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Articoli di riviste sul tema "Ravensbrück (Concentration camp)"
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Choi, Ho-Keun. "Mutual Aid and Resistance of Jewish Women under Nazi Germany: Focused on the Ravensbrück Concentration Camp". Korean Society of the History of Historiography 47 (30 giugno 2023): 317–57. http://dx.doi.org/10.29186/kjhh.2023.47.317.
Testo completoAbstract (sommario):
In Holocaust studies, Ravensbrück has received special attention along with Auschwitz. The reason is not limited to the fact that Ravensbrück was a women's camp. Ravensbrück in the late period is a suitable place to grasp women's experiences and memories during the Holocaust, as it was a complex camp where the goals of isolation, forced labor, and extermination were implemented at the same time. It is also noteworthy that Ravensbrück was the main target of large-scale rescue operations led by Sweden and Denmark at the end of World War II. The paper first reviews the status and characteristics of the Ravensbrück concentration camp based on the research so far. Next, it deals with the living environment and the solidarity formation of Jewish women in Ravensbrück. Finally, it identifies the patterns and meanings of self-help and resistance activities developed by Jewish female prisoners for survival. The paper argues that the category of resistance in the camps should be interpreted quite widely, taking into account the harsh environment of Ravensbrück. In addition, it emphasizes that Jewish female prisoners should be fully evaluated for continuing their lives in small groups, encouraging each other not to collapse from the inside, and developing self-esteem struggles.
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Benedict, Susan. "The Jewish Women of Ravensbrück Concentration Camp (review)". Shofar: An Interdisciplinary Journal of Jewish Studies 25, n. 4 (2007): 180–82. http://dx.doi.org/10.1353/sho.2007.0100.
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Filipowicz, Bogusława. "Turn the pain and affliction into thinking about the beauty". Kwartalnik Naukowy Fides et Ratio 48, n. 4 (30 dicembre 2021): 535–60. http://dx.doi.org/10.34766/fetr.v48i4.994.
Testo completoAbstract (sommario):
Abstract: The article reflects on the importance of opposing Polish women - prisoners of the German Nazi concentration camp FKL Ravensbrück - to the practices of the German authorities (guards and medical staff of this camp) used against prisoners. One of the forms of opposing the totalitarianism of the Third Reich was secret teaching. At FKL Ravensbrück, female teachers taught fellow prisoners - “the rabbits”. This term was used to describe the women who underwent medical experiments in the camp: 74 Polish women and 12 women of other nationalities. Professor Karolina Lanckorońska found herself in the camp's conspiratorial teaching staff. The source base for the analysis are the war memories of female prisoners, including Dr. Wanda Półtawska and Dr. Urszula Wińska. The summary shows the issue of the protection of values by people subjected - against their will - to life in extreme conditions.
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BENEDICT, SUSAN. "The Nadir of Nursing: Nurse-Perpetrators of the Ravensbrück Concentration Camp". Nursing History Review 11, n. 1 (gennaio 2003): 129–46. http://dx.doi.org/10.1891/1062-8061.11.1.129.
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Vrzgulová, Monika. "There Is Always Something New to Discover". Aspasia 17, n. 1 (1 giugno 2023): 183–91. http://dx.doi.org/10.3167/asp.2023.170110.
Testo completoAbstract (sommario):
Denisa Nešťákova, Katja Grosse-Sommer, Borbala Klacsmann, and Jakub Drabik, eds., If This Is a Woman: Studies on Women and Gender in the Holocaust, Boston: Academic Studies Press, 2021, 292 pp., $119.00 (hardback), ISBN: 9781644697108. Plachá Pavla, Zpřetrhané životy: Československé ženy v nacistickom koncentračnom tábora Ravensbrück v letech 1939–1945 (Torn lives: Czechoslovak women in the Ravensbrück Nazi concentration camp in 1939–1945), Prague: Ústav pro studium totalitních režimů, Puchra, 2021, 496 pp., €34.00 (hardback), ISBN: 9788075640628. Kata Bohus, Peter Hallama, and Stephan Stach, eds., Growing in the Shadow of Antifascism: Remembering the Holocaust in State-Socialist Eastern Europe, Budapest: Central European University Press, 2022, 340 pp., €71.00 (hardback), ISBN: 9789633864357.
