Gotowe bibliografie tematyczne / Histoire de la Shoah

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  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Histoire de la Shoah”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 6 lutego 2022

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Artykuły w czasopismach na temat "Histoire de la Shoah"

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Marty, Éric. "« Shoah ». Généalogie d'un nom, histoire d'une négation". Cités 57, nr 1 (2014): 139. http://dx.doi.org/10.3917/cite.057.0139.

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Vidal-Naquet, Pierre. "Le couple histoire-mémoire face à la Shoah". Hommes et Migrations 1158, nr 1 (1992): 15–16. http://dx.doi.org/10.3406/homig.1992.1892.

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Bruttmann, Tal, Ivan Ermakoff, Nicolas Mariot i Claire Zalc. "Changer d��chelle pour renouveler l�histoire de la Shoah". Le Genre humain N�52, nr 1 (2012): 11. http://dx.doi.org/10.3917/lgh.052.0011.

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Shalev, Avner, i Ya�l Shneerson. "Le nouveau mus�e d�histoire de la Shoah � Yad Vashem". Revue d�Histoire de la Shoah N�188, nr 1 (2008): 223. http://dx.doi.org/10.3917/rhsho.188.0223.

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Heymann, Florence. "Introduction. La Shoah ��� la roumaine���: entre oubli, m�moire et histoire". Revue d�Histoire de la Shoah N�194, nr 1 (2011): 16. http://dx.doi.org/10.3917/rhsho.194.0016.

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Blaustein-Niddam, Am�lie. "La Shoah dans l�enseignement de l�histoire en France depuis 1990". Revue d�Histoire de la Shoah N�193, nr 2 (2010): 151. http://dx.doi.org/10.3917/rhsho.193.0151.

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L�cureur, Bertrand. "La Shoah dans les manuels d�histoire allemands publi�s depuis 1950". Revue d�Histoire de la Shoah N�193, nr 2 (2010): 543. http://dx.doi.org/10.3917/rhsho.193.0543.

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Ingrao, Christian. "Conquérir, aménager, exterminer: Recherches récentes sur la Shoah". Annales. Histoire, Sciences Sociales 58, nr 2 (kwiecień 2003): 415–38. http://dx.doi.org/10.1017/s0395264900004558.

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RésumésDécrivant les grandes tendances de la recherche allemande récente sur la Shoah, cet article montre l’intérêt nouveau pour les acteurs du meurtre et la mise en place d’une histoire sociale et culturelle des bourreaux. L’historiographie du nazisme a en outre pour ambition de prendre en compte toutes les dimensions de la politique de répression nazie. Elle s’intéresse ainsi tant aux criminels qu’aux Tziganes, aux politiques de mise à mort qu’à celles de déportation. Cette nouvelle historiographie trouve sa véritable spécificité dans une série d’études locales sur les politiques d’occupation et des processus d’extermination intervenus en Europe de l’Est occupée. Fondées sur des explorations archivistiques très complètes, un empirisme déclaré et une reconstruction très minutieuse des événements, ces études posent le problème de l’échelle des processus de décision, de la marge de manoeuvre des acteurs sur le terrain et de l’hypothèse d’un consentement européen à la Shoah.
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Saxton, L. "Shoah". French Studies 67, nr 3 (1.07.2013): 438–39. http://dx.doi.org/10.1093/fs/knt134.

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Potel, Jean-Yves. "L�enseignement de l�histoire de la Shoah et de la culture juive en Pologne". Revue d�Histoire de la Shoah N�193, nr 2 (2010): 583. http://dx.doi.org/10.3917/rhsho.193.0583.

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Rozprawy doktorskie na temat "Histoire de la Shoah"

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Besson, Rémy. "La mise en récit de Shoah". Paris, EHESS, 2012. http://www.theses.fr/2012EHES0153.

