHIPS BETWEEN MUSIC, THE OTHER ARTS, AND DISCIPLINES OUTSIDE THE ARTS Achievement Standard, Proficient: · Students explain how elements, artistic processes (such as imagination or craftsmanship), and organizational principles (such as unity and variety or repetition and contrast) are used in similar and distinctive ways in the various arts and cite examples · Students compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures · Students explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music (e.g., language arts: compare the ability of music and literature to convey images, feelings, and meanings; physics: describe the physical basis of tone production in string, wind, percussion, and electronic instruments and the human voice and of the transformation and perception of sound) Achievement Standard, Advanced: · Students compare the uses of characteristic elements, artistic processes, and organizational principles among the arts in different historical periods and different cultures · Students explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts (e.g., creators: painters, composers, choreographers, playwrights; performers: instrumentalists, singers, dancers, actors; others: conductors, costumers, directors, lighting designers) NA-M.9-12.9 UNDERSTANDING MUSIC IN RELATION TO HISTORY AND CULTURE Achievement Standard, Proficient: · Students classify by genre or style and by historical period or culture unfamiliar but representative aural examples of music and explain the reasoning behind their classifications · Students identify sources of American music genres (e.g., swing, Broadway musical, blues) trace the evolution of those genres, and cite well-known musicians associated with them · Students identify various roles (e.g., entertainer, teacher, transmitter of cultural tradition) that musicians perform, cite representative individuals who have functioned in each role, and describe their activities and achievements Achievement Standard, Advanced: · Students identify and explain the stylistic features of a given musical work that serve to define its aesthetic tradition and its historical or cultural context · Students identify and describe music genres or styles that show the influence of two or more cultural traditions, identify the cultural source of each influence, and trace the historical conditions that produced the synthesis of influences As Seen Through These Eyes Page 3 NA-VA.9-12.1 UNDERSTANDING AND APPLYING MEDIA, TECHNIQUES, AND PROCESSES Achievement Standard: · Students apply media, techniques, and processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks · Students conceive and create works of visual art that demonstrate an understanding of how the communication of their ideas relates to the media, techniques, and processes they use Achievement Standard, Advanced: · Students communicate ideas regularly at a high level of effectiveness in at least one visual arts medium · Students initiate, define, and solve challenging visual arts problems independently using intellectual skills such as analysis, synthesis, and evaluation [SOURCE] NA-VA.9-12.2 USING KNOWLEDGE OF STRUCTURES AND FUNCTIONS Achievement Standard: · Students demonstrate the ability to form and defend judgments about the characteristics and structures to accomplish commercial, personal, communal, or other purposes of art · Students evaluate the effectiveness of artworks in terms of organizational structures and functions · Students create artworks that use organizational principles and functions to solve specific visual arts problems Achievement Standard, Advanced: · Students demonstrate the ability to compare two or more perspectives about the use of organizational principles and functions in artwork and to defend personal evaluations of these perspectives · Students create multiple solutions to specific visual arts problems that demonstrate competence in producing effective relationships between structural choices and artistic functions [SOURCE] NA-VA.9-12.3 CHOOSING AND EVALUATING A RANGE OF SUBJECT MATTER, SYMBOLS, AND IDEAS Achievement Standard: As Seen Through These Eyes Page 4 · Students reflect on how artworks differ visually, spatially, temporally, and functionally, and describe how these are related to history and culture · Students apply subjects, symbols, and ideas in their artworks and use the skills gained to solve problems in daily life Achievement Standard, Advanced: · Students describe the origins of specific images and ideas and explain why they are of value in their artwork and in the work of others · Students evaluate and defend the validity of sources for content and the manner in which subject matter, symbols, and images are used in the students' works and in significant works by others [SOURCE] NA-VA.9-12.4 UNDERSTANDING THE VISUAL ARTS IN RELATION TO HISTORY AND CULTURES Achievement Standard: · Students differentiate among a variety of historical and cultural