This collection of diaries, written by young people during the Holocaust, reflects a vast and diverse range of experiences - some of the writers were refugees, others were hiding or passing as non-Jews, and some were imprisoned in ghettos. The volume contains extensive excerpts from 15 diaries, ten of which have never before been translated and published in English. The diarists ranged in age from 12 to 22; some survived the Holocaust, but most perished. Taken together, their accounts of daily events and their often unexpected thoughts, ideas and feelings serve to deepen and complicate our understanding of life during the Holocaust.

From the author of the international bestseller Zlata's Diary comes a haunting testament to how war's brutality affects the lives of young people Zlata Filipovic's diary of her harrowing war experiences in the Balkans, published in 1993, made her a globally recognized spokesperson for children affected by military conflict. In Stolen Voices, she and co-editor Melanie Challenger have gathered fifteen diaries of young people coping with war, from World War I to the struggle in Iraq that continues today. Profoundly affecting testimonies of shattered youth and the gritty particulars of war in the tradition of Anne Frank, this extraordinary collection-- the first of its kind--is sure to leave a lasting impression on young and old readers alike.

As millions of people around the world who have read her diary attest, Anne Frank, the most familiar victim of the Holocaust, has a remarkable place in contemporary memory. Anne Frank Unbound looks beyond this young girl's words at the numerous ways people have engaged her life and writing. Apart from officially sanctioned works and organizations, there exists a prodigious amount of cultural production, which encompasses literature, art, music, film, television, blogs, pedagogy, scholarship, religious ritual, and comedy. Created by both artists and amateurs, these responses to Anne Frank range from veneration to irreverence. Although at times they challenge conventional perceptions of her significance, these works testify to the power of Anne Frank, the writer, and Anne Frank, the cultural phenomenon, as people worldwide forge their own connections with the diary and its author.

While Anne Frank was in hiding during the German Occupation of the Netherlands, she wrote what has become the world's most famous diary. But how could an unknown Jewish girl from Amsterdam be transformed into an international icon? Renowned Dutch scholar David Barnouw investigates the facts and controversies that surround the global phenomenon of Anne Frank. Barnouw highlights the ways in which Frank's life and ultimate fate have been represented, interpreted, and exploited. He follows the evolution of her diary into a book (with translations into nearly 60 languages and editions that added previously unknown material), an American play, and a movie. As he asks, "Who owns Anne Frank?" Barnouw follows her emergence as a global phenomenon and what this means for her historical persona as well as for her legacy as a symbol of the Holocaust.

The only complete collection of writings by Anne Frank, this impressive volume contains three of the extant versions of her Diary (including pages that came to light in 1998), Tales from the Secret Annex (he lesser known short stories, fables, and personal reminiscences), and Cady's Life (her unfinished novel), along with the latest, most definitive scholarly research into Frank's life.    Anne Frank's diary has become a modern classic. It stands alone as the moving testimony of a young girl whose world collapsed around her in the nightmare of Hitler's Final Solution. Published in the United States in 1952, Anne Frank: A Diary of a Young Girl has been translated from the Dutch into nearly seventy languages, and millions of people the world over continue to respond to her extraordinary voice. The Diary of Anne Frank: The Revised Critical Edition presents the most fascinating, comprehensive study of that diary in existence.   Prepared by the Netherlands Institute for War Documentation, this monumental work allows the reader to compare the three versions of the diary itself: Anne's original entries; the diary as she herself edited it in the hiding place of the "Secret Annex"; and the version most popularly known, as edited by Anne's father, Otto Frank, and a Dutch publishing house after World War II, when they removed certain family and sexual references. Every aspect of the diary--including Anne's handwriting and the paper used--is meticulously examined, providing compelling proof and historical of its poignant testament. Absorbing biographical information on the Frank family enhances Anne's personal perceptions, and a summary of critical events during and after the family's arrest--including how the Nazi authorities learned about the Franks and their secret hiding places--adds a new dimension to this tragic, still resonant story.   Illustrated throughout with black-and-white photographs, the Diary of Anne Frank: The Revised Critical Edition is an invaluable contribution to our awareness of the Holocaust and a stirring tribute to the author's impressionable spirit.

In these days of an aging traditional audience, shrinking attendance, tightened budgets, increased competition, and exponential growth in new types of communication methods, America's house museums need to take bold steps and expand their overall purpose beyond those of the traditional museum. They need not only to engage the communities surrounding them, but also to collaborate with visitors on the type and quality of experience they provide. This book -is a ground-breaking manifesto that calls for the establishment of a more inclusive, visitor-centered paradigm based on the shared experience of human habitation; -draws inspiration from film, theater, public art, and urban design to transform historic house museums; -provides a how-to guide for making historic house museums sustainable, through five primary themes: communicating with the surrounding community, engaging the community, re-imagining the visitor experience, celebrating the detritus of human habitation, and acknowledging the illusion of the shelter's authenticity; -offers a wry, but informed, rule-breaking perspective from authors with years of experience; -gives numerous vivid examples of both good and not-so-good practices from house museums in the U.S.