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Cette thèse a pour objet la mise en récit de Shoah (Claude Lanzmann, 1985). Ce film ayant pour sujet la mise à mort des Juifs entre 1941 et 1945 est construit autour de propos tenus par des acteurs de l'histoire, en excluant toute voix-off et toute image en mouvement contemporaine des faits. En 2012 en France, il est considéré comme une référence incontournable, un chef-d'œuvre. Il est aussi un symbole de l'émergence de la parole des témoins dans l'espace public, du moment-mémoire et de la prise de conscience de la singularité du génocide des Juifs. Ce travail porte sur les différentes étapes de ce devenir référence. La première partie repose sur une étude de l'historiographie et des 67 entretiens menés par l'équipe du film. Ce corpus qui se trouve au Musée Mémorial de l'Holocauste à Washington permet de documenter la mise en place des dispositifs filmiques et la phase correspondant au montage. Ces archives conduisent à établir que Shoah est une forme culturelle construite à chaque étape de sa réalisation. La seconde partie aborde les propos tenus dans l'espace public entre 1985-2011. Elle a permis d'identifier des écarts avec la manière dont l'intrigue du film a été conçue (1973-1985). Ainsi, le récit de Shoah a été appréhendé comme un processus dynamique dont le film est un élément central à considérer parmi d'autres : les tournages des entretiens, le montage, la première diffusion, les appropriations successives dans les médias et dans les sciences sociales aussi bien que par d'autres réalisateurs, l'institutionnalisation (musées et Education nationale)
This dissertation's topic is the evolution of Shoah's narrative (Claude Lanzmann, 1985). Dealing with the killing murder of Eastern European Jews between 1941 and 1945, this film is built around statements made by actors of history, excluding any voiceover and any moving pictures of contemporary facts. In 2012 France, it is considered as an essential reference, a masterpiece. This is also a symbol of the emergence of witnesses in public space, the "moment-memoire" and the awareness of the Jewish genocide's uniqueness. This research deals with the various stages of this "devenir référence". The first part is based on a study of historiography and 67 interviews conducted by the film crew. Located in the United States Holocaust Memorial Museum, this corpus allows to document shootings and editing. This collection of archives led to establish that Shoah is a cultural form constructed at each step of the filmmaking. The second part examines the comments made in public space between 1985 and 2012. It identified differences with how the movie's plot was designed (1973-1985). Thus, the narrative of Shoah is investigated as a dynamic process in wich the film is a central element to consider among others : filming interviews, editing, first broadcast, successive appropriations in the media and also in social sciences writings and institutions (Museums, National education system, University)
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Joly, Laurent. "Vichy dans la "Solution finale" : histoire du Commissariat général aux questions juives, 1941-1944 /". Paris : le Grand livre du mois, 2006. http://catalogue.bnf.fr/ark:/12148/cb40185473t.

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Texte remanié de: Thèse de doctorat--Histoire--Paris 1, 2004. Titre de soutenance : Vichy et le Commissariat général aux questions juives : contribution à l'histoire de la Shoah en France, 1941-1944.
En appendice, choix de documents. Bibliogr. p. 929-988. Notes bibliogr. Index.
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Guilbault-Finet, Béatrice. "La Shoah racontée aux enfants : genres littéraires ou récit scolaire ?" Caen, 2015. http://www.theses.fr/2015CAEN1033.

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Nous avons cherché dans ce travail à caractériser les ouvrages de littérature pour la jeunesse sur la Shoah. L’étude d’un corpus d’ouvrages parus entre 1944 et 2013, nous a conduit à examiner les liens entre leur production éditoriale et les décisions politiques, ainsi qu’à étudier tout ce qui contribue à les inscrire dans la sphère littéraire (auteurs, paratexte, personnages, narrateurs, intertextualité). Depuis 2002, la littérature pour la jeunesse et l’enseignement de la Shoah sont inscrits dans les programmes d’enseignement du cycle 3 : nous nous sommes intéressé aux différentes prescriptions dont ces ouvrages font l’objet (bulletins officiels, sélections et distinctions émanant des associations de littérature pour la jeunesse et des associations juives, préconisations issues des revues pédagogiques). L’étude de pratiques pédagogiques observées, à partir de séquences d’enseignement dans les classes, nous a permis d’étudier les effets de leur scolarisation sur ces ouvrages. Apparaissent alors des phénomènes de distorsion qui affectent la lecture de ces ouvrages ainsi que les disciplines scolaires convoquées dans cet enseignement ; on observe ainsi une hésitation quant à la façon de concevoir ces ouvrages : le manque d’articulation entre les différentes disciplines tend à faire disparaître le récit scolaire de la Shoah au profit de l’instauration de « nouveaux romans scolaires »
This research work aims at characterizing children's and youth literature about the Holocaust. The review of a significant body of books all published in the period spanning from 1944 to 2013 has led to a close observation of the possible links between their editorial productions and political decisions. It has also led to a study of all the elements that make them belong to the literary domain (authors, paratext, characters, narrators, intertextuality). Since 2002 children's and youth literature and the teaching of the Holocaust have been included in primary school curricula at cycle 3 level. Consequently, this work focuses on the different requirements concerning those books (official instructions, selections and awards made by organizations supporting children's and youth literature and by Jewish organizations, recommendations published in educational journals). The study of educational practice, which has been observed from teaching sequences in class, has enabled us to analyze the effects of resorting to such literature at school. We have noticed phenomena of distortion that influence the reading of this literature as well as the school disciplines concerned by that teaching. Thus one can observe some hesitation regarding the way this literature is considered: the lack of link between the different disciplines tends to make the school telling of the Holocaust disappear, supplanted by “new school novels”
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Curi, Fabiano Andrade 1971. "Maus de Art Spiegelman : uma outra historia da Shoah". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270246.