contexts in terms of characteristics and purposes of works of art · Students describe the function and explore the meaning of specific art objects within varied cultures, times, and places · Students analyze relationships of works of art to one another in terms of history, aesthetics, and culture, justifying conclusions made in the analysis and using such conclusions to inform their own art making Achievement Standard, Advanced: · Students analyze and interpret artworks for relationships among form, context, purposes, and critical models, showing understanding of the work of critics, historians, aestheticians, and artists · Students analyze common characteristics of visual arts evident across time and among cultural/ethnic groups to formulate analyses, evaluations, and interpretations of meaning [SOURCE] NA-VA.9-12.5 REFLECTING UPON AND ASSESSING THE CHARACTERISTICS AND MERITS OF THEIR WORK AND THE WORK OF OTHERS Achievement Standard: · Students identify intentions of those creating artworks, explore the implications of various purposes, and justify their analyses of purposes in particular works · Students describe meanings of artworks by analyzing how specific works are created and how they relate to historical and cultural contexts · Students reflect analytically on various interpretations as a means for understanding and evaluating works of visual art As Seen Through These Eyes Page 5 Achievement Standard, Advanced: · Students correlate responses to works of visual art with various techniques for communicating meanings, ideas, attitudes, views, and intentions [SOURCE] NA-VA.9-12.6 MAKING CONNECTIONS BETWEEN VISUAL ARTS AND OTHER DISCIPLINES Achievement Standard: · Students compare the materials, technologies, media, and processes of the visual arts with those of other arts disciplines as they are used in creation and types of analysis · Students compare characteristics of visual arts within a particular historical period or style with ideas, issues, or themes in the humanities or sciences Achievement Standard, Advanced: · Students synthesize the creative and analytical principles and techniques of the visual arts and selected other arts disciplines, the humanities, or the sciences NSS-C.9-12.5 ROLES OF THE CITIZEN What are the Roles of the Citizen in American Democracy? · What is citizenship? · What are the rights of citizens? · What are the responsibilities of citizens? · What civic dispositions or traits of private and public character are important to the preservation and improvement of American constitutional democracy? · How can citizens take part in civic life? NSS-WH.5-12.8 ERA 8: A HALF-CENTURY OF CRISIS AND ACHIEVEMENT, 1900-1945 The student in grades 5-12 should understand · reform, revolution, and social change in the world economy of the early century. · the causes and global consequences of World War I. · the search for peace and stability in the 1920s and 1930s. · the causes and global consequences of World War II. · major global trends from 1900 to the end of World War II. As Seen Through These Eyes Page 6 Synopsis of the Film Picasso’s words resonate, “I have always believed that artists should not remain indifferent to a conflict in which the highest
Recommended publications
  • A Resource Guide to Literature, Poetry, Art, Music & Videos by Holocaust
    Bearing Witness BEARING WITNESS A Resource Guide to Literature, Poetry, Art, Music, and Videos by Holocaust Victims and Survivors PHILIP ROSEN and NINA APFELBAUM Greenwood Press Westport, Connecticut ● London Library of Congress Cataloging-in-Publication Data Rosen, Philip. Bearing witness : a resource guide to literature, poetry, art, music, and videos by Holocaust victims and survivors / Philip Rosen and Nina Apfelbaum. p. cm. Includes bibliographical references (p.) and index. ISBN 0–313–31076–9 (alk. paper) 1. Holocaust, Jewish (1939–1945)—Personal narratives—Bio-bibliography. 2. Holocaust, Jewish (1939–1945), in literature—Bio-bibliography. 3. Holocaust, Jewish (1939–1945), in art—Catalogs. 4. Holocaust, Jewish (1939–1945)—Songs and music—Bibliography—Catalogs. 5. Holocaust,Jewish (1939–1945)—Video catalogs. I. Apfelbaum, Nina. II. Title. Z6374.H6 R67 2002 [D804.3] 016.94053’18—dc21 00–069153 British Library Cataloguing in Publication Data is available. Copyright ᭧ 2002 by Philip Rosen and Nina Apfelbaum All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 00–069153 ISBN: 0–313–31076–9 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America TM The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 Contents Preface vii Historical Background of the Holocaust xi 1 Memoirs, Diaries, and Fiction of the Holocaust 1 2 Poetry of the Holocaust 105 3 Art of the Holocaust 121 4 Music of the Holocaust 165 5 Videos of the Holocaust Experience 183 Index 197 Preface The writers, artists, and musicians whose works are profiled in this re- source guide were selected on the basis of a number of criteria.
