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SS-Totenkopfverbände from Wikipedia, the Free Encyclopedia (Redirected from SS-Totenkopfverbande)
Create account Log in Article Talk Read Edit View history SS-Totenkopfverbände From Wikipedia, the free encyclopedia (Redirected from SS-Totenkopfverbande) Navigation Not to be confused with 3rd SS Division Totenkopf, the Waffen-SS fighting unit. Main page This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason Contents has been specified. Please help improve this article if you can. (December 2010) Featured content Current events This article needs additional citations for verification. Please help improve this article by adding Random article citations to reliable sources. Unsourced material may be challenged and removed. (September 2010) Donate to Wikipedia [2] SS-Totenkopfverbände (SS-TV), rendered in English as "Death's-Head Units" (literally SS-TV meaning "Skull Units"), was the SS organization responsible for administering the Nazi SS-Totenkopfverbände Interaction concentration camps for the Third Reich. Help The SS-TV was an independent unit within the SS with its own ranks and command About Wikipedia structure. It ran the camps throughout Germany, such as Dachau, Bergen-Belsen and Community portal Buchenwald; in Nazi-occupied Europe, it ran Auschwitz in German occupied Poland and Recent changes Mauthausen in Austria as well as numerous other concentration and death camps. The Contact Wikipedia death camps' primary function was genocide and included Treblinka, Bełżec extermination camp and Sobibor. It was responsible for facilitating what was called the Final Solution, Totenkopf (Death's head) collar insignia, 13th Standarte known since as the Holocaust, in collaboration with the Reich Main Security Office[3] and the Toolbox of the SS-Totenkopfverbände SS Economic and Administrative Main Office or WVHA. -
2363 Luftaufnahme Des KZ Dachau, 20. April 1945 Aerial View of The
54 53 28 52 67 63 66 65 31 51 58 60 80 28 30 48 50 58 59 64 58 49 58 62 58 29 58 60 47 70 27 57 61 28 57 41 45 55 72 44 21 56 40 71 26 43 42 46 20 79 45 16 18 20 22 24 26 28 30 1 2 4 6 8 10 12 14 78 9 10 17 25 3 7 8 4 2 6 7 11 16 12 13 28 14 15 25 27 29 5 1 3 579 11 13 15 17 19 21 23 73 74 75 77 76 2363 Luftaufnahme des KZ Dachau, 20. April 1945 Luftbilddatenbank Ing. Büro Dr. Carls, Würzburg Aerial view of the Dachau concentration camp, April 20, 1945 Gebäude und Einrichtungen Buildings and facilities of the des KZ Dachau, 1945 Dachau concentration camp, 1945 Außenmauer/-zaun des KZ Krematoriumsbereich Exterior wall/fence of the Medicinal herb garden “plantation” concentration camp Umzäunung des Häftlingslagers mit Wachtürmen Heilkräutergarten „Plantage“ Fence of the Prisoners‘ camp Crematorium area with guard towers 1 Jourhaus mit Lagereingang 43 Werkstätten der Deutschen 1 Jourhaus with camp entrance 44 Commandants headquarters of the 2 Appellplatz Ausrüstungs-Werke (DAW) 2 Roll-call square concentration camp 3 Wirtschaftsgebäude 44 Kommandantur des Konzentrations- 3 Maintenance building 45 Political department (Gestapo) 4 Bunker lagers 4 Bunker (camp prison) 46 Barracks of the concentration camp 5 Straflager der Waffen-SS und Polizei 45 Politische Abteilung (Gestapo) 5 Penal camp of the Waffen SS and Police guards 6 Lagerstraße 46 Baracken-Unterkünfte der 6 The camp road 47 Paymaster offices of the Waffen SS 7 Baracken (Materiallager) KZ-Wachmannschaften 7 Barracks (lay down) 48 SS living quarter and administration 8 Lagermuseum, -
A Catalan Voice from the Holocaust: Writer and Survivor of Mauthausen Joaquim Amat-Piniella Shatters Francoist Mandated Silence Maureen Tobin Stanley
You are accessing the Digital Archive of the Esteu accedint a l'Arxiu Digital del Catalan Catalan Review Journal. Review By accessing and/or using this Digital A l’ accedir i / o utilitzar aquest Arxiu Digital, Archive, you accept and agree to abide by vostè accepta i es compromet a complir els the Terms and Conditions of Use available at termes i condicions d'ús disponibles a http://www.nacs- http://www.nacs- catalanstudies.org/catalan_review.html catalanstudies.org/catalan_review.html Catalan Review is the premier international Catalan Review és la primera revista scholarly journal devoted to all aspects of internacional dedicada a tots els aspectes de la Catalan culture. By Catalan