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Orientador: Fabio Akcelrud Durão
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este texto tem o objetivo de apresentar a obra Maus, de Art Spiegelman, como uma nova forma de transmissão dos traumas da Shoah. Com a proximidade do fim das gerações de sobreviventes, as atenções se voltam para produção daqueles que tiveram contato indireto com a tentativa de aniquilamento de judeus nos campos de extermínio nazistas. Nesse grupo encontra-se o autor da obra que analisamos com um livro no formato de quadrinhos absolutamente inovador não só entre os testemunhos, mas também entre os próprios quadrinhos. A composição de textos e desenhos feita por Spiegelman enfrenta as mesmas limitações de outras obras de testemunhos diretos ou indiretos ao tentar narrar o que não se narra, mas traz elementos bastante interessantes na representação artística da memória, como a adequação dos relatos ao espaço dos quadros, as feições antropomórficas dos personagens e toda a discussão sobre a obra dentro dela mesma. Além disso, Maus traz uma série de experiências nesse tipo de literatura ao justapor a história de sobrevivente de Auschwitz narrada pelo pai com a sua própria vida de filho de sobrevivente com as difíceis implicações dessa situação. Dessa forma, Spiegelman trabalha em diferentes níveis de narrativa, alternando e relacionado biografia e autobiografia.
Abstract: This text aims to present the Art Spiegelman's work, Maus as a new way of transmitting the traumas of the Shoah. With the generations of survivors coming to an end, the attention has turned to the production of the new generations, who have had indirect contact with the attempt of annihilation of Jews in the Nazi?s extermination camps. In this group, there is the author of the work that we look with a comic book format that is absolutely innovative, not only among the Shoah?s narratives, but also among the comics itself. The composition of texts and drawings made by Spiegelman faces the same limitations that other important testimonies direct or indirect have on trying to tell what cannot be told, but has very interesting elements in the artistic representation of the memory and the suitability of reporting the area of the drawings, the anthropomorphic features of the characters and the whole discussion on the work inside itself. Moreover, Maus has a lot of experiences in this type of literature when juxtapose the story of an Auschwitz survivor narrated by his father with his own life as the son of a survivor with the difficult implications of this situation. As a result, Spiegelman works in different levels of narrative, alternating and linking biography and autobiography.
Mestrado
Mestre em Teoria e História Literária
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Read, Madeleine Erica. "Misrepresenting the Shoah in American Film". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7214.

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How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielberg<'>s 1993 film Schindler<'>s List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantino<'>s Inglourious Basterds and Wes Anderson<'>s The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantino<'>s was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapra<'>s terms, embodies <"e>acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audience<'>s awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.
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Rana, Ravinder Singh. "Race, langage et culture dans l’œuvre de Jonathan Littell, Les Bienveillantes". Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30071.