    [Show full text]
  • Displaced Children 1945 and the Child Tracing Division of the United Nations Relief and Rehabilitation Administration
    70 Years After the Liberation 109 Displaced Children 1945 and the Child Tracing Division of the United Nations Relief and Rehabilitation Administration VERENA BUSER, Alice Salomon Hochschule Berlin ith the liberation of Nazi occupied Europe it became obvious that the Nazis had waged an unparalleled war against European civilisation which had also affected Wthe children. Psychologists and social workers encountered children, both Jewish and non-Jewish, who had endured suffering on an unprecedented scale: they were displaced and separated from their families, many of whom had been murdered. According to estimates of the United Nations Relief and Rehabilitation Administration (UNRRA), the largest international aid organisation at the end of the Second World War, there were at least 6,000 children in early March 1946 in the three western zones of occupation who had no relatives and lived in assembly centres or special children‘s centres.1 Who were the Displaced Children? The term ‘displaced children’ comprised minors from all population groups persecuted by the Nazis who had survived the war but were found without relatives; most importantly •฀ ฀Jewish฀children2 who had survived in concentration camps, in hiding with non-Jewish families or in monasteries, in partisan units,3 or in the Soviet Union;4 1 ITS-Arol, 6.1.1/82485874: letter from Miss M. Liebeskind, Child Tracing Section, 18 February 1946. The actual number was probably far higher. 2 For more on Jewish children during the Holocaust, see Dwork (1991). On the post-Holocaust period, see for example, Cohen (2007); Nussbaum (Noa Mkayton) (2004); Michlic (2012); Michlic (2008); Michlic (2007); Heberer (2011).
    [Show full text]
  • Whole Dissertation Hajkova 3
    Abstract This dissertation explores the prisoner society in Terezín (Theresienstadt) ghetto, a transit ghetto in the Protectorate Bohemia and Moravia. Nazis deported here over 140, 000 Czech, German, Austrian, Dutch, Danish, Slovak, and Hungarian Jews. It was the only ghetto to last until the end of Second World War. A microhistorical approach reveals the dynamics of the inmate community, shedding light on broader issues of ethnicity, stratification, gender, and the political dimension of the “little people” shortly before they were killed. Rather than relegating Terezín to a footnote in narratives of the Holocaust or the Second World War, my work connects it to Central European, gender, and modern Jewish histories. A history of victims but also a study of an enforced Central European society in extremis, instead of defining them by the view of the perpetrators, this dissertation studies Terezín as an autarkic society. This approach is possible because the SS largely kept out of the ghetto. Terezín represents the largest sustained transnational encounter in the history of Central Europe, albeit an enforced one. Although the Nazis deported all the inmates on the basis of their alleged Jewishness, Terezín did not produce a common sense of Jewishness: the inmates were shaped by the countries they had considered home. Ethnicity defined culturally was a particularly salient means of differentiation. The dynamics connected to ethnic categorization and class formation allow a deeper understanding of cultural and national processes in Central and Western Europe in the twentieth century. The society in Terezín was simultaneously interconnected and stratified. There were no stark contradictions between the wealthy and majority of extremely poor prisoners.