History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource--complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art.

The book explores representations of the Holocaust in contemporary art practices. Through carefully selected art projects, the author illuminates the specific historical, cultural, and political circumstances that influence the way we speak--or do not speak--about the Holocaust. The book's international focus brings into view film projects made by key artists reflecting critically upon forms of Holocaust memory in a variety of geographical contexts. Kékesi connects the ethical implications of the memory of the Holocaust with a critical analysis of contemporary societies, focusing upon artists who are deeply engaged in doing both of the above within three regions: Eastern Europe (especially Poland), Germany, and Israel. The case studies apply current methods of contemporary art theory, unfolding their implications in terms of memory politics and social critique.

The significance of identity and psychology in determining moral choice What causes genocide? Why do some stand by, doing nothing, while others risk their lives to help the persecuted? Ethics in an Age of Terror and Genocide analyzes riveting interviews with bystanders, Nazi supporters, and rescuers of Jews during the Holocaust to lay bare critical psychological forces operating during genocide. Monroe's insightful examination of these moving--and disturbing--interviews underscores the significance of identity for moral choice. Monroe finds that self-image and identity--especially the sense of self in relation to others--determine and delineate our choice options, not just morally but cognitively. She introduces the concept of moral salience to explain how we establish a critical psychological relationship with others, classifying individuals in need as "people just like us" or reducing them to strangers perceived as different, threatening, or even beyond the boundaries of our concern. Monroe explicates the psychological dehumanization that is a prerequisite for genocide and uses her knowledge of human behavior during the Holocaust to develop a broader theory of moral choice, one applicable to other forms of ethnic, religious, racial, and sectarian prejudice, aggression, and violence. Her book fills a long-standing void in ethics and suggests that identity is more fundamental than reasoning in our treatment of others.

This encyclopedia spans the globe to explain the issues behind crimes against humanity and human rights issues as they relate to individual countries and the world at large. It traces the history of events that qualify as genocide and crimes against humanity, profiles perpetrators and heroes, and explains international laws and law proceedings aimed at ending genocide and crimes against humanity.

Why are some genocides prominently remembered while others are ignored, hidden, or denied? Consider the Turkish campaign denying the Armenian genocide, followed by the Armenian movement to recognize the violence. Similar movements are building to acknowledge other genocides that have long remained out of sight in the media, such as those against the Circassians, Greeks, Assyrians, the indigenous peoples in the Americas and Australia, and the violence that was the precursor to and the aftermath of the Holocaust. The contributors to this collection look at these cases and others from a variety of perspectives. These essays cover the extent to which our biases, our ways of knowing, our patterns of definition, our assumptions about truth, and our processes of remembering and forgetting as well as the characteristics of generational transmission, the structures of power and state ideology, and diaspora have played a role in hiding some events and not others. Noteworthy among the collection's coverage is whether the trade in African slaves was a form of genocide and a discussion not only of Hutus brutalizing Tutsi victims in Rwanda, but of the execution of moderate Hutus as well. Hidden Genocides is a significant contribution in terms of both descriptive narratives and interpretations to the emerging subfield of critical genocide studies. Contributors: Daniel Feierstein, Donna-Lee Frieze, Krista Hegburg, Alexander Laban Hinton, Adam Jones, A. Dirk Moses, Chris M. Nunpa, Walter Richmond, Hannibal Travis, and Elisa von Joeden-Forgey

The authors of the eight essays in Ephemeral Bodies--including the first English translation of Julius von Schlosser's seminal "History of Portraiture in Wax" (1910-11)--break new ground as they explore wax reproductions of the body or body parts and assess their conceptual ambiguity, material impermanence, and implications for the history of Western art.

How do art objects and artistic practices perform the past in the present? What is their relationship to the archive? Does the past speak in the performed past (or do we speak to it)? To what purpose do objects "recall"? And for whom do they recollect? Here authors combine a methodological focus on memory as performance with a theoretical focus on art and popular culture as practices of remembrance. The essays in the book thus analyze what is at stake in the complex processes of remembering and forgetting, of recollecting and disremembering, of amnesia and anamnesis, that make up cultural memory.

A provocative book, an important book Jagodzinski's and Wallin's 'betrayal' is in fact a wake-up call for art-based research, a loving critique of its directions. Jagodzinski's and Wallin's reference is the question 'what art can do'--not what it means.