...the Nazis killed Jews are by gas chambers, mass shootings and, concentration camps such as Auschwitz or a lot of the other death camps. The reason Hitler wanted to kill all the Jews was because he thought they were the reason the Germans lost The Great War. That’s why Hitler came up with the idea of the Final Solution. This is why I would not forgive him because he was under the jurisdiction of Hitler, he was a trouble man. The people that Karl killed would not forgive him. Karl shot up the house and threw grenades. He watched people burn while standing in the window holding children. I would feel sad, but this situation has never happened to me. Knowing the SS killed my family they would never be forgiven by me. A moral question the Holocaust, requires us to dig deep into our hearts, souls, and minds. We need to think about issues we don’t want to think about. I feel that Simon Wiesenthal did the right thing by walking away in silence. He was not in a position and had no right to forgive the SS man, Karl, for his murders of other people. I also believe that Karl did not deserve full forgiveness for his actions by someone who did not suffer from those actions. I feel that we should honor the dead and the murdered by allowing them to forgive their perpetrators on their own terms. ...
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...drawings are being left "for posterity," Berger finds something more important at work here (qtd in Berger 576). Instead he argues that it is through personal narrative (and art) that latter generations can truly comprehend the horror of this action (and others like it). He likens the images to "hell" and labels the action as one of terrorism--one that can never be justified no matter what political side one supports or what aims one hopes to accomplish. Response: Based on the types of readings I have assigned for this class, I don't think it should be any surprise that I believe in the power of the personal narrative. So, on this point, I completely agree with Berger. Reading the number of those who died in the Holocaust, or lost their loved ones in Pearl Harbor, or fell with the Towers on 9/11 has a power on its own. But it is too easy to become immune to numbers. A personal narrative prevents an audience from de-humanizing an issue, and hopefully focus on what is truly important. Rhetorical Analysis: Berger makes two rhetorical choices that are especially effective. The first is that he interweaves excerpts of personal narratives into his own essay. While these narratives support his point, he does not refer to them orexplicate them in any way. Instead he lets them speak for themselves. Since his point is that the personal narrative brings history into "living consciousness," this move highlights his thesis (575). Second, he uses language that polarizes his readers. By using...
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...Although each of these stories was written for a different audience the stories being told are very similar in nature. One purpose of each story is to tell a story, which is why both authors used narration in which to do so. Narratives are usually very sequential in nature. Using narration when telling a story helps to draw people...
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...Although the Holocaust took place almost half a century ago, it still leaves behind profound repercussions not only on its direct survivors, but also on their descendants – the second generation. In her book The Generation of Postmemory: Writing and Visual Culture after the Holocaust, Marianne Hirsch coins the term “postmemory” to describe how parents can pass on their traumatic memories to their children, and how these memories consequently become an integral part of their lives and their identities. Indeed, biographies and psychoanalytical research have proven that many descendants of Holocaust survivors display psychological symptoms similar to those of their parents, despite the fact that they were born many years after the Holocaust. Although many critics insist that postmemory does not qualify as actual memory because the children have not lived through the Holocaust themselves, postmemory is indeed a legitimate form of memory. Furthermore, when compared to memory, postmemory is equally traumatizing and painful. Although postmemory is a frequent theme in many works from and on the second generation, its validity is still debated. Hirsch first defines the term as the relationship between the second generation and the memories they inherit from their parents by means of stories, images and behaviors among which they grew up. Karein Goertz, in her essay “Transgenerational Representations of the Holocaust: From Memory to ‘Post-Memory’” also describes postmemory as “a hybrid...