culture is cultura catalana. Per la cultura catalana s'entén understood all manifestations of intellectual totes les manifestacions de la vida intel lectual i and artistic life produced in the Catalan artística produïda en llengua catalana o en les language or in the geographical areas where zones geogràfiques on es parla català. Catalan Catalan is spoken. Catalan Review has been Review es publica des de 1986. in publication since 1986. Parlo...’: A Catalan Voice from the Holocaust: Writer and Survivor of Mauthausen Joaquim Amat-Piniella Shatters Francoist Mandated Silence Maureen Tobin Stanley Catalan Review, Vol. XXI, (2007), p. 69- 86 'PARLO ... ': A CATALAN VOICE FROM THE HOLOCAUST: WRITER AND SURVIVOR OF MAUTHAUSEN JOAQUIM AMAT-PINIELLA SHATTERS FRANCO1ST MANDATED SILENCE':- MAURE EN TOBIN STANLEY ABSTRACT Following the retreat to France of half a million Spaniards in the winter of '38/39 and as a result of the Nazi occupation, 10,000-15,000 Spaniards were deported to concentration camps. -
Updated: 20 January 2012 1 42.347 Dr. Stallbaumer-Beishline Film
1 42.347 Dr. Stallbaumer-Beishline Film Review Essay Assignment Holocaust Films: “Imagining the Unimaginable” The average American's most extensive exposure to the Holocaust is through popular filmic presentations on either the "big screen" or television. These forums, as Ilan Avisar points out, must yield “to popular demands and conventional taste to assure commercial success."1 Subsequently, nearing the successful completion of this course means that you know more about the Holocaust than the average American. This assignment encourages you to think critically, given your broadened knowledge base, about how the movie-television industry has treated the subject. Film scholars have grappled with the unique challenge of Holocaust-themed films. Ponder their views as you formulate your own opinions about the films that you select to watch. Annette Insdorff, Indelible Shadows: Film and the Holocaust (1989) "How great a role are films playing in determining contemporary awareness of the Final Solution? . How do you show people being butchered? How much emotion is too much? How will viewers respond to light-hearted moments in the midst of suffering?" (xviii) How do we lead a camera or a pen to penetrate history and create art, as opposed to merely recording events? What are the formal as well as moral responsibilities if we are to understand and communicate the complexities of the Holocaust through its filmic representations? (xv) Ilan Avisar, Screening the Holocaust: Cinema's Images of the Unimaginable (1988) "'Art [including film making] takes the sting out of suffering.'" (viii) The need for popular reception of a film inevitably leads to "melodramatization or trivialization of the subject." (46) Hollywood/American filmmakers' "universalization [using the Holocaust to make statements about contemporary problems] is rooted in specific social concerns that seek to avoid burdening a basically indifferent public with unbearable facts of the Nazi genocide of the Jews. -
September / October
AMERICAN SOCIETY FOR YAD VASHEM Vol. 46-No. 1 ISSN 0892-1571 September/October 2019-Tishri/Cheshvan 5780 “TWO ARE BETTER THAN ONE… AND A THREEFOLD CORD CANNOT QUICKLY BE BROKEN” n Sunday, November 17, 2019, the are leaders of numerous organizations, including membrance for their grandparents, and to rein- American Society for Yad Vashem AIPAC, WIZO, UJA, and American Friends of force their commitment to Yad Vashem so that will be honoring three generations of Rambam Hospital. the world will never forget. Oone family at our Annual Tribute Din- Jonathan and Sam Friedman have been ll three generations, including ner in New York City. The Gora-Sterling-Fried- deeply influenced by Mona, David and their ex- David’s three children — Ian and his man family reflects the theme of this year’s traordinary grandparents, Jack and Paula. Grow- wife Laura, Jeremy and his wife Tribute Dinner, which comes from Kohelet. “Two ing up, they both heard Jack tell his story of AMorgan, and Melissa — live in the are better than one… and a threefold cord can- survival and resilience at the Yom HaShoah pro- greater New York City area. They gather often, not quickly be broken” (4:9-12). All three gener- ations are proud supporters of Yad Vashem and are deeply committed to the mission of Holo- caust remembrance and education. Paula and Jack Gora will receive the ASYV Remembrance Award, Mona and David Sterling will receive the ASYV Achievement Award, and Samantha and Jonathan Friedman and Paz and Sam Friedman will receive the ASYV Young Leadership Award. -