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A travers son œuvre Les Bienveillantes, Jonathan Littell évoque la métamorphose de la société allemande d’avant-guerre. Son personnage principal, le jeune Maximilien Aue est la métonymie des maux que représente une existence SS. Les deux cultures sont juxtaposées : celle de la véritable science et celle de la science de l’Etat. L’anthropologie raciale et la question de l’histoire servant à la propagande nazie mettent en valeur la perspective des nazis et de leur civilisation : une civilisation parfaite selon les bourreaux et un enfer selon les victimes. Une majeure partie de cette œuvre possède les empreintes du travail de Louis-Ferdinand Céline ; le mélange de l’horreur et du dégoût crée une scénographie dépouillée de la guerre. La représentation de la Shoah à partir d’un travail littéraire sur la guerre soutient la plausibilité d’une recherche sur ce sujet en tenant compte, en même temps, du fait que l’auteur fouilla lui-même les bibliothèques de l’Europe orientale afin de réaliser son travail.Les Bienveillantes est d’abord un roman sur le nazisme, parmi le peu qui existe sur ce sujet ; étant donné que la plupart des romans ressortissant sur le sujet de la Shoah portent soit l’histoire des camps d’extermination soit une réflexion sur le sort des victimes traitant ainsi du genre de mémoire. Ce roman problématise des notions canoniques : l’image d’un SS, l’homogénéisation de l’histoire impériale. Nous remarquons que les modalités du nazisme sur le plan impérial sont variés et hétérogènes et malgré cela, il est habituellement définit à travers son homogénéité. Ce roman réussit à marquer son originalité par le fait qu’il repose sur la documentation que Littell avait réalisée en cours de dix ans ; un travail d’historien, il concrétise le concept proposé par Frederick Cooper dans son livre, Colonialism in Question, Theory, Knowledge, History, qui exige une étude détaillée du système nazi en soulevant des procédés et des conceptions littéraires basés sur l’explication de l’impérialisme de plusieurs points de vue et de donner à cette étude, par la suite, une pertinence vis-à-vis de la situation dans l’Europe d’Est sous le joug nazi
In my Ph.D. entitled Race, langage et culture dans l’œuvre de Jonathan Littell, Les Bienveillantes, I made an attempt to showcase the functioning of the Nazi system during the III Reich through the help of the Nazi character’s discourse in the novel, Les Bienveillantes. This novel is written in French by an American writer, Jonathan Littell and published in 2006. It provides insights into the functioning of the Nazi regime, its foreign and military policy and politics towards Jews. The motivation behind choosing Les Bienveilllantes for the Ph.D. dissertation was that it engages with a historical crime against humanity through a fictional approach. Jonathan Littell- through his work, reminds us of the role of fiction in conserving European History. He depicts the process of elimination of Jews practiced in the East of Europe and called Shoah par balles (Holocaust by Bullets), which refers to the mass killing of Jews in the Eastern front by shooting them, between 1941-1944, an idea that took the backseat due to the predominance of the concentration camps in the literary history of Holocaust and mainly due to the lack of survivors of this incident as compared to the concentration camps which resulted in many survivors tales.For the purpose of situating Les Bienveillantes in the literary History of Holocaust, I have divided my research into three parts: Firstly, it is an attempt to trace the evolution of the literature on the theme of Holocaust. Secondly, it provides an insight into Nazism as a system: the novel is replete with discussions and observations on what it was to be an officer during the 3rd Reich. In some sense the novel recounts the coming of age of the principle protagonist for it’s through his gaze, through his experience of the corridors of power, that we discover the working of the government, the underpinning of its policy. And thirdly, my research work focuses on the German imperial conquest, 1939-1944; it’s specificity as compared to other imperial structures and the role it played in bringing anti-Semitism to its crescendo
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Sinicropi, Stefano Nicola. "L’exil allemand à Ferramonti di Tarsia : histoires de Juifs fuyant l’Allemagne". Thesis, Université Paris sciences et lettres, 2020. https://tel.archives-ouvertes.fr/tel-02891089.