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...shaped by their representations in the texts you have studied. Refer to your prescribed text and at least TWO other related texts of your own choosing. History can be defined as “the methodical record of public events” where memory is defined as “the faculty by which events are recalled or kept in mind”. Thus history and memory interrelate as history can be seen as the contextual justification for memory. “The Fiftieth Gate” is a poignant interweaving of history and memory. The text follows protagonist, Mark Baker an historian, son of Holocaust survivors Genia and Yossl (Joe), on an historical journey through memory, to uncover the origins of his past and act as a catalyst for future generations to also connect with their history. Mark Baker’s journey through history and memory is also executed through his conventional ideas that memory is biased and less valid than history. There are numerous references to the discrepancies between the personal memories of his parents and the documented history Mark as an historian believes. In this way it is apparent that Mark is on a quest for verification, “my facts from the past are different”. This displays the flaw Mark traditionally notes in memory and his need for historical evidence. As responders accompany Mark on his journey, they also encounter the complexity of simultaneously being a son and an historian. This attested via the following when Mark collates his parent’s memories with documented historical evidence “His was a past...
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...Write an essay on ONE of the topics listed below: Recommended length: 5,000 words Submission date: 12 noon, Thursday Week 4 of Term 3 You are recommended to consult the following three Department documents when writing this essay: • Undergraduate Studies Handbook • Assessed-essay-writing guidelines • Essay-marking criteria for Options and Core Modules 1. ‘Zeugnisse guten Willens, zugleich aber wieder Dokumente der Ratlosigkeit’ (Günther Mahal). Discuss with reference to a representative selection of texts from the material in the collection Die Berliner Moderne, 1885-1914. 2. ‘Tatsächlich ist es die Erfahrung der Großstadt Berlin, die Konfrontation eines in der Provinz herangebildeten kleinbürgerlichen Bewußtseins mit der Hektik, der Unübersichtlichkeit, den Massenmenschen, dem Elend der industrialisierten Metropole, aus denen die Entstehung der künstlerischen Moderne, ihr unklarer und widersprüchlicher Charakter verstanden werden können.’ (Jürgen Schutte and Peter Sprengel). Discuss with reference to a representative selection of texts or visual material produced before 1930 that you have studied on the module. 3. ‘Die psychologische Grundlage, auf der der Typus großstädtischer Individualitäten sich erhebt, ist die Steigerung des Nervenlebens, die aus dem raschen und ununterbrochenen Wechsel äußerer und innerer Eindrücke hervorgeht.’ (Georg Simmel). Analyse the significance of Simmel’s essay ‘Die Großstädte und das Geistesleben’ of 1903 for an understanding...
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...Maus II: A Survivor’s Tale—And Here My Troubles Began The Holocaust was one of the worst epidemics in the entire world. Many people were killed, more importantly the Jewish community, with millions dead. Families were torn and never mended. Among these families were the Spiegleman’s. Art Spiegleman was the son in the family who wrote about his father’s experience in the Holocaust. Maus I and Maus II are his two works of art that share historical information and his personal struggle. Within Maus II, Art talks about the start of his father’s struggles and what will be the beginning of a life changing event. The Holocaust affected victims just as the American Great Depression did its victims. This chapter starts out with Vladek continuously counting his pills, and then Artie and Francoise are staying with him just for a little since Mala left. Vladek keeps everything; he doesn’t want to get rid of anything, even crumbs. In chapter three, page 78 of Maus II, he is trying to give Artie a piece of fruitcake, and Artie refuses, and says he isn’t hungry. Vladek then tells Artie, “So, fine. I can pack the fruitcake in with the cereal for you to take home,” then Artie refuses to let Vladek give him the food because he doesn’t want it. Vladek then says, “I cannot forget it…ever since Hitler I don’t like to throw out even a crumb.” This shows that Vladek is still afraid to get rid of anything, because he is still in fear of the past. They begin talking more about Auschwitz, and how in...
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...documenting his father’s experience in WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of assembling MetaMaus, a book compiling interviews and archival materials on the making of Maus. MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus. Its defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman (MetaMaus 73) Maus: A Survivor’s Tale is a book about archives. And the book about making Maus, MetaMaus, is both a process of taking stock of the Maus archive and an active process of creating a new archive.1 Maus is about the Holocaust, featuring two intertwined stories: that of Auschwitz survivor Vladek Spiegelman’s struggle in the 1930s and...
