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Identity and Resistance: Understanding Representations of Ethos and Self in Women's Holocaust Texts A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Alexis M. Baker August 2016 © Copyright All rights reserved Except for previously published materials Dissertation Written by Alexis M. Baker B.A., The Ohio State University, 1998 M.A., Miami University (Ohio), 2001 Ph.D., Kent State University, 2016 Approved by ____Sara Newman________, Chair, Doctoral Dissertation Committee ____Keith Lloyd__________, Members, Doctoral Dissertation Committee ____Babacar M’Baye_______ ____Susan Roxburgh_______ ____Richard Steigmann-Gall______ Accepted by Robert Trogdon, Chair, Department of English__________ James Blank, Dean, College of Arts and Sciences________ TABLE OF CONTENTS………………………………………………………………………………….iii LIST OF FIGURES……………………………………………………………………………………… .vi LIST OF TABLES……………………………………………………………………………………….. .ix ACKNOWLEDGMENTS……………………………………………………………………………….....x CHAPTERS I. Introduction…………………………………………………………………………………..1 Situation of the Problem……………………………………………………………………..7 Historical and Scholarly Background………………………………………………………10 Literature Review…………………………………………………………………………...15 Trauma, Disability, and Narrative …………………………………………………………26 II. Methods and Methodology…………………………………………………………………32 Introduction…………………………………………………………………………………32 On Naming………………………………………………………………………………….34 The Data…………………………………………………………………………………….37 Coding Methods…………………………………………………………………………….41 Coding for Themes…………………………………………………………………………42 Coding for Topoi……………………………………………………………………………46 Amplification……………………………………………………………………………….47 Synecdoche…………………………………………………………………………………49 Conclusion………………………………………………………………………………….49 III. Results………………………………………………………………………………………51 Introduction…………………………………………………………………………………51 Thematic Codes…………………………………………………………………………….52 The Topoi…………………………………………………………………………………...63 iii Amplification……………………………………………………………………………….63 Synecdoche…………………………………………………………………………………69 IV. Discussion and Analysis of the Art…………………………………………………………71 Introduction…………………………………………………………………………………71 A Word on Organization……………………………………………………………………74 The Self, Survivance, and the Topoi………………………………………………………..76 Representations of Women vs. Representations of Men…………………………………...76 Alternative Narratives: Amplification……………………………………………………...78 Amplification: Motherhood………………………………………………………………...79 Amplification: Women’s Communities Within Camps…………………………………….82 Amplification: Images of Isolation…………………………………………………………85 Alternative Narratives: Synecdoche………………………………………………………..90 Synecdoche: Motherhood and Fissure……………………………………………………...91 Synecdoche: Women’s Communities Within Camps………………………………………94 Conclusion………………………………………………………………………………....97 V. Conclusions and Limitations……………………………………………………………….99 Alternative Texts………………………………………………………………………….100 Research Questions……………………………………………………………………….103 Contributions to the Field ………………………………………………………………...106 Limitations………………………………………………………………………………...109 A Final Thought…………………………………………………………………………..112 REFERENCES…………………………………………………………………………………………...113 APPENDICES A. Art from Primary Data Set……………………………………………..…………………...120 B. Art from Secondary Data Set……………………………………………………………….129 iv C. Examples of Representations of Men in Blatter and Milton’s (1982) Art of the Holocaust……………………………………………………………………………………133 D. Tables……………………………………………………………………………………….136 v LIST OF FIGURES Art from Primary Data Set Figure 1. Weissova-Hoskova, Helga. Women and Children Being Sent on a Transport from the Terezin Ghetto. 1963. Medium unknown. Ghetto Fighters House Archives…………………………………….120 Figure 2. Olomucki, Halina. Untitled. Warsaw, 1945. Pastel and charcoal. Ghetto Fighters house, Israel. ……………………………………………………………………………………………………………120 Figure 3. Liberman, Judith. Women in the Holocaust. 