    [Show full text]
  • Second-Generation (Jewish) Artists
    Migration, Memory and the Visual Arts: Second-Generation (Jewish) Artists 7 May 2021, University of Leicester Online symposium Organisers: Dr Imogen Wiltshire and Dr Fransiska Louwagie Keynote: Dr Glenn Sujo (author and curator of Legacies of Silence: The Visual Arts and Holocaust Memory, Imperial War Museum) Young Blood and the Exterminatory Idea: A Continuum? Abstract As we draw on the survivors’ unassailable witness, can we as artists and scholars also look ahead to a concentrationary imaginary that enlarges the field of representation as a locus of possibility, resisting invisibility? And following from Adorno’s paradoxical proposition, can we still affirm that it is indeed ‘only in art that the enormity of such suffering finds a voice’? In this vein, I ask whether the universal message contained in the graphic cycles of Francisco Goya, Käthe Kollwitz or Otto Dix portend a visual imaginary of terror for the modern era that foreshadows the totalitarian and genocidal impulse to the destruction of a people. How do these images implicate (Rothberg) or make us complicitous (Sontag, Brink) in acts of violence, then and after? What obligations do they bestow on future acts of transmission, poetic misprision or an aesthetic of resistance? Two works, one a foreshadowing from the narrow corridor of exile and clandestinity in Max Beckmann’s Bird’s Hell (1938), the other, a fictional if also factual account of internment in KZ Auschwitz by Tadeusz Borowski (1946), sharpen our response to the subject’s radical and creative as well as destructive and nihilistic potential. Taking a cue from the symposium’s title, we might question whether the assumed model of generational succession — by choice, familial descent, identification with communal or ritual practices of remembrance or artistic affiliation — remains a viable frame for transmission in the enduring imaginary of human suffering, when subject to the erosions of time and memory as well as communal breakdown.
    [Show full text]
  • The Pennsylvania State University
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF GERMANIC AND SLAVIC LANGUAGES AND LITERATURES DIE KINDER, DIE ÜBERLEBTEN DES HOLOCAUSTS MARY FISK SPRING 2015 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in German and French and Francophone Studies with honors in German Reviewed and approved* by the following: Sabine Doran Associate Professor of German Thesis Supervisor Samuel Frederick Assistant Professor of German Honors Advisor *Signatures are on file in the Schreyer Honors College. i ABSTRACT Ehe wir es sich versiehen werden die einzige Information, dass wir über den Holocaust gehabt werden, Aufzeichnungen von Einzelmenschen gewesen, die überlebten. Ihre Geschichte wird auf die Erinnerungen der Geschichte verwiesen. Auch diese Kinder, die Kinder bei der Befreiung waren, sind jetzt in ihren Siebzigern und Achtzigern. Das ist diese Geschichte der Überlebende, die bei uns tiefste Widerhall finden. Nur ein winziges Prozent dieser unschuldigsten Opfer bekam zu überleben zustande und auf unterschiedliche Art und Weise. Die einen waren drinnen in den Lager untergetaucht, die einen lebten wie die Obdachlose in Städte, die einen waren in Klöster versteckt oder auf dem Land mit anderen Familien. Ein paar wurden in sehr jungem Alter Partisanen und sie haben gegen die Bundeswehr gekämpft und die einen waren glücklich und entkamen nach Großbritanien über den Kindertransport oder nach Südfrankreich mit ihren Familien. Während ihrer Internierung in den Lagern könnten die Kinder uns einen Einblick ins Alltagsleben durch ihre Kunstwerke und Tagebücher, in den sie ihre Kämpfe, Hoffnungen und Ängste erzählten geben. Amerikanische, britische und sowjetische Befreier erschraken, wann sie diese Lager fanden, insbesondere wann sie auf die Kinder trafen oder wie ein Befreier sagte, „die Kinderlosigkeit,“ wann sie Belege fanden, dass Kinder dort damals waren.