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...It has been more than seventy years since the Nanking atrocity of 1937-38. This event is better known as the “Rape of Nanking” or “Nanking Massacre” (Wakabayashi). Even today, there is no healthy dialogue between the countries of China and Japan in regards to the atrocity that occurred there so long ago. The last time that there were any concessions made in regards to the atrocities in China were during and after World War II. Much of the historiography has been limited due the amount of silence that has been present throughout the world. Because of this, research about the atrocity had just recently begun to surface. Due to this fact, there are many factors that are brought into question when looking specifically at a historical event, especially one that is tied to such brutal emotion. The authors I have chosen each attempt to explain why there has been such a delay in Nanking’s historiography and at the same time attempt to explain what actually occurred there in 1937-38. I selected three books for this paper. The first is The Nanking Atrocity 1937-38 by Bob Tadashi Wakabayashi. The book was released on the 70th anniversary of the fall of the Chinese city of Nanking to the Japanese army. The perspective offered is by majority non-American with the exception being two contributors. Wakabayashi discusses what lies at the core of bitter disputes over history, wartime victimization, and postwar restitution that hinder healthy Sino-Japanese relations to this day. The Nanking...
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...Example, Process Analysis(Directional and Informational) | | Marcus K August | 3/27/2012 | | Narration Paragraph Narration paragraphs are most frequently used in fiction and personal statements. As such, they will contain all necessary components of action development: protagonist, setting, goal, obstacle, climax and resolution. Writing a narration paragraph requires, consequently, accounting for sequential order of events and chronology. There are many descriptive elements included in the body of a narration paragraph but, if composed correctly, the paragraph will prioritize action over description. Exposition Paragraph Often times, this kind of a paragraph is used as a component of other types of writing. It’s written in order to clarify or explain problems and phenomena. Writing exposition paragraphs requires strict focus on evidence and objective language. It can contain elements of comparison and contrast, or cause and effect writing as both facilitate accurate exposition of the subject-matter. Definition Paragraph Definition paragraphs are used in order to explain the meaning, origin and function of things. They are used both in academic writing and fiction. To write a definition paragraph, writers should concentrate on the role of its subject in the context of the essay and account for evidence as well as examples accordingly. Classification Paragraph Writing classification paragraphs requires a more varied approach. It should be concentrated on defining...
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...Chapters 16-20 Chapters 21-25 Chapters 26-30 Chapters 31-35 Chapters 36-40 Chapters 41-45 Chapters 46-50 Chapters 51-54 5 8 12 15 20 23 26 29 33 36 39 42 MAJOR CHARACTER ANALYSIS 45 Simon Karl Josek Arthur Adam Bolek Karl’s Mother 45 45 46 46 47 47 47 THEMES 49 SYMBOLS AND MOTIFS 51 COPYRIGHT 2016 THE SUNFLOWER SUPERSUMMARY 2 IMPORTANT QUOTES 53 ESSAY TOPICS 61 COPYRIGHT 2016 THE SUNFLOWER SUPERSUMMARY 3 PLOT OVERVIEW The Sunflower by Simon Wiesenthal is a book of non-fiction. The first section, also titled “The Sunflower,” is an account of Wiesenthal’s experience as a concentration camp prisoner under the Nazi regime. In the account, Wiesenthal describes his life in Poland prior to the German occupation, his experiences of anti-Semitism within the Polish culture, and his life as a concentration camp prisoner. He describes life in the concentration camp, the continuous humiliations, the hunger, the illness, and the constant threat of death. Central to the narrative in “The Sunflower” is the story of Simon being summoned to the deathbed of a young Nazi soldier whom Simon calls Karl and who has been wounded in combat. Karl confesses to Simon his activities against Jewish people, which he did in the service of the Nazi regime, and tells Simon he cannot die in peace unless Simon, a Jewish person, forgives him for the things he has done to Jewish people. Simon, after hearing the...