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Le but de la thèse est de raconter les histoires et le parcours d'internement de certains émigrés et réfugiés juifs allemands arrivés en Italie dans les années 30 du siècle dernier et au début de la Seconde Guerre mondiale, en étudiant en particulier ceux qu'ils ont traversés le camp de concentration de Ferramonti di Tarsia. Dans la première partie de ce travail, le contexte historique dans lequel se sont greffées les différentes histoires d'émigration d'Allemagne en Italie a été esquissé. Nous nous sommes ensuite concentrés sur la montée rapide du nazisme et analysé la soi-disant “question juive”, en nous concentrant sur les relations entre juifs et national-socialisme au sein du Reich, sur le développement de l'antisémitisme au niveau européen, sur le problème de l'émigration de les territoires allemands, et enfin sur la réception en Italie. Enfin, il y a eu un séjour spécifique au camp de concentration de Ferramonti di Tarsia, de son ouverture jusqu'aux derniers jours de la vie. La deuxième partie de ce travail est plutôt composée de trois chapitres qui portent le nom de certaines villes allemandes: ce sont les villes dont, de temps en temps, viennent ceux dont nous avons décidé de raconter les histoires d'internement. En particulier, l'ordre des villes a été établi sur la base des données issues de la recherche, et dans le choix des histoires que nous avons essayé de représenter, autant que possible, le large éventail de cas devant lesquels nous avons trouvé nous-mêmes. Les dix-neuf histoires rapportées, qui se réfèrent à quarante et un Juifs qui sont passés par Ferramonti, racontent en fait un parcours d'internement souvent différent d'un cas à l'autre, tout comme la façon dont de nombreux Juifs allemands sont arrivés en Italie était également différente. la fin de leur voyage en tant que migrants ou réfugiés. Parmi les différentes données qui ont émergé, la première est clairement celle relative au nombre total de citoyens juifs allemands qui ont été internés, pendant des périodes plus ou moins longues, dans le camp de Ferramonti, et qui, dans l'état actuel des recherches, sont 314. Si l'on regarde les villes de naissance, si l'on confirmait le fait qui était prévisible au début des recherches qu'il y avait Berlin en premier lieu, avec 49 nés dans la capitale allemande, il était plutôt beaucoup plus surprenant que la deuxième ville soit Bratislava , qui avec ses 18 nés précède Leipzig et Francfort, qu'ils suivent respectivement avec 15 et 11. Et pas peu sont aussi 34 juifs, de nationalité allemande, qui sont cependant nés dans des pays autres que l'Allemagne, dont 17 en Pologne et 8 en Italie. Au lieu de cela, 46 sont nés dans des villes qui ne sont plus aujourd'hui allemandes, mais qui faisaient partie de l'Allemagne dans la période considérée. D'autres données, rapportées dans la recherche, concernent le nombre d'apatrides, le sexe, l'âge et la profession des internés, et notamment le nombre de ceux qui ont été déportés dans les camps de la mort nazis et n'ont pas survécu à la Shoah
The aim of the thesis is to tell the stories and the internment path of some German Jewish emigrants and refugees who arrived in Italy during the 30s of the last century and at the beginning of the Second World War, studying in particular those who they passed through the concentration camp of Ferramonti di Tarsia. In the first part of this work, the historical context in which the different stories of emigration from Germany to Italy were grafted was outlined. We then focused on the rapid rise of Nazism and analyzed the so-called “Jewish question”, focusing on the relationship between Jews and National Socialism within the Reich, on the development of anti-Semitism at European level, on the problem of emigration from the German territories, and finally on the reception in Italy. Finally, there was a specific stay on the concentration camp of Ferramonti di Tarsia, from its opening until the last days of life. The second part of this work is instead made up of three chapters that bear the name of some German cities: they are the cities from which, from time to time, those whose internment stories we decided to tell come from. In particular, the order of the cities was established on the basis of the data that emerged from the research, and in the choice of the stories we tried to represent, as much as possible, the wide range of cases in front of which we found ourselves. The nineteen reported stories, which refer to forty-one Jews who passed through Ferramonti, in fact tell of an internment path often different from one case to another, just as the way in which many German Jews arrived in Italy were also different. the conclusion of their journey as migrants or refugees. Among the various data that emerged, the first was clearly that relating to the total number of Jewish German citizens who have been interned, for more or less long periods, in the Ferramonti camp, and who at the present state of research have been 314. Looking at the cities of birth, if it was confirmed the fact that was foreseeable at the beginning of the research that there was Berlin in first place, with 49 born in the German capital, it was instead much more surprising that the second city was Bratislava, which with its 18 born precedes Leipzig and Frankfurt, which they follow respectively with 15 and 11. And not a few are also 34 Jews, with German citizenship, who were however born in countries other than Germany, of which 17 in Poland and 8 in Italy. Instead, 46 were born in cities that today are no longer German, but that were part of Germany in the period considered. Other data, reported in the research, concern the number of stateless persons, gender, age and profession of internees, and not least the number of those who have been deported to the Nazi death camps and have not survived to the Shoah
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NARCIZO, Makchwell Coimbra. "A negação da shoah na História: uma análise dos trabalhos Negacionistas enquanto História e o problema da administração da Memória". Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2339.