1996. Acrylic. Center for Holocaust and Genocide Studies, Minneapolis, MN. ……………………………………………………………………………...121 Figure 4. Kathe Kollwitz. Grain for Sowing Shall Not Be Milled. 1942. Lithograph. Galerie St. Etienne, NY. ………………………………………………………………………………………………………121 Figure 5. Lea Grundig. Imprisoned. 1936. Copper Engraving. Landengalerie, Berlin………………….122 Figure 6. Halina Olomucki. In the Ghetto. 1943. Charcoal and ink. Ghetto Fighter’s House, Israel. ….122 Figure 7. Charlotte Buresova. Mother and Child. 1944. Monotype. Ghetto Fighter’s House, Israel…..123 Figure 8. Charlotte Buresova. Despair. 1944. Monotype. Ghetto Fighter’s House, Israel……………...123 Figure 9. Malvina Schalkova. Elderly Deportee. 1943. Soft pencil. Ghetto Fighter’s House, Israel……124 Figure 10. Mabull. Three Women in Front of Barracks. 1940. Watercolor. Ghetto Fighter’s House, Israel……………………………………………………………………………………………………...124 Figure 11. Jadwiga Tereszczenko. Roll Call. 1941. Pencil. Warsaw……………………………………125 Figure 12. Ro Mogendorf. Aged Woman Arrested. 1944. Charcoal. Ghetto Fighter’s House, Israel…...125 Figure 13. Maja Berezowska. Distribution of Soup. 1944. Pencil and watercolor. Warsaw……………126 Figure 14. France Audoul. Shorn. 1944-45. Ink. Paris…………………………………………………..126 vi Figure 15 Halina Olomucki. Self-Portrait After Four Selections. 1943. Pencil. Holon, Israel………….127 Figure 16. France Audoul. The Hell for Women. Undated. Oil on wood. Paris…………………………127 Figure 17. Helga Weissova-Hoskova. Suicide on the Wire. 1945. Ink and ink wash. Prague…………...128 Art from the Secondary Data Set Figure 18. Lea Grundig. Gestapo in the House. 1934. Copper engraving. Landengalerie, Berlin………129 Figure 19. Esther Lurie. In the Ghetto. 1942. Pen. Ghetto Fighter’s House, Israel……………………...129 Figure 20. Malvina Schalkova. Sleeping Quarters. 1944. Soft pencil. Ghetto Fighter’s House, Israel…130 Figure 21. Malvina Schalkova. Arrival in the Ghetto. 1943. Watercolor. Ghetto Fighter’s House, Israel……………………………………………………………………………………………………...130 Figure 22. Malvina Schalkova. Forced Labor. 1943. Watercolor. Ghetto Fighter’s House, Israel……..131 Figure 23. Maria Hiszpanska-Neumann. Stone Carriers. 1944. Crayon. National Museum, Warsaw…131 Figure 24. Nina Jirsikova. Scene in Camp Ravensbruck. Undated. Ink and crayon. Terezin memorial...132 Figure 25. Halina Olomucki. Women Crouching in the Extermination Camp. 1950. Gouache, watercolor, and chalk. MDGM, Paris………………………………………………………………………………...132 Examples of Men’s Holocaust Art Figure 26. Auguste Favier. Medical Examination. 1944. Ink. Villeurbanne, France. …………………..133 Figure 27. George Grosz. After the Interrogation. 1935. Watercolor. Princeton, New Jersey. …………133 Figure 28. Zoran Music. Dachau. 1945. Ink and rust. MDGM, Paris. ………………………………….134 vii Figure 29. Waldemar Nowakowski. The Jew’s Last Road. 1943 Watercolor. Warsaw. ………………..135 Figure 30. Felix Nussbaum. Deathdance. 1943-44. Oil on canvas. Osnabruck, FRG………………….135 viii LIST OF TABLES Table 1. Informational Breakdown of the Artwork……………………………………………………...136 Table 2. Conceptual Thematic Codes for Primary and Secondary Data Sets……………………………138 Table 3. Data Set Representing the Relationship Between the Art of the Primary Data Set and the Topoi of Amplification and Synecdoche………………………………………………………………………..139 Table 4. Explanation of Different Versions of the Alternative Narratives of Amplification and Synecdoche……………………………………………………………………………………................140 ix Acknowledgements My deepest thanks goes first to Sara Newman, my wonderfully wise advisor, who answered every question, explained the unexplainable, and inspired me with her wit and patience. You set the tone for this project and saw its value from day one. There are no words big enough to express my gratitude for your guidance and friendship. Special thanks also goes to the other members of my committee. Keith Lloyd always “got” this project and my