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Smyk, Katarzyna. "Functions of a Fairy Tale in the Auschwitz Camp Memories of Zofia Posmysz". Łódzkie Studia Etnograficzne 62 (20 ottobre 2023): 67–80. http://dx.doi.org/10.12775/lse.2023.62.05.
Testo completoAbstract (sommario):
The article gives a multifaceted interpretation of the functions of a concentration camp fairy tale from the perspective of folklore studies (i.e. its socio-integrative, aesthetic, didactic/educational, compensatory/cathartic and trauma management functions) and literary studies (strategies of women’s writing about the Holocaust and the war, and the camp testimony). The author analyses the novel Wakacje nad Adriatykiem (1970) and an extended interview Królestwo za mgłą (2017) by Zofia Posmysz, an inmate of Auschwitz-Birkenau, Ravensbrück and Neustadt-Glewe, who stylised her camp memories as a traditional folk tale, thus commemorating the fairy tales told by her camp friend Zofia Jachimczak, who did not survive Auschwitz. The author comes to the conclusion that a concentration camp fairy tale seems to be a complete genre and a comprehensive structure of meaning that makes it possible to express the inexpressible.
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Smyk, Katarzyna. "Królestwo za mgłą – Zofia Posmysz’s Camp Fairy Tale". Literatura Ludowa 67, n. 1-2 (30 giugno 2023): 89–106. http://dx.doi.org/10.12775/ll.1.2023.007.
Testo completoAbstract (sommario):
The author analyses the novel Wakacje nad Adriatykiem (Holiday on the Adriatic, 1970) and an extended interview Królestwo za mgłą (The Kingdom Behind the Mist, 2017) with Zofia Posmysz – a prisoner of Auschwitz, Ravensbrück and Neustadt-Glewe, who stylized her concentration camp memories as a traditional folk tale, thus commemorating the fairy tales told by her camp friend Zofia Jachimczak, who did not survive Auschwitz. The author introduces the concept of a camp fairy tale. In the first part of the article, she analyses the elements of folk fairy tale in Posmysz’s texts (space, time, characters, magical objects). In the second part, the author outlines a definition of a separate prose genre – a camp fairy tale, characterized not only by the adaptation of folk fairy tale motifs to concentration camp realities, but also by the fact that this fairy tale, originally told in the concentration camp, is narrated or written down from memory and recounted to listeners by a former prisoner who gives a testimony of life and death in the camp.
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Filipowicz, Bogusława. "Lectures on beauty as a way to preserve the spiritual strength and dignity of women in the German concentration camp FKL Ravensbrück in the light of the documentation of prof. Karolina Lanckorońska". Kwartalnik Naukowy Fides et Ratio 50, n. 2 (27 giugno 2022): 131–42. http://dx.doi.org/10.34766/fetr.v50i2.1086.
Testo completoAbstract (sommario):
Introduction: The article aims at analysing the influence of beauty on the spirituality of women (in a philosophical sense) and the value of art history education during the secret teaching that women received in the all-female German Nazi concentration camp – FKL Ravensbrück. The clandestine lessons were initiated by the Polish teachers to save fellow prisoners, young Polish women, who were subjected to some criminal medical experiments conducted by the Germans. The researcher examines the role of telling stories about beauty and works of art in the extreme conditions, when the excruciating suffering was cumulating and depriving the prisoners of hope for survival. The author indicates the importance of influencing the listeners’ with the value of beauty contained in the lecturer’s words concerning the works of art and the emanation of her personal spiritual beauty. The research also underlines the role of the ancient method of learning through ekphrasis and emphasizes the therapeutic value of beauty. Method: Analysis of the source documents: the mémoires of the former Ravensbrück inmates and the results of Urszula Wińska’s survey. Conclusions: Attending the secret classes by the Polish women-prisoners (so called “Rabbits”, as they were subjected to the medical experiments) at FKL Ravensbrück and their education in the field of art history and aesthetics provided by prof. Karolina Lanckorońska had a double meaning. On one hand, it allowed the women to survive the camp (ad hoc effect of teaching), and on the other hand, it strengthened their need for a stronger attachment to their Polish roots and returning to the family home. It also boosted their love for the model of social life, in which one is to start one’s own family and protect the lives of its members.