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The shoah (holocaust) is a remarkable event in our contemporaneity, especially by the way it was developed and for its results. The humanity faced a barbarity that never thought was possible in modern world, generating the disarticulation of lifting bases of the period in question. Therefore, demanded that markers of knowledge such as Philosophy, History, Theology, Laws and even the Art were rethinking. The event in question generates a reflection on the capacity of History to apprehend phenomenon occurred in the past for a relevant form to the present. Involving theoretical and dynamics questions of the historiographer work, which goes since the way this work is made to its motivations. Between the trauma that shoah evokes and difficulties that it brings to Historiographical field is the important question of the use of History. One battle aiming the administration of history and shoah s memory is in full development, in it is highlighted the Negationists of shoah, group that alleges that the cited event has not occurred. The present work aims to be an analysis of Negationists attempts to administrate the history of shoah, its memory and how they use History, as the authenticity of their work while history. For such fact, some work of main Negationists authors such as Paul Rassinier and Robert Faurisson will be inquired, also other important authors of the group as: Mark Weber, David Irving and Arthur Butz.
A shoah (holocausto) é um evento marcante em nossa contemporaneidade, isso se dá por conta da maneira como fora desenvolvida e especialmente por seus resultados. A humanidade se deparou com uma barbárie que imaginava não fosse possível no mundo moderno, gerando a desarticulação de bases sustentadoras do período em questão. Por isso, exigiu que balizadores do conhecimento como a Filosofia, História, Teologia, Direito e até mesmo a Arte fossem repensados. O evento em questão gera uma reflexão sobre a capacidade de a História apreender fenômenos ocorridos no passado de uma forma relevante para o presente. Envolvendo questões teóricas e práticas do trabalho do historiador, que vão desde as formas como esse trabalho é feito às suas motivações. Em meio ao trauma que a shoah suscita e as dificuldades que essa traz ao campo historiográfico está a importante questão dos usos da História. Uma luta visando à administração da história e da memória da shoah está em pleno desenvolvimento, nela ganha destaque os Negacionistas da shoah, grupo que alega que o referido evento não tenha ocorrido. O presente trabalho visa ser uma análise da tentativa dos Negacionistas de administrarem a história da shoah, sua memória e a utilização que fazem da História, tal como a validade de seus trabalhos enquanto história. Para tal, serão averiguadas algumas obras dos principais autores Negacionistas, Paul Rassinier e Robert Faurisson, e, também outros autores importantes do grupo como: Mark Weber, David Irving e Arthur Butz.
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Poirier, Christine. "La Shoah dans la littérature québécoise de langue française /". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83139.

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This thesis analyzes the representation of the Shoah in French-language Quebec literature. It first presents the numerous difficulties involved in the fictional representation of this genocide, which relate primarily to writers' authority: lacking the legitimacy of "true" witnesses, writers who address the topic run the risk of betraying the memory of those who were persecuted. The thesis then demonstrates that, despite theoretical obstacles, many novels and poems from Quebec touch upon the Shoah and express a feeling of guilt towards the victims as early as the 1950's. The last chapter postulates that since the 1980's, fiction has acquired a greater legitimacy and narrative forms used to represent the Shoah have diversified, due to the gradual disappearance of direct witnesses as well as the interval of time separating writers from the tragedy.
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Suguiyama, Natália Keiko de Carvalho. "O testemunho no cinema documental: procedimentos criativos no campo da experiência traumática com ênfase em Shoah de Claude Lanzmann e Histoire(s) du Cinéma de Godard". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21434.

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Focusing in the documentary cinema as a way of representing the testimony of traumatic experiences in cinema, this project emphasizes the creative procedures found in the film Shoah (1985), by Claude Lanzmann, and in the series Histoire(s) du Cinéma (1988/1998), by Jean-Luc Godard. More specifically, it reflects on how documentary films has put us in contact with painful historical events, understanding the creative procedures used in its conception. Our corpus is based notably on the works above mentioned. The most important theoretical frameworks are the studies who deal with documentary theory, as presented by Bill Nichols theory and, in Brazil, Fernão Ramos. Our research also counterpoints the issue of representation of the catastrophe, using the studies of both Georges Didi-Huberman and, in Brazil, Márcio Seligmann-Silva. The relevance of the research is related to the intense debates that surround today the testimony, assigning to the images a role in the representability of the extreme, previously interdicted
Este projeto enfoca o cinema documental voltado à temática do testemunho no campo da experiência traumática, com ênfase no documentário Shoah (1985), de Claude Lanzmann, e na série em vídeo Histoire (s) du cinéma (1988-98) de Jean-Luc Godard. Mais especificamente, trata-se de perguntar como o cinema documental nos tem colocado em contato com eventos históricos dolorosos, assinalando os procedimentos criativos de que se tem valido. O corpus da pesquisa compõe-se principalmente das obras acima referidas. Os principais referenciais teóricos envolvem estudos abalizados sobre o gênero documentário, como os de Bill Nichols e, no Brasil, Fernão Ramos, e trabalhos em contraponto sobre a questão da representação da catástrofe, como os de Georges Didi-Huberman e, no Brasil, Márcio Seligmann-Silva. A relevância da pesquisa liga-se aos intensos debates que voltam a cercar hoje o testemunho, atribuindo às imagens um papel na representabilidade do extremo, antes interditado
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Książki na temat "Histoire de la Shoah"

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Shoah. [Paris]: Fayard, 1985.

