Third-Generation Holocaust Representation : Trauma, History, and Memory

Aarons, Victoria; Berger, Alan L.

doi:10.26530/oapen_628783

Cited by 52 publications

(11 citation statements)

References 1 publication

(3 reference statements)

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“…Implicit in the usage of the term is the notion that the experience of the Holocaust wreaked such deep trauma on its survivors that its memory defined their collective identity and hence forged them into a social “generation”. This trope was first introduced by the theorists writing on the “second generation”, who focused on the knowledge of trauma transferred from parents to children (Aarons and Berger, 2017; Braiterman, 2000). “Second generation” has subsequently emerged as a basic and accepted concept in discussions of trauma transference, focusing on the different ways in which knowledge of a traumatic event is “inherited”—either biologically or sociologically (Hirsch, 2008).…”

Section: Generations and Holocaust Memorymentioning

confidence: 99%

Agents of memory in the post-witness era: Memory in the Living Room and changing forms of Holocaust remembrance in Israel

Kook

2020

Memory Studies

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With the passing of the survivors of the Holocaust and the aging of the second generation, new agents and initiatives are transforming the commemorative landscape of Holocaust remembrance. This article examines the impact of this generational transition on the production of collective memory of the Holocaust with focus on a new remembrance project in Israel, known as Memory in the Living Room. While some attention has been paid to its innovative structure and anti-paradigmatic components, none has focused on its agents and their mnemonic agenda. This paper argues that an examination of this agenda and an exploration of the wider structural contexts within which it developed are crucial to a deeper understanding of its overall significance. Based on 20 in-depth interviews the article argues that the emergent commemorative agenda is a hybrid version of transnational memory informed by concepts and practices drawn from a global digitalized culture.

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Section: Generations and Holocaust Memorymentioning

confidence: 99%

Agents of memory in the post-witness era: Memory in the Living Room and changing forms of Holocaust remembrance in Israel

Kook

2020

Memory Studies

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“…Mimo że tutaj dystans pokoleniowy jest większy, trzecie pokolenie jest jej najbliższe wiekowo i stworzyło dobrze opisane już w tej chwili wzorce reprezentacji literackiej i ikonograficznej 52 . W powieści Alekseyevej odnajdujemy ich charakterystyczne elementy, przede wszystkim znaczący gest wpisywania historii pokolenia dziadków bezpośrednio we własną historię życia 53 . Sygnałem tej podkreślanej bliskości bywa drzewo genealogiczne, nawet zawarte w formie graficznej w wielu NR 1 ( 14 54 .…”

Section: Nr 1 (14) 2020unclassified

Post-Soviet great-granddaughter: (auto)biographical intergenerational narrative in the graphic novel Soviet Daughter by Julia Alekseyeva

KRASUSKA¹

2020

Autobiografia

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“…For Erika Dreifus, there is "a special kind of kinship" amongst writers born in the 1960s and 1970s who work at a third generational remove from family experiences of the Holocaust (2017, 1). Aarons and Berger (2017) propose some common features for this third-generation community. These are writers who represent the Holocaust via indirect means, above all creative reimagining.…”

Section: Generational Thinkingmentioning

confidence: 99%

Not seeing Auschwitz: memory, generation and representations of the Holocaust in twenty-first century French comics

Gorrara

2018

Journal of Modern Jewish Studies

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We are reaching a point in history when the generation who experienced the Holocaust as survivors, witnesses or exiles will soon disappear. What happens to our relationship to such a momentous event in global history when our living connection with such a past is broken? To answer this question, this article will explore recent French representations of the Holocaust through the comic book. It will approach such representations from the perspective of the grandchildren of those who were affected by the Holocaust, perhaps the last generation to have personal ties to this wartime past. It will focus specifically on Jérémie Dres's Nous n'irons pas voir Auschwitz (2011), translated as We Won't Go and See Auschwitz. As a "third generation" narrative, Dres's work is attentive to stories of Jewish exile and loss to be found on the margins of Holocaust histories. This perspective translates into an openness towards transnational histories of the Holocaust; a recognition of place as a substitute for living memory and an awareness of comics' potential to innovate in the transmission of Holocaust memories. Ultimately, this article will argue that the contemporary comic book acts as a privileged vehicle of remembrance, indicative of the reordering of Holocaust representations in an age of cultural memory.

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Third-Generation Holocaust Representation : Trauma, History, and Memory

Cited by 52 publications

References 1 publication

Agents of memory in the post-witness era: Memory in the Living Room and changing forms of Holocaust remembrance in Israel

Agents of memory in the post-witness era: Memory in the Living Room and changing forms of Holocaust remembrance in Israel

Post-Soviet great-granddaughter: (auto)biographical intergenerational narrative in the graphic novel Soviet Daughter by Julia Alekseyeva

Not seeing Auschwitz: memory, generation and representations of the Holocaust in twenty-first century French comics

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