    [Show full text]
  • Presenting Eichmann: One Man, Many Murders
    Chapman University Chapman University Digital Commons War and Society (MA) Theses Dissertations and Theses Summer 8-2021 (Re)Presenting Eichmann: One Man, Many Murders Nina Handjeva-Weller Chapman University, [email protected] Follow this and additional works at: https://digitalcommons.chapman.edu/war_and_society_theses Part of the Holocaust and Genocide Studies Commons, Other Film and Media Studies Commons, and the Political History Commons Recommended Citation Handjeva-Weller, Nina. "(Re)Presenting Eichmann: One Man, Many Murders." Master's thesis, Chapman University, 2021. https://doi.org/10.36837/chapman.000303 This Thesis is brought to you for free and open access by the Dissertations and Theses at Chapman University Digital Commons. It has been accepted for inclusion in War and Society (MA) Theses by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. (Re)Presenting Eichmann: One Man, Many Murders A Thesis by Nina Handjeva-Weller Chapman University Orange, CA Wilkinson College of Arts, Humanities, and Social Sciences Submitted in partial fulfillment of the requirements for the degree of Master of Arts in War and Society August 2021 Committee in charge: Stephanie Takaragawa, Ph.D., Jeffrey Koerber, Ph.D. Nam Lee, Ph.D. The thesis of Nina Handjeva-Weller is approved. Stephanie Takaragawa, Ph.D., Chair Jeffrey Koerber, Ph. D Nam Lee, Ph.D. July 2021 (Re)Presenting Eichmann: One Man, Many Murders Copyright © 2021 by Nina Handjeva-Weller III ABSTRACT (Re)Presenting Eichmann: One Man, Many Murders by Nina Handjeva-Weller This thesis argues that the act of recording the trial of Adolf Eichmann was an interpretation by director Leo Hurwitz, and that at the time it was recorded, and since then, the material has been used by different actors for different purposes.
    [Show full text]
  • Matters of Testimony
    Introduction Matters of Testimony ••• Discoveries In February 1945, in the weeks after the liberation of Oświęcim by the 60th Army of the First Ukrainian Front, the massive complex of Auschwitz- Birkenau was proving difficult to manage. The Red Army, preoccupied with securing its position against German attempts to recapture the valuable industrial zone of Silesia, had few resources to spread across the camp’s multiple sites. The grounds of Birkenau were littered with debris and rubbish. Luggage lay in the cars of a train left on the unloading ramp, and was also strewn over the ground nearby. The departing SS had set fire to storehouses, and blown up the crematoria. The snow was beginning to melt, leaving everything in a sea of mud, and revealing more of what had been left behind: mass graves and burnt human remains. Around six hundred corpses had been found inside blocks or lying in the snow, and needed to be buried. Of the seven thousand prisoners who had been liberated on 27 January, nearly five thousand were in need of some kind of treatment. Soviet medical officers and Polish Red Cross volunteers came to the camp to care for them.1 Andrzej Zaorski, a 21-year-old doctor stationed in Kraków, was one of these volunteers. He arrived at Auschwitz a week or two after its liberation, where, as he recalled twenty-five years later, he was lodged in the commandant’s house. He found a richly illustrated book among the papers left behind. The author, an SS-man, described the birdlife in 2 • Matters of Testimony the vicinity of the camp, and thanked the commandant for permission to carry out observations.