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...who died at Auschwitz at the age of thirteen and how, although her life was taken at such a young age, her memory and spirit continue to live on today. Adapted from the book of the same title by Karen Levine, HANA’S SUITCASE explores the journey of teacher and children at the Tokyo Holocaust Education Center take to find out who Hana Brady is—all from a suitcase the Center received with Hana’s name, birth date, and the word waisenkind (orphan) written on it. The children at the Center are captivated by this suitcase, and the girl who once owned it, and they begin flooding Fumiko Ishioka, the Center’s Director, with question after question about Hana. Fumiko recognizes the importance of uncovering Hana’s story for her students. This tragic event cannot be summed up in numbers or facts— it affected individuals, young and old, who each had a story, families, and hopes and dreams. As Fumiko slowly but determinedly reveals Hana’s story, she discovers that Hana was sent to live in Theresienstadt, a Jewish ghetto, and eventually died at Auschwitz. However, as devastating as this is for Fumiko and the children at the Center to find out, they also learn that Hana had an older brother who survived the Holocaust and was now living with his family in Canada. Fumiko and the children write to George Brady, asking him to share...
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...Harvard Referencing © Learning Services, Edge Hill University, 2010 Inclusive Provision It is Edge Hill’s aim to make our services and provision accessible to all users. If you need us to present our training/resources/information in a different format (e.g. electronic copy, large print), or need any other modifications, please contact Inclusive Services: University Library, 1st floor, or Student Information Centre (SIC) ground floor, Ormskirk Tel: 01695 584372 / 584190 E-mail: inclusiveservices@edgehill.ac.uk We will do our best to accommodate your requirements. 2 Contents Section 1: General Questions Harvard Referencing Citing Bibliography Reference list Bibliographic details More than one book by the same author in the bibliography More than one report from the same author, written in one year Appendix Plagiarism Avoiding plagiarism Quoting Referencing a long quote Quoting parts from a long paragraph Paraphrasing Ibid Op.cit. Et al. Edition Author who cites another author (secondary citation) Summarising several authors Bibliographic management tools Page 5 5 5-6 6 6 7 7 7 7 7-8 8 9 9-10 10 10 10 11 11 11 12 12 13-14 14 14 14-15 15 15 16 16 16 16 17 17 17 18 18 18 18 18 19 19 19 20 20 20 20 3 Section 2: Hard copy texts: books, journals, reports, etc. Conventions for titles Book with one author Book with two authors Book with three or more authors Chapter in an edited book Fictitious author Book review Translated book Foreign language book Diary or book...
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...LECTURER’S COMMENTS ON ASSIGNMENT STUDENT NAME identifying details removed for privacy UNIT CODE 541 ASSIGNMENT TITLE Essay 3: 1. Critical thinking: 2. Adequate Coverage: 3. Relevance: 4. Creativity: 5. Presentation: Name: removed for privacy STUDKEY: STUDNUMBER: Course: Unit Coordinator: Assignment: Number 3 – Make a critical assessment of the contribution of an author other than your lecturer to the development of your understanding of teaching in a Christian community. What are the key ideas of the writer that have proved particularly insightful for you? Reflect on the contribution of this writer to your thinking in the light of the course material you have studied and your reading of other authors. Due Date: Email Sent: I certify that this assignment is my own work. STUDENT’S SIGNATURE: Parker Palmer has made a significant contribution to my understanding of teaching in a Christian community. Through access to his published works “To Know As We Are Known, The Courage To Teach” and “Let Your Life Speak”, I have been enriched by Palmer’s viewpoints and themes on teacher’s, teaching and community. In many instances I found his viewpoints and philosophies insightful, exciting, challenging, daunting and confronting. In some instances I found his position unrealistic to my experience of teaching while also finding myself disagreeing with what I would see as being his liberal approach to theology. Other author’s...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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