deep connection to it. Thank you for your fine attention to detail and for pushing me to think harder. Babacar M’Baye brought incredible optimism and joy to the project. Your reading suggestions enabled me to make important connections that helped me tie it all together. To Susan Roxburgh and Richard Steigmann-Gall, thank you both for your unique perspectives and willingness to support my scholarship. I could not have completed this project without the love and support of Keith, my incredible husband. You were the ultimate cheering section. Thank you for believing, sometimes more than I did, that I could do this. This has been your journey as much as mine. Without you, I never would have taken the first step. Finally, this project is dedicated to the survivors of the Shoah and the more than six million people who did not survive. Special dedication goes to all the artists represented in this project. Your creativity gave me insight into your lives and experiences. I feel as if I know you personally, as if you have shown me your heart. I hope this work honors your courage, creativity, and perseverance. x Chapter One: Introduction This project began in the summer of 2013, when I visited the Maltz Museum of Jewish History in Beachwood, Ohio to see the special exhibit, “Women in the Holocaust”. The exhibit featured artifacts representing women’s experiences during the Nazi Holocaust. As I toured the gallery looking at the photos, letters, and artifacts, I came across a handmade bra that had been sewn by a woman in one of the camps. It was made from scraps of material collected and hidden away over time. No matter that it was piecemeal and primitive, it was a beautiful thing. I marveled at the woman’s handiwork and industry
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  • Renée Stout Born 1958, Junction City, Kansas Root Chart # 1, 2006 Graphite on Tracing Vellum Museum Purchase: Letha Churchill Walker Fund, 2008.0329

    Renée Stout Born 1958, Junction City, Kansas Root Chart # 1, 2006 Graphite on Tracing Vellum Museum Purchase: Letha Churchill Walker Fund, 2008.0329

    + + Israhel van Meckenem the younger (1440 or 1445–1503) born Meckenheim, Holy Roman Empire (present-day Germany); died Bocholt, Holy Roman Empire (present-day Germany) after Master of the Housebook (circa 1470–1500) The Lovers, late 1400s engraving Gift of the Max Kade Foundation, 1969.0122 In the 15th century, gardens often inspired connotations of courtly love in chivalric medieval romances, poetry, and art. Sometimes referred to as gardens of love or pleasure gardens, these relatively private spaces offered respite from the very public arenas of court. Courtiers would use these gardens to sit, read, play games, roam the walkways, and have discreet meetings. Plants often contributed to the architecture of courtly gardens. Here, the suggestion of a grove sets the tone for the intimate activities of the couple. The smells of flowers and herbs, the colors of blooms and leaves, the sounds of birds, and of the running water of fountains all added to the sensuality of medieval pleasure gardens. + + + + Esaias van Hulsen (circa 1585–1624) born Middelburg, Dutch Republic (present-day Netherlands); died Stuttgart, Duchy of Württemberg (present-day Germany) Console of scrolling foliate forms with flowers and two birds, and a hunter shooting rabbits, circa 1610s engraving Museum purchase: Letha Churchill Walker Memorial Art Fund, 2013.0204 In this engraving van Hulsen carries on the longstanding ornament print tradition of imagining complex, elegant botanical structures. Ornament prints encourage viewers to search through the depicted foliage for partially hidden figures and forms. In this artwork viewers can find insects and birds. Van Hulsen adds a relatively orthodox landscape populated by a rabbit hunter, his dog, and their quarry to this fantastic realm of plants and animals.