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Goldman, Natasha. "From Ravensbrück to Berlin: Will Lammert’s Monument to the Deported Jews 1957/1985". Images 9, n. 1 (22 maggio 2016): 140–63. http://dx.doi.org/10.1163/18718000-12340056.
Testo completoAbstract (sommario):
In 1985 one of the earliest memorials dedicated to the Jewish victims of the Holocaust was installed in East Berlin. The Monument to the Deported Jews was an arrangement of thirteen bronze figures in expressionist style. Will Lammert, the artist, originally designed the figures for the base of his monument for Ravensbrück in 1957. The artist died in 1957, however, before finalizing his design for the monument. Only two figures on a pylon were installed at the concentration camp in 1959. The figures meant for the base of the Ravensbrück memorial were unfinished, but were nonetheless cast in bronze by the artist’s family. Thirteen of those figures were installed on the Große Hamburger Straße in 1985 by the artist’s grandson, Mark Lammert. This essay analyzes the Große Hamburger Straße monument in three ways: first, it returns to the literature on the Ravensbrück memorial in order to better understand the role that the unfinished figures would have played, had they been installed. I argue that they originally were most likely meant to depict “Strafestehen”—or torture by standing—at Ravensbrück. Secondly, it aims to explain why and how Lammert’s seemingly expressionist memorial would have been acceptable to East Germany in 1959. While Western art historical attitudes toward East Germany up until the 1990s assumed that Soviet socialist realism was the de facto art style of the Deutsche Demokratische Republik (DDR), some elements of expressionism were being theorized in the late 1950s, at precisely the time when Lammert designed the Ravensbrück monument. Finally, I analyze the role that a monument for Ravensbrück plays in this particular neighborhood of Mitte, Berlin: standing silently, they are no longer legible as women being tortured by standing. Instead, the sculptures signify, at the same time, the deported Jews of Berlin and the harrowing aftermath of their deportations, the improbable return of the deported Jews, and the changing attitudes toward the history of the neighborhood in which the sculptural group is located.
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Tinning, Katrine. "To Survive Ravensbrück: Considerations on Museum Pedagogy and the Passing on of Holocaust Remembrance". Museum and Society 14, n. 2 (9 giugno 2017): 338–53. http://dx.doi.org/10.29311/mas.v14i2.647.
Testo completoAbstract (sommario):
How can museums pass on the remembrances of the survivors of Holocaust in ways that engage visitors? This article looks at the ways museums remember the Holocaust by focusing on an exhibition entitled To Survive - Voices from Ravensbrück at the museum of cultural history, Kulturen, in Lund, Sweden. The exhibition centres on a unique collection of small objects secretly and illegally created by women in the Ravensbrück concentration camp as acts of resistance against the inhuman conditions in the camp. Exhibits on the Holocaust represent a particular tradition of museum pedagogy, associated with the imperative of ‘never again’, often read as an attempt to evoke empathy and responsibility for other human beings. In line with this tradition, the educational aim of To Survive is to encourage the viewers, to be moved to a greater sense of responsibility. The article provides a detailed description of the exhibit, discusses the choice of the museum to tone down the dark aspects of the story, and looks into how the exhibition realizes various appeals to the visitor, but also how it makes some voices mute. As such this article contributes to the ongoing museological discussions of the complexities of putting so-called difficult knowledge on display.Key Words: Museum Pedagogy, Visual Pedagogy, Memory Studies, Holocaust Studies, Difficult Knowledge, Ethical responsibility, Visitor involvement.
Tesi sul tema "Ravensbrück (Concentration camp)"
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Strebel, Bernhard Demange Odile. "Ravensbrück : un complexe concentrationnaire /". Paris : le Grand livre du mois, 2005. http://catalogue.bnf.fr/ark:/12148/cb400238464.