    [Show full text]
  • Einsatzgruppen
    Juni 1998 Einsatzgruppen Die Einsatzgruppen wurden im Frühjahr 1941 mit dem Zweck gebildet, während des Rußlandfeldzuges die so genannte „jüdisch-bolschewistische Intelligenz“ zu beseitigen. Schnell wurde der Kreis der Opfer erweitert: Zuerst nur die Polit- funktionäre, dann folgten alle Beamten, dann alle Partisanenverdächtigen und schließlich jeder einzelne Jude, erst die Männer, dann auch Frauen und Kinder. Im März 1941 äußerte sich Hitler das erste Mal zu General Jodl über die Notwendigkeit, daß Einsatzgruppen der Sicherheitspolizei (SD) entstehen sollen und eine Vereinbarung mit Hey- drich über die Rolle dieser Einsatzgruppen im Ostfeldzug getroffen werden müsse. Die Wehrmacht erklärte sich mit einer freien und unbegrenzten Tätigkeit dieser Einsatzgruppen einverstanden. Einen Befehl zur Endlösung hatte es noch nicht gegeben. Dieser kam am 21. Januar 1942 während der Wannsee-Konferenz, nachdem schon vorher während des Rußland- feldzuges (Operation Barbarossa) fast eine Million Juden ermordet worden waren. Im Mai 1941 hatte Heydrich ungefähr 3.000 Mann beisammen, die in vier Einsatzgruppen eingeteilt wurden: • Die Einsatzgruppe A sollte der Heeresgruppe Nord in die Baltischen Staaten bis nach Leningrad folgen und wurde von Stahlecker kommandiert. • Die Einsatzgruppe B, von Nebe geleitet, folgte der Heeresgruppe Mitte mit dem Ope- rationsraum zwischen den Baltischen Staaten und Ukraine. • Die Einsatzgruppe C führte Rasch. Sie operierte westlich und nördlich von der Heere- sgruppe Süd. • Die Einsatzgruppe D unter Ohlendorf operierte zwischen Bessarabien und dem Krim- gebiet, im Süden der Heeresgruppe Süd. Die Einsatzgruppen hatten Bataillonsstärke und setzten sich ähnlich wie die Gruppe A zu- sammen: Männer der Gestapo (9 %), des SD (3,5 %), der Kriminalpolizei (4,1 %), der Ord- nungspolizei (13,4 %), ausländischer Hilfspolizei (8,8 %) und der Waffen-SS (34 %).
    [Show full text]
  • INFORMATION ISSUED by JHE Assomnom of Jima KERKBS M SREAT OUTAIH
    Volume XXXIV No. 1 January, 1979 INFORMATION ISSUED BY JHE ASSomnoM OF Jima KERKBS M SREAT OUTAIH • C. Aronsfeltl So it was generally accepted that the ex­ termination of the Jews was to be carried out during the war, and it pleased Hitler to "re­ call" that he had foretold it the moment he EXTERMINATION AND WAR went to war. But actually the crime had been on his mind the moment he "decided to be­ Hitler's "Prophecy" in 1939 come a politician", just as war had always been on his mind and indeed the "mailed fist" wielded with the "extreme", "ultimate P This month it is 40 years that Hitler, in his (after the German neo-Nazis had done so brutality", hits out from any odd page of J'eiehstag speech of January 30, 1939, made years ago) that Hitler of all people "did not Mein Kampf. „"* the first time the solemn self-fulfilling know what was going on". Thus when at last he managed to provoke Propijecy" that the Jews would be extermin- But the intriguing thing is that while Hitler the war which he had always glorified, he ^^ in the event of war. Half-way between time and again insisted on recalling his combined it immediately with his favourite ^"6 November 1938 pogrom and the rape of "prophecy" of the Holocaust, he almost in­ ambition, the physical destruction of the Jews, ^choslovakia, as the model for a similar variably, by a peculiarly constant quirk, dated and after he had appeared as a "prophet" in I ^^truction of Poland, he saw that war was it back not to his speech seven months before the absence of war, his feverish, murderous ^ oming on the horizon and he tried to forge the war but to the speech of September 1.