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Shoah. Sarajevo: Medjunarodni teatarski i filmski festival MES Sarajevo, 1996.

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Histoire régionale de la Shoah en France: Déportation, sauvetage, survie. Paris: Éditions de Paris, 2011.

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Giuntini, Sergio. Sport e Shoah. Mergozzo: Sedizioni, 2014.

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Lecomte, Jean-Michel. Shoah et formation citoyenne. Dijon: CRDP de Bourgogne, 1998.

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La Shoah, l'impossible oubli. [Paris]: Gallimard., 1995.

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Die Shoah in Belgien. Darmstadt: WBG, Wissenschaftliche Buchgesellschaft, 2009.

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Eladan, Jacques. Poètes de la Shoah. Paris: Caractères, 1989.

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La Shoah en France. Paris: Fayard, 2001.

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Le donne e la Shoah. Roma: Avagliano, 2007.

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Części książek na temat "Histoire de la Shoah"

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Lucamante, Stefania. "History and Stories: Historical Novels and the Danger of Disintegration". W Forging Shoah Memories, 165–97. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137375346_7.

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Machtans, Karolin. "History and Memory: Saul Friedländer’s Historiography of the Shoah". W How the Holocaust Looks Now, 199–207. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230286566_18.

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Fainberg, Sarah. "Memory at the Margins: The Shoah in Ukraine (1991–2011)". W History, Memory and Politics in Central and Eastern Europe, 86–102. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137302052_6.

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Petrescu, Corina L. "“The People of Israel Lives!” Performing the Shoah on Post-War Bucharest’s Yiddish Stages". W Local History, Transnational Memory in the Romanian Holocaust, 209–23. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118416_12.

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Beker, Avi. "Shoah". W The Chosen, 109–29. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611689_6.

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Lanzmann, Claude. "Shoah". W 100 Documentary Films, 199–201. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_82.

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Boswell, Matthew. "Shoah (Claude Lanzmann)". W Holocaust Impiety in Literature, Popular Music and Film, 147–58. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358690_9.

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Willeke, Stephanie. "Shoah und Gulag". W Herta Müller-Handbuch, 214–20. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05401-2_27.

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Lindenberger, Herbert. "Deceiving: Nathan Lindenberger and the Duplicities of Theresienstadt". W One Family's Shoah, 3–28. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137084057_1.

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Lindenberger, Herbert. "Memorializing: Betty Lindenberger Levi as Representative Auschwitz Victim". W One Family's Shoah, 29–53. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137084057_2.

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Streszczenia konferencji na temat "Histoire de la Shoah"

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Henon, Pierre. "Histoire de crayon". W ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253998.

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Tseng, J. "L’inversion pronominale : histoire et analyse". W Congrès Mondial de Linguistique Française 2008. Les Ulis, France: EDP Sciences, 2008. http://dx.doi.org/10.1051/cmlf08252.

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Auroux, S. "La linguistique française et son histoire". W Congrès Mondial de Linguistique Française 2008. Les Ulis, France: EDP Sciences, 2008. http://dx.doi.org/10.1051/cmlf08337.

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Wachenfeld, Amanda, Scott Kibby, Frank Perrone i Jose Ballesta. "Overcoming Challenges for the Parallel Thimble Shoal Tunnel Site Investigation". W Eighth International Conference on Case Histories in Geotechnical Engineering. Reston, VA: American Society of Civil Engineers, 2019. http://dx.doi.org/10.1061/9780784482155.026.

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Prévost, S. "Diachronie, histoire de la langue : synthèse et perspectives". W Congrès Mondial de Linguistique Française 2008. Les Ulis, France: EDP Sciences, 2008. http://dx.doi.org/10.1051/cmlf08321.

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Raby, V., i J. M. Fournier. "Comment faire une histoire de la grammaire française aujourd'hui ?" W Congrès Mondial de Linguistique Française 2008. Les Ulis, France: EDP Sciences, 2008. http://dx.doi.org/10.1051/cmlf08269.

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Lafarga Maduell, Francisco. "Historia y petite histoire de la A(PF)FUE". W XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.4544.

