Deutsche Herrschaft, ukrainischer Nationalismus, antijüdische Gewalt: Der Sommer 1941 in der WestukraineKai Struve
Most iconographic images of the Holocaust entered public consciousness after the Third Reich’s collapse: the railway lines to Auschwitz-Birkenau, the boy with the raised arms in the Warsaw ghetto, the studio portrait of Anne Frank. Among the few wartime exceptions are visual depictions of violence f...
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| Format: | Electronic Review |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Oxford University Press
2018
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| In: |
Holocaust and genocide studies
Year: 2018, Volume: 32, Issue: 1, Pages: 111-113 |
| Review of: | Deutsche Herrschaft, ukrainischer Nationalismus, antijüdische Gewalt (Berlin : de Gruyter Oldenbourg, 2015) (Matthäus, Jürgen)
Deutsche Herrschaft, ukrainischer Nationalismus, antijüdische Gewalt (Berlin : de Gruyter Oldenbourg, 2015) (Matthäus, Jürgen) |
| Further subjects: | B
Book review
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| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | Most iconographic images of the Holocaust entered public consciousness after the Third Reich’s collapse: the railway lines to Auschwitz-Birkenau, the boy with the raised arms in the Warsaw ghetto, the studio portrait of Anne Frank. Among the few wartime exceptions are visual depictions of violence from the first days of the German occupation of Lviv (Lwów, Lemberg) in late June 1941. Nazi propaganda widely broadcast scenes in newsreel and photographic format of civilians mourning publicly displayed dead bodies and chasing, beating, and abusing other civilians identified as Jews. |
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| ISSN: | 1476-7937 |
| Contains: | Enthalten in: Holocaust and genocide studies
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| Persistent identifiers: | DOI: 10.1093/hgs/dcy014 |