    [Show full text]
  • Social Circles in the Theresienstadt Ghetto Lesson Plan Introduction
    The International School for Holocaust Studies Internet Department Between The Worlds: Social Circles in the Theresienstadt Ghetto Welcome! In this website, "Between The Worlds", we invite you to join us on a journey to discover the world of the Jewish children of the Theresienstadt ghetto. This journey strives to reveal the difficulties of these children as they suffered times of pain and loss during the Holocaust. The site has a lesson plan with activities geared for pupils in middle and high school. This website is based on some of the sources and activities that are part of the CD ROM 'Between the Worlds'- Social Circles in the Theresienstadt Ghetto.' The CD ROM follows the world of the Jews in the ghetto during this difficult period, and focusing on the various age groups and sub-cultures that lived in the ghetto: children, parents, men and women. Lesson Plan This activity focuses on the lives and world of the children in the Theresienstadt Ghetto and follows their relationships with different groups in the ghetto: Introduction 1. The world between parents and their children 2. The world of the children 3. The world between madrichim (youth leaders) and the children Summary In each chapter there are relevant testimonies of the children that focus on their fears and feelings. Introduction During the Holocaust, the Jews of Czechoslovakia as well as elderly Jews and well-known Jewish personalities people from Germany and Western Europe were imprisoned in the Theresienstadt Ghetto. Later, in 1944, the Germans also used this ghetto as a site for camouflaging the murder of the Jews of Europe by presenting it as "a model Jewish town" with "an autonomous Jewish administration".
    [Show full text]
  • Preserving Survivors' Memories
    Education with Testimonies PRESERVING SURVIVORS’ MEMORIES Digital Testimony Collections about Nazi Persecution: History, Education and Media edited by Nicolas Apostolopoulos | Michele Barricelli | Gertrud Koch Education with Testimonies, Vol. 3 PRESERVING SURVIVORS’ MEMORIES Digital Testimony Collections about Nazi Persecution: History, Education and Media edited by Nicolas Apostolopoulos | Michele Barricelli | Gertrud Koch on behalf of Stiftung „Erinnerung, Verantwortung und Zukunft” (EVZ) Due to the generation shift, the central challenge has become to preserve the memories of the survivors of National Socialist persecution and to anchor these within 21st century cultural memory. In this transition phase, which includes rapid technical developments within information and communi- cations technology, high expectations are being made of the collections of survivors’ audio and video interviews. This publication reflects the interdis- ciplinary debates currently taking place on the various digital techniques of preserving eyewitness interviews. The focus is how the changes in media technology are affecting the various fields of work, which include storage/ archiving, education as well as the reception of the interviews. TABLE OF CONTENTS 9 Günter Saathoff Opening Remarks 13 Geoffrey Hartman Future Memory: Reflections on Holocaust Testimony and Yale’s Fortunoff Video Archive SECTION I – DIGITAL CHALLENGES 31 Nicolas Apostolopoulos Audio and Video Interviews as a Digital Source for the e-Humanities 35 Sigal Arie-Erez and Judith Levin, Yael
    [Show full text]
  • Literary Efforts Londýnský Kroužek Ostraváků Der Londoner-Ostrauerkreis Our Ostrava Group
    33/35 Uxbridge Road http://www.kingston-synagogue.org.uk/community/about-ostrava.php Kingston upon Thames Surrey, KT1 2LL Londýnský kroužek Ostraváků Der Londoner-Ostrauerkreis 020 8546 9370 Our Ostrava Group www. Kingston-synagogue.org.uk Number 22, Literary and Chanukah Edition Contents Literary Efforts Jews in the Spiš region . 1 Escape Story .......................................................................... 2 Talks about Eva’s book ........................................................... 4 Comments on Newsletter #21 Hanna Oppenheim Connor ..................................................... 4 Miriam Friedmann Morris ........................................................ 4 Michal Frankl .......................................................................... 4 Victoria Bursa ......................................................................... 4 News of Ostravaks Stamberger Reunion ............................................................... 4 Finkelstein .............................................................................. 5 Smetana ................................................................................. 5 Yehuda Bacon ........................................................................ 5 Louise Beesley ....................................................................... 6 Paul Rice ................................................................................ 7 Fielding/Page/Lichtenstern ...................................................... 8 News about the Jewish Museum in Prague
    [Show full text]