The Kpd and the Nsdap: a Sttjdy of the Relationship Between Political Extremes in Weimar Germany, 1923-1933 by Davis William
THE KPD AND THE NSDAP: A STTJDY OF THE RELATIONSHIP BETWEEN POLITICAL EXTREMES IN WEIMAR GERMANY, 1923-1933 BY DAVIS WILLIAM DAYCOCK A thesis submitted for the degree of Ph.D. The London School of Economics and Political Science, University of London 1980 1 ABSTRACT The German Communist Party's response to the rise of the Nazis was conditioned by its complicated political environment which included the influence of Soviet foreign policy requirements, the party's Marxist-Leninist outlook, its organizational structure and the democratic society of Weimar. Relying on the Communist press and theoretical journals, documentary collections drawn from several German archives, as well as interview material, and Nazi, Communist opposition and Social Democratic sources, this study traces the development of the KPD's tactical orientation towards the Nazis for the period 1923-1933. In so doing it complements the existing literature both by its extension of the chronological scope of enquiry and by its attention to the tactical requirements of the relationship as viewed from the perspective of the KPD. It concludes that for the whole of the period, KPD tactics were ambiguous and reflected the tensions between the various competing factors which shaped the party's policies. 3 TABLE OF CONTENTS PAGE abbreviations 4 INTRODUCTION 7 CHAPTER I THE CONSTRAINTS ON CONFLICT 24 CHAPTER II 1923: THE FORMATIVE YEAR 67 CHAPTER III VARIATIONS ON THE SCHLAGETER THEME: THE CONTINUITIES IN COMMUNIST POLICY 1924-1928 124 CHAPTER IV COMMUNIST TACTICS AND THE NAZI ADVANCE, 1928-1932: THE RESPONSE TO NEW THREATS 166 CHAPTER V COMMUNIST TACTICS, 1928-1932: THE RESPONSE TO NEW OPPORTUNITIES 223 CHAPTER VI FLUCTUATIONS IN COMMUNIST TACTICS DURING 1932: DOUBTS IN THE ELEVENTH HOUR 273 CONCLUSIONS 307 APPENDIX I VOTING ALIGNMENTS IN THE REICHSTAG 1924-1932 333 APPENDIX II INTERVIEWS 335 BIBLIOGRAPHY 341 4 ABBREVIATIONS 1. -
Holocaust Memorial Days an Overview of Remembrance and Education in the OSCE Region
Holocaust Memorial Days An overview of remembrance and education in the OSCE region 27 January 2015 Updated October 2015 Table of Contents Foreword .................................................................................................................................... 1 Introduction ................................................................................................................................ 2 Albania ................................................................................................................................. 13 Andorra ................................................................................................................................. 14 Armenia ................................................................................................................................ 16 Austria .................................................................................................................................. 17 Azerbaijan ............................................................................................................................ 19 Belarus .................................................................................................................................. 21 Belgium ................................................................................................................................ 23 Bosnia and Herzegovina ....................................................................................................... 25 Bulgaria ............................................................................................................................... -
Roma and Sinti Under-Studied Victims of Nazism