Testo completoAbstract (sommario):
Texte remanié de: Dissertation--Gemeinsame Fakultät für Geistes- und Sozialwissenschaften--Hanovre, 2001. Titre de soutenance : Der Lagerkomplex des KZ Ravensbrück : Studien über Terror, Zwangsarbeit und Vernichtung.Bibliogr. p. 687-724. Notes bibliogr. Index.
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Kavčič, Silvija. "Überleben und Erinnern slowenische Häftlinge im Frauen-Konzentrationslager Ravensbrück /". Berlin : Metropol, 2007. http://catalog.hathitrust.org/api/volumes/oclc/221306493.html.
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Gaudreau, Elisa. "La création contre la destruction : Le Verfügbar aux Enfers de Germaine Tillion comme levier de résistance dans les camps de concentration". Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37897.
Testo completoAbstract (sommario):
Le Verfügbar aux Enfers détonne dans le paysage habituel de la littérature des camps généralement centrée sur une description très réaliste du désespoir. Empreinte d’humour noir, cette opérette satirique sur le nazisme a été rédigée au sein même du camp de concentration exclusivement féminin de Ravensbrück, par l’ethnologue Germaine Tillion. L’opérette circule dans les mains de ses codétenues qui y apportent des ajouts, faisant du Verfügbar aux Enfers une oeuvre collective, ce qui ajoute encore à sa particularité. Craignant que l’humour et le ton de l’oeuvre soient mal compris, Tillion refuse la publication du Verfügbar aux Enfers avant 2005. Depuis sa publication, l’opérette a connu plusieurs adaptations sur scène. Toutefois, la majorité des quelques travaux de recherche la concernant en font davantage un objet d’études historique ou musical que littéraire. Pierre Laborie désigne la résistance comme un acte de transgression visant à nuire à l’ennemi. D’après cette définition, le fait de s’unir autour de la création, dans un contexte de destruction organisé par l’ennemi, nous apparaît comme un acte de résistance. En analysant les discours portés par Le Verfügbar aux Enfers et par ses rédactrices, nous tenterons d’établir la mesure dans laquelle cette opérette consiste en un levier de résistance multiple et lutte à la fois contre la déshumanisation (par l’écriture), l’isolement (par la solidarité entre femmes) et l’oubli (par la publication). S’inscrivant dans la foulée des travaux récents en histoire littéraire des femmes, notre étude tend à étoffer les connaissances à propos de la littérature féminine des camps et de l’oeuvre littéraire de Germaine Tillion.
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Hampshire, Angharad. "Ordinary Women? Writing the Female Camp Guard in Fiction (an exegesis) and The Mare (a novel)". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25050.
Testo completoAbstract (sommario):
According to Nazi statistics, in 1945, approximately 10% of concentration and death camp guards were women. And yet, the Aufseherin, or female camp guard, is barely there in both Holocaust historiography and literature. This is due to their relatively low numbers, gendered readings of the Holocaust, including the post-war categorisation of all women as victims of National Socialism, as well as reluctance to examine female perpetration. This reluctance extends into fiction, which has tended to focus on Holocaust victims not perpetrators due to a long-held belief that it’s unseemly at best, unethical at worst, to depict anyone other than the victims. On the few occasions that Aufseherinnen do appear in fiction, they are usually portrayed as masculinised sadists, when, for the most part, the reality was much more banal.
This thesis contains an exegesis and a creative work. The exegesis looks at the history the female camp guard and explores her representation in literature, taking into account the changing emphasis brought by the application of women’s studies onto Holocaust historiography, as well as how the concept of all women as victims of National Socialism has created a dichotomous view of female Holocaust perpetrators as either victims or sadists, when the reality was more often somewhere between. It examines the relationship between empathy and sympathy, looking at whether negative empathy has created a taboo surrounding the portrayal of the female camp guard in fiction. It argues that negative empathy is necessary in order to gain a nuanced understanding of the female camp guard and challenges the notion that understanding equals forgiveness. It also explores how The Reader by Bernhard Schlink, which is the only novel to explore a female camp guard with nuance, and The Kindly Ones by Jonathan Littell, which is written from the first-person perspective of a Holocaust perpetrator, a perspective that does not yet exist for a female perpetrator in fiction, address these issues.