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Intento de trazar la trayectoria histórica de la actual AFUE, desde los precedentes (a partir de 1975), pasando por su fundación en 1987 y las dificultades de los primeros años de funcionamiento, hasta la refundación en 1992 y el relanzamiento con unas estructuras similares a las actuales. Se trata de las denominaciones, de las personas (los socios, las diversas juntas directivas), los encuentros (en particular los coloquios), así como el interés por la comunicación entre los socios y la visibilidad de la asociación (a través de la página web, de la revista «Çédille» y de otras vías).DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.4544
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Delvaux, Véronique, Giancarlo Luxardo i Fabrice Hirsch. "Une histoire des JEP: 50 ans d'études sur la parole". W XXXIIe Journées d’Études sur la Parole. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/jep.2018-42.

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Laugee, Thierry. "PATRINAT: The drawings in Buffon's Histoire naturelle, towards a digitized heritage". W 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413864.

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Meri de la Maza, Ricardo M., Alfonso Díaz Segura i Bartolomé Serra Soriano. "« Histoire d'une Fenêtre ». Le Corbusier y la construcción de la mirada". W LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.638.

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Resumen: El artículo presenta un estudio de la relación de Le Corbusier con un mecanismo constructivo y de lenguaje arquitectónico fundamental en su obra como es la ventana. Durante ese recorrido se estudian diferentes aspectos que afectan a la definición de la ventana y su relación con la arquitectura que la contiene; en especial centrados en la idea de continuidad espacial y en la disolución conceptual y física de los límites del espacio. Para ello se cruzan enfoques que van desde lo puramente conceptual hasta las relaciones que se establecen entre las soluciones constructivas y sus repercusiones visuales sobre el objeto arquitectónico. Esta breve historia de la ventana en Le Corbusier está centrada en su obra doméstica a través de una secuencia cronológica que permite tener un panorama de la evolución de este elemento en su trayectoria. Podemos ver cómo se produce la transición desde la fenêtre en longueur hasta el pan de verre aménagé, pasando por numerosas aspiraciones, configuraciones y variaciones sobre el propio tema de la mirada y el mecanismo constructivo-visual que la define. Abstract: The article presents a study of the relationship of Le Corbusier with very a important constructive architectural mechanism in his work as the window is. During that route we study different issues affecting the definition of the window and its relationship to the architecture that contains it; in particular focusing on the idea of spatial continuity and the conceptual and physical dissolution of the limits of space. For that purpose we take different approaches ranging from the purely conceptual to the relationships established between the constructive solutions and their visual impact on the architectural object. This brief history of the Window at Le Corbusier is focused on his domestic work through a chronological sequence that allows an overview of the evolution of the element in his work. We can see how the transition occurs from the fenêtre en longueur to the pan de verre aménagé, through numerous aspirations, configurations and variations on the gaze theme and the constructive mechanism that defines it. Palabras clave: Le Corbusier; Fenêtre; mecanismos constructivos; mirada; ventana. Keywords: Le Corbusier; Fenêtre; constructive mechanisms; gaze; window. DOI: http://dx.doi.org/10.4995/LC2015.2015.638
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Raporty organizacyjne na temat "Histoire de la Shoah"

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Embry, A. F. Chapitre 14: Histoire Mésozoique de l'Archipel Arctique. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1991. http://dx.doi.org/10.4095/134024.

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Morgan, W. C., i J. O. Wheeler. Cartes géologiques du Canada : histoire et évolution. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1992. http://dx.doi.org/10.4095/224135.

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Veillette, J. J. Géologie des formations en surface et histoire glaciaire, Cadillac, Québec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2004. http://dx.doi.org/10.4095/215047.

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Klassen, R. A., i F. J. Thompson. Histoire de l'écoulement glaciaire et modèles de dispersion glaciaire au Labrador. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/194819.

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Trettin, H. P. Chapitre 9: Histoire de la Pearya du Protérozoique au Silurien Supérieur. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1991. http://dx.doi.org/10.4095/134021.

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Thibaudeau, P., i J. J. Veillette. Géologie des formations en surface et histoire glaciaire, Lac Chicobi, Québec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2005. http://dx.doi.org/10.4095/220668.

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Veillette, J. J. Géologie des formations en surface et histoire glaciaire, Rivière Harricana, Québec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2007. http://dx.doi.org/10.4095/224446.

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Veillette, J. J. Géologie des formations en surface et histoire glaciaire, Rivière Waswanipi, Québec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2007. http://dx.doi.org/10.4095/224450.

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Paradis, S. J. Géologie des formations en surface et histoire glaciaire, Lac Blouin, Québec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2007. http://dx.doi.org/10.4095/224451.

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Veillette, J. J., i J. S. Pomares. Géologie des formations en surface et histoire glaciaire, Lac Matagami, Québec. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2003. http://dx.doi.org/10.4095/214508.

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