UNITED STATES HOLOCAUST MEMORIAL MUSEUM CENTER FOR ADVANCED HOLOCAUST STUDIES Roma and Sinti Under-Studied Victims of Nazism Symposium Proceedings W A S H I N G T O N , D. C. Roma and Sinti Under-Studied Victims of Nazism Symposium Proceedings CENTER FOR ADVANCED HOLOCAUST STUDIES UNITED STATES HOLOCAUST MEMORIAL MUSEUM 2002 The assertions, opinions, and conclusions in this occasional paper are those of the authors. They do not necessarily reflect those of the United States Holocaust Memorial Council or of the United States Holocaust Memorial Museum. Third printing, July 2004 Copyright © 2002 by Ian Hancock, assigned to the United States Holocaust Memorial Museum; Copyright © 2002 by Michael Zimmermann, assigned to the United States Holocaust Memorial Museum; Copyright © 2002 by Guenter Lewy, assigned to the United States Holocaust Memorial Museum; Copyright © 2002 by Mark Biondich, assigned to the United States Holocaust Memorial Museum; Copyright © 2002 by Denis Peschanski, assigned to the United States Holocaust Memorial Museum; Copyright © 2002 by Viorel Achim, assigned to the United States Holocaust Memorial Museum; Copyright © 2002 by David M. Crowe, assigned to the United States Holocaust Memorial Museum Contents Foreword .....................................................................................................................................i Paul A. Shapiro and Robert M. Ehrenreich Romani Americans (“Gypsies”).......................................................................................................1 Ian -
The Auschwitz-Birkenau Museum
53 REMEMBRANCE INSTITUTION Franciszek Dąbrowski PhD Institute of National Remembrance, Warsaw, Poland War Studies University, Warsaw, Poland ORCID 0000-0002-4255-6985 Web of Science ResearcherID S-6250-2017 THE AUSCHWITZ-BIRKENAU MUSEUM & MEMORIAL SITE THE FORMER GERMAN NAZI CONCENTRATION AND EXTERMINATION CAMP: THE HISTORY OF THE INSTITUTION OF MEMORY AND ITS OPERATING PRINCIPLES Abstract The paper describes the activities, structures and tasks of the Auschwitz-Birkenau State Museum, one of the most important remembrance institutions and the most important Holocaust Memorial in Poland. The short outline of the camp’s wartime history is followed by sections concerning the post-war site’s use and commemoration, the forming of the Museum, concepts of its shape, and contemporary challenges to its activities. The selected Museum’s structures were discussed: the archives, exhibitions, research, collections, conservation and visitor services departments. Keywords: Auschwitz, Holocaust Memorial, archives, museum collections, conservation, research Institute of National Remembrance 2/2020 54 INTRODUCTION The Protected Site and the Museum’s History he museum and memorial site located at the former T concentration camp of Auschwitz-Birkenau was REMEMBRANCE INSTITUTION established in 1947 as the Oświęcim-Brzezinka State Museum. In 1999 the museum was renamed as the Auschwitz-Birkenau State Museum (Państwowe Muzeum Auschwitz-Birkenau). In 1979 the sites in the museum’s custody—the remains of the concentration camps Auschwitz I and Auschwitz II-Birkenau—were registered on the UNESCO World Heritage list as the “Auschwitz Concentration Camp”. In 2007 the name on the list was revised to “the Former Nazi German Concentration and Extermination Camp at Auschwitz-Birkenau”. -
Przekładaniec, 2019
Przekładaniec, special issue, “Translation and Memory” 2019, pp. 175–191 doi:10.4467/16891864ePC.19.016.11391 www.ejournals.eu/Przekladaniec MAŁGORZATA TRYUK■ https://orcid.org/0000-0002-6925-2711 University of Warsaw [email protected] THE CINEMATIC FIGURE OF AN INTERPRETER AT A NAZI CONCENTRATION CAMP: MARTA WEISS IN THE LAST STAGE BY WANDA JAKUBOWSKA* Abstract Despite a massive amount of archival material on Nazi concentration camps, references to camp translators and interpreters are random, brief, and laconic. They usually consist of dry facts as related in ontological narratives of the Nazi regime victims. In the present paper, these records will be confronted with the portrayal of Marta Weiss, a fictional camp interpreter presented in the 1948 docudrama Ostatni etap (The Last Stage) by the Polish film director Wanda Jakubowska, herself a former prisoner of the concentration camp in Birkenau. To this day, The Last Stage remains a “definitive film about Auschwitz, a prototype for future Holocaust cinematic narratives”. The Last Stage is also called “the mother of all Holocaust films”, as it establishes several images easily discernible in later narratives on the Holocaust: realistic images of the camp; passionate moralistic appeal; and clear divisions between the victims and the oppressors. At the same time, The Last Stage is considered to be an important work from the perspective of feminist studies, as it presents the life and death of female prisoners, femininity, labour and motherhood in the camp, women’s solidarity, and their resistance to the oppressors. The Last Stage constitutes a unique quasi-documentary source for the analysis of the role of translators and interpreters working in extreme conditions. -