The creative work is The Mare, historical fiction based on the true story of Hermine Braunsteiner, an Aufseherin who worked at Ravensbrück, Majdanek and Genthin. Written in the two first-person voices of Hermine and her American husband Russell Ryan, the novel seeks to represent a female camp guard with nuance, a feat that has not been achieved in fiction to date.
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Strebel, Bernhard Tillion Germaine. "Das KZ Ravensbrück : Geschichte eines Lagerkomplexes /". Paderborn [u.a.] : Schöningh, 2003. http://www.h-net.org/review/hrev-a0e8y5-aa.
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Mezzasalma, Philippe. "La déportation des femmes depuis la France par mesure de répression (1940-1945)". Electronic Thesis or Diss., Paris 1, 2019. https://ecm.univ-paris1.fr/nuxeo/site/esupversions/af94b0f0-df01-4735-ac13-360a08d53800.
Testo completoAbstract (sommario):
Près de 9000 femmes ont été déportées depuis la France par mesure de répression vers l’Allemagne nazie de 1940 à 1945. Cette thèse propose de restituer leur histoire mal connue, dans une perspective comparative avec les déportées d’autres nationalités (Polonaises, Russes ou Tchèques) mais aussi avec les déportés masculins. Il s’agit d’étudier d’abord qui elles étaient, résistantes actives, sympathisantes, mais aussi raflées ou détenues de droit commun, confondues dans une même vision idéologique de l’ennemi par l’occupant nazi. D’autre part, cette thèse propose une première synthèse de leur histoire, de leur engagement pour les résistantes, ou de leur arrestation pour les autres, jusqu’au retour en France et à la création des associations de rescapées, dont le rôle fut primordial pour la mémoire et l’histoire des déportées. Enfin cette analyse propose une lecture genrée permettant de mieux comprendre les spécificités de la déportation des femmes, et ce qu’elle apporte à l’histoire générale de la déportation9000 women have been deported from France to Germany for political reasons between 1940 and 1945. This thesis try to explain their unknown history, in comparison with déportees from other countries (From Poland or Russland), and also with their males comrades from France. The starting point is to understand who they really were, résistance fighters, political activists, but also arrested women in the streets or female deliquent, all considered as en ennemy by german authorities in France. This thesis propose as well the first global synthesis about their history, form the begining to the return after the end of World war II, and the creation of the survivors associations. The thesis try to explain the deported women specificities from a gender studies’ point of view, and what these spécial elements bring to the global deportation history
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Agostinho, Daniela de Jesus Silva Pereira. "Visual captivity : the (in)visibility of the concentration camp and the right to look : the case of Ravensbrück". Doctoral thesis, 2014. http://hdl.handle.net/10400.14/14910.
Testo completoAbstract (sommario):
The goal of this research is to examine the photographic representation of
Ravensbrück, the first purpose built camp for women in the Third Reich (1939-1945).
Throughout its history, this camp was captured through different gazes and distinct
representational regimes, ideological scripts, power relationships and gender
configurations. Based on the agonistic structure of representational practices, this
dissertation interrogates the relation between the representation of captivity and the
captivity of representation through the particular case of this camp.
The thesis is structured around three gazes that relate to each other through a
logics of countervisuality: Firstly, the Nazi gaze and the “concentrationary visuality”
that normalizes the exceptionality of the concentrationary universe; secondly, the
victim’s gaze, articulated through a set of clandestine pictures taken by prisoners,
representing an effort of resistance to the Nazi gaze; and thirdly, the photographic
coverage of the liberation of the camp, comprised by images taken by the Red Cross
and by the Red Army, in which the liberator’s gaze attempts to overthrow the Nazi
visual system.
