Awkward objects: expanding the boundaries of the Holocaust archive
For the last thirty years, Holocaust Studies has grappled with "the limits of Holocaust representation." Yet despite a range of impactful formal experiments to visualize genocide and expand the accepted categories of Holocaust witnessing, the realm of Holocaust testimony is still neither i...
| Authors: | ; ; |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2025
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| In: |
Holocaust and genocide studies
Year: 2025, Volume: 39, Issue: 2, Pages: 131-136 |
| Further subjects: | B
Aufsatz in Zeitschrift
|
| Online Access: |
Volltext (kostenfrei) |
| Rights Information: | CC BY-NC-ND 4.0 |
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| 520 | |a For the last thirty years, Holocaust Studies has grappled with "the limits of Holocaust representation." Yet despite a range of impactful formal experiments to visualize genocide and expand the accepted categories of Holocaust witnessing, the realm of Holocaust testimony is still neither impartial nor fully encompassing. While the field has paid substantial attention to some forms of witnessing and celebrated them as valuable sources of knowledge, it has marginalized other forms; discarded them as unreliable, unworthy, incidental, and bizarre; and overlooked potential domains for systematic scholarly scrutiny even when they existed in full public view. Holocaust representations that appeared during the war or were produced in its aftermath – such as folk or "naïve" art, hand-drawn maps, three-dimensional dioramas, sketches accompanying oral testimony, graffiti and wall-markings, as well as vernacular camp verse and laborers' often coarse chants – exemplify "awkward" documents that scholars have disregarded as oddities and thus relegated outside of mainstream Holocaust discourse. | ||
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