Music in Concentration Camps 1933 Music In
Music in Concentration Camps 19331933––––19451945 GUIDO FACKLER Translated from the German by Peter Logan (Würzburg) It would be wrong to reduce the “Music of the Shoah” (Holocaust/ churbn ) to the Yiddish songs from the ghetto camps of Eastern Europe or to the multiple activities in the realm of classical or Jewish music found in the ghetto camp at Theresienstadt (Terezín), which of course enjoyed a special status as a model camp. It would be equally wrong to restrict our view of music in concentration camps to the “Moorsoldatenlied” (“The Peat Bog Soldiers”), the “Buchenwald Song,” the “Dachau Song,” or the so-called “Girls’ Orchestra in Auschwitz,” described by Fania Fénelon – also the subject of the Hollywood film entitled “Playing for Time”. 1 Instead of this, I wish to address the topic of musical activities in general in the concentration camps. 2 Thus this chapter is about those camps that the Nazi regime started to erect just a few weeks after Hitler’s assumption of power; these camps formed the seed from which the entire system of Nazi camps grew, and which eventually consisted of over 10,000 camps of various kinds. 3 In fact music was an integral part of camp life in almost all the Nazi-run camps. The questions covered by my research include: how was it possible to play music in these camps? What musical forms developed there? What, under these circumstances was the function, the effect and the significance of music for both the suffering inmates and the guards who inflicted the suffering? And how was the extent of musical activities affected by the development of the concentration camp system? My research is based on extensive archive work, the study of memoirs and literature, and interviews with witnesses. -
SON 509 S. X-XXV Neu SON
SON 509_S.XXVI-XL_neu_SON 509 18.02.2015 08:24 Seite XXVI XXVI Introduction Hanns Eisler composed the film music for Nuit et brouillard – d’Ulm in Paris. On 10 November 1954, the day the exhibition “Night and fog” – in the few weeks between late November opened, its two curators – the historians Olga Wormser and and mid-December 1955. Nuit et brouillard was the first com- Henri Michel – mentioned in a radio interview4 that they were prehensive documentary film about the Nazi concentration planning a film about the concentration camp system. camps.1 It was directed by Alain Resnais and the commentary According to Wormser, it would “only contain purely histori- was by the writer Jean Cayrol, who had himself been a prisoner cal documents that are absolutely confirmed by all our experi- in the concentration camp of Mauthausen/Gusen. This short ence with this subject”.5 Wormser and Michel had been film Nuit et brouillard is underlaid throughout its 30 minutes researching the topic of deportation and concentration camps by both Eisler’s music and the commentary, which was spoken for several years. In 1940–41, Wormser had worked in the by the actor Michel Bouquet. The title of the film refers to the Centre d’information sur les prisonniers de guerre (“Centre of “order of the Führer” of the same name from 1941, according information on prisoners of war”) and in September 1944 had to which the Resistance fighters captured in France, Belgium, been employed in the Commissariat aux Prisonniers, Déportés the Netherlands and Norway were placed under the special et Réfugiés (“Commissariat for prisoners, deportees and jurisdiction of the “Reich” in order for them to disappear refugees”, PDR) of the provisional government of the French without trace in prisons and concentration camps in a “cloak Republic under Minister Henri Frenay – this was the board and dagger” operation (in German: “bei Nacht und Nebel”, concerned with registering, returning and resettling deported literally “in night and fog”).2 people and POWS.