At the intersection of visual culture, gender and Holocaust studies, the main
question of this investigation is whether the difference of the feminine makes a
difference for the visual representation of a concentration camp and what does it
mean for both the concentrationary logics and for the work of representation. It will
be argued that the representation of sexual difference, as an expression of a wider
cultural problem, is regulated and contained, and that the representation of the camp
negotiates between what is visible and what remains unseen. Moreover, it will be
demonstrated that visual representations, despite imprisoning subject positions
within the visual field, also entail the potential to challenge and undermine
hegemonic scripts.O objectivo desta investigação é examinar a representação fotográfica de Ravensbrück, um campo de concentração exclusivamente para mulheres, situado na Alemanha, que ao longo da sua história (1939-1945) foi captado por diversos olhares e regimes representacionais, guiões culturais, relações de poder e imagens de género distintas. Ancorada numa concepção agonística das práticas representacionais, esta tese interroga a relação entre a representação da clausura e a clausura da representação através do caso particular deste campo. O trabalho encontra-se assim organizado em torno de três olhares ou regimes escópicos que se relacionam entre si através de uma lógica de contra-visualidade. Em primeiro lugar, o olhar Nazi, criador de uma “visualidade concentracionária” que normaliza a excepcionalidade do campo de concentração. Em segundo lugar, a tese detém-se sobre o olhar da vítima, através de um conjunto de imagens clandestinas produzidas por prisioneiras do campo que assim procuram infringir o regime visual nazi e reivindicar o seu direito de olhar. Em terceiro e último lugar, a tese aborda o olhar do libertador através das imagens produzidas pela Cruz Vermelha Internacional e as imagens criadas pelo Exército Vermelho, que reclamam uma vitória final sobre o regime visual nazi. Na intersecção entre estudos de cultura visual, estudos de género e estudos do Holocausto, a questão central desta investigação é se a diferença do feminino faz diferença na representação visual do campo de concentração. Defender-se-á que a representação da diferença sexual, enquanto expressão de um problema cultural, é regulada e constrangida, e que e a representação do universe concentracionário negoceia entre aquilo que é visível e aquilo que é ocultado. Procurar-se-á ainda demonstrar que a representação visual, apesar da sua capacidade de aprisionar os sujeitos representados a identidades fixas, contém também o potencial de subverter discursos culturais hegemónicos.
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Putík, Daniel. "Slovenští Židé v Terezíně, Sachsenhausenu, Ravensbrücku a Bergen- Belsenu, 1944/1945". Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-354332.
Testo completoAbstract (sommario):
The dissertation focuses on the fates of some 5 000 men, women and children of mostly Jewish descent who were deported by German Nazi authorities from the occupied Slovak State into the Sachsenhausen, Ravensbrück, Bergen-Belsen and Theresienstadt concentration camps in the period ranging from November 1944 to the end of March 1945. The main objectives of the dissertation include the establishment of the number and identity of the deportees, the circumstances of their arrest, deportation, imprisonment and liberation as well as the causes of survival, or death, of the victims of racial persecution during the German occupation of Slovakia. Based on a comparative and content analysis of the available archival sources, oral and written testimonies by survivors and, to a limited extent, of secondary literature, the writer attempts to explain the conduct of the perpetrators and victims as well as the general historical context of the deportation and imprisonment of Slovak Jews by the Nazi regime. Based on an analysis of documents related to the anti-Jewish measures taken by the Nazi security apparatus in Slovakia with the assistance of local collaborators, more general conclusions are made with regard to the development of the Nazi "Final Solution of the Jewish Question" in the German Reich and the...
Libri sul tema "Ravensbrück (Concentration camp)"
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Thomas, Köhler Jan, a cura di. Baugeschichte Frauen-Konzentrationslager Ravensbrück. Berlin: Edition Hentrich, 2001.
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Kiedrzyńska, Wanda. Ravensbrück: Kobiecy obóz koncentracyjny. Warszawa: Fundacja Cultura Memoriae, 2019.
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Schjølberg, Oddvar. Eplekarten i Ravensbrück. Risør: Aktive fredsforl., 2008.
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Letourneau, Jeanne. Clichés barbares: Mes récits de Ravensbrück. Angers: Archives départementales de Maine-et-Loire, 2005.
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Ottosen, Kristian. Kvinneleiren: Historien om Ravensbrück-fangene. 2a ed. Oslo: Aschehoug, 1991.
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1980-, Lercher Kerstin, a cura di. Lebendiges Gedächtnis: Die Geschichte der österreichischen Lagergemeinschaft Ravensbrück. Wien: Mandelbaum, 2008.
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Schmidt-Fels, Lucia. Deportiert nach Ravensbrück: Bericht einer Zeugin (1943-1945). Annweiler: Plöger, 2004.
Cerca il testo completoCapitoli di libri sul tema "Ravensbrück (Concentration camp)"
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Pastor, Doreen. "Displaying Ravensbrück concentration camp memorial". In Museums, Modernity and Conflict, 171–90. Abingdon, Oxon ; New York : Routledge, 2020. | Series: Routledge research in museum studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429295782-12.
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Saidel, Rochelle G. "Ravensbrück Concentration Camp and Rescue in Sweden". In Remembering for the Future, 2064–80. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1007/978-1-349-66019-3_145.
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"In the Women’s Concentration Camp, Ravensbrück". In Johanna Krause Twice Persecuted, 71–79. Wilfrid Laurier Press, 2013. http://dx.doi.org/10.51644/9781554580910-010.
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Stewart, Victoria. "Memoir, Biography, and Justice". In Literature and Justice in Mid-Twentieth-Century Britain, 104–38. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192858238.003.0004.
Testo completoAbstract (sommario):
Abstract Chapter 3 examines texts by and about British prisoners who were held in concentration camps, rather than prisoner-of-war camps, many of them Special Operations Executive agents captured while working undercover, some of whom, including some women, were executed. Reporting of trials relating to these cases was supplemented during the late 1940s and early 1950s by biographical accounts aimed at a popular readership, including Jerrold Tickell’s Odette (1949), which describes Odette Sansom’s time as a prisoner at Ravensbrück concentration camp, Peter Churchill’s The Spirit in the Cage (1954), recounting his captivity in Sachsenhausen and Dachau, and R. J. Minney’s Carve Her Name with Pride (1956), which culminates in an account of Violette Szabo’s execution at Dachau. These texts evidence a tendency to deflect attention away from the wider project of which such camps were a part, contributing to an over-simplified description of Nazi personnel and drawing on stereotypes of either German ‘national character’, or criminal ‘types’. These texts not only contributed to a narrowing of public understanding in Britain as to what constituted Nazi crimes, but also engaged in debates about Britishness and British values in the wake of war. But other examples of this subgenre of agents’ biographies, including Jean Overton Fuller’s Madeleine (1952) and Elizabeth Nicholas’s Death Be Not Proud (1958), do attempt a more nuanced account not only of the agents’ experiences but of the problems, in the wake of the war, of identifying witnesses and constructing coherent narratives of covert activities.
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Kaiser, Stephanie, e Mathias Schmidt. "Chapter 8 LUDWIG STUMPFEGGER (1910–45) A Career at the Interface of Hitler, Himmler, and Ravensbrück Concentration Camp". In Recognizing the Past in the Present, 154–71. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781789207859-012.
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Lerner, Gerda. "Of History and Memory". In Why History Matters, 50–56. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195046441.003.0004.
Testo completoAbstract (sommario):
Abstract The prize with which you honor me today is doubly meaningful for me: because it honors women and research on women, and because it is given in the name of K äthe Leichter. Kathe Leichter personifies the highest ideals of feminism-lifelong activity on behalf of all women, but especially of working-class women; conviction that social reforms are only just if they serve the interests of women as well as men; uncompromising struggle against fascism and National Socialism, which cost her her life. In K äthe Leichter’s life there was no divide between theory and praxis: she combined her work as a journalist and organizer with her duties as mother and wife, her political leadership role with her research work as a social scientist. K ähe Leichter was heroic in her achievements, for she dared in a time of terror and oppression to organize resistance and to oppose the horrors of Nazi state power with the brave words of humanism on thin leaflets. It was for this she was jailed and finally gassed in the concentration camp Ravensbruck. In honoring other women we remember her and in a way continue her work and her ideals.