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Historical trauma essays
Trauma case studies
Historical trauma essays
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“What keeps mankind alive? The fact that millions are daily tortured stifled, punished, silenced and oppressed?” These lyrics, that resonate during the act 2 finale of Bertolt Brecht’s and Kurt Weill’s The Threepenny Opera (1928), encompass notions of trauma and prompt the overarching theme of my thesis research. This thesis seeks to explore trauma as a form of performance that is engrained in historical contexts and may be used as an analytical lens by which to view cultural (e.g., theatre, dance, music) and social performance (i.e., the performance of everyday life, maintenance of social constructs, etc.). Thus, contributing to the current dialogue on cultural memory and trauma, specifically to further understanding of the relationship between …show more content…
Following the traumas of World War I, the Weimar Republic experienced economic woes (e.g., hyperinflation), budding new political ideologies and extremism, and radical advances in the arts. During the beginning of the Weimar Republic, Weimar culture was heavily influenced by German Expressionism, but this style changed drastically with the introduction of New Objectivity (Neue Sachlichkeit). The New Objectivity outlook sought to reject the aesthetics and romanticism of Expressionism and focus more on themes of deliberateness, preciseness, and objectivity. Due to this, the Weimer Republic was ripe with contrasting artistic aesthetics and expressions that stirred debate and formulated a vibrant …show more content…
For the purposes of this thesis, two prominent works created during the Weimar Republic will be analyzed, Bertolt Brecht’s and Kurt Weill’s political-satirical operas, The Threepenny Opera (1928) and The Rise and Fall of the City of Mahoganny (1930). The Threepenny Opera and The Rise and Fall of the City of Mahoganny both offer a socialist critique of capitalism as well as portraying characters that embody memory and traumas of the time. For example, the lead male in The Threepenny Opera, Mack the Knife, elicits the horror and charm of the period through his grotesque nature and, therefore, may be analyzed as a site of memory. In The Rise and Fall of the City of Mahoganny, Brecht’s Verfremdungseffekt is on prominent display as America is viewed as a strange land emphasizing the violence and greed of the social classes. Thus, both The Threepenny Opera and The Rise and Fall of the City of Mahoganny maintain theatrical, social, and historical implications that may aid in the understanding or presentation of cultural memory and trauma within collective
Perhaps one of the most haunting and compelling parts of Sanders-Brahms’ film Germany Pale Mother (1979) is the nearly twenty minute long telling of The Robber Bridegroom. The structual purpose of the sequence is a bridge between the marriage of Lene and Hans, who battles at the war’s front, and the decline of the marriage during the post-war period. Symbolically the fairy tale, called the “mad monstrosity in the middle of the film,” by Sanders Brahms (Kaes, 149), offers a diagetic forum for with which to deal with the crimes of Nazi Germany, as well a internally fictional parallel of Lene’s marriage.
Elie Wiesel’s speech, Hope Despair and Memory gave in 1986 mainly focused on the great importance of remembering past memories that people tend to want to forget. The speech was very successful in persuading the audience to believe in the importance that memory serves us through the great use of pathos throughout the speech, especially the pathos that always comes from any sort of holocaust recollection. Elie uses such sentences as, “a young man struggles to readjust to life. His mother, his father, his small sister are gone. He is alone. On the verge of despair.”(Abrams, 1997) He helps to arise a strong sense of sympathy from the injustices that had plagued this time in history. This use of pathos makes it an effective use of it for it underlines the audience’s attention towards Elie Wiesel and makes them closer to his emotions an...
ABSTRACT: Richard Wagner always represented for Nietzsche the Germany of that time. By examining Nietzsche's relationship to Wagner throughout his writings, one is also examining Nietzsche's relationship to his culture of birth. I focus on the writings from the late period in order to clarify Nietzsche's view of his own project regarding German culture. I show that Nietzsche created a portrait of Wagner in which the composer was a worthy opponent-someone with whom he disagreed but viewed as an equal. Wagner was such an opponent because he represented the disease of decadence which plagued the culture and from which Nietzsche suffered for a time, but of which he also cured himself. In other words, Nietzsche emphasized his overcoming and revaluation of Wagner because he wanted his readers to understand it as a metaphor for his larger battle with decadence in general. The goal of this portraiture is to demonstrate on an individual level what could be done on a cultural level to revitalize culture. Through an analysis of Nietzsche's portrait of Wagner in the late period, I will claim that in order to understand Nietzsche's revaluation of decadent values in nineteenth century German culture, one must understand his relationship with the composer.
Marc Blitzstein’s The Cradle Will Rock, published in 1938, has garnered attention from the very beginnings of its existence. It quickly seduced the initial director and producers with its varied musical styles ranging from classical arias to satirical ensemble numbers. However, this proletarian opera has reached moderate infamy not necessarily because of the quality of its content, but because of the way it reached its premiere performance. What began as a government-sponsored production became a guerrilla effort to perform in spite of government censors. This controversial piece resonated with both performers and audiences, and most of the cast’s sheer determination to present Blitzstein’s work is a source of great fascination. Due largely to the perfect storm created by the lingering tensions of the First Red Scare and the Great Depression, The Cradle Will Rock and the events surrounding its debut contributed directly to the end of the Federal Theatre Project.
In Art Spiegelman’s Maus, the audience is led through a very emotional story of a Holocaust survivor’s life and the present day consequences that the event has placed on his relationship with the author, who is his son, and his wife. Throughout this novel, the audience constantly is reminded of how horrific the Holocaust was to the Jewish people. Nevertheless, the novel finds very effective ways to insert forms of humor in the inner story and outer story of Maus. Although the Holocaust has a heart wrenching effect on the novel as a whole, the effective use of humor allows for the story to become slightly less severe and a more tolerable read.
The delineation of human life is perceiving existence through resolute contrasts. The difference between day and night is defined by an absolute line of division. For the Jewish culture in the twentieth century, the dissimilarity between life and death is bisected by a definitive line - the Holocaust. Accounts of life during the genocide of the Jewish culture emerged from within the considerable array of Holocaust survivors, among of which are Elie Wiesel’s Night and Simon Wiesenthal’s The Sunflower. Both accounts of the Holocaust diverge in the main concepts in each work; Wiesel and Wiesenthal focus on different aspects of their survivals. Aside from the themes, various aspects, including perception, structure, organization, and flow of arguments in each work, also contrast from one another. Although both Night and The Sunflower are recollections of the persistence of life during the Holocaust, Elie Wiesel and Simon Wiesenthal focus on different aspects of their existence during the atrocity in their corresponding works.
The books Maus I and Maus II, written by Art Spiegelman over a thirteen-year period from 1978-1991, are books that on the surface are written about the Holocaust. The books specifically relate to the author’s father’s experiences pre and post-war as well as his experiences in Auschwitz. The book also explores the author’s very complex relationship between himself and his father, and how the Holocaust further complicates this relationship. On a deeper level the book also dances around the idea of victims, perpetrators, and bystanders. The two books are presented in a very interesting way; they are shown in comic form, which provides the ability for Spiegelman to incorporate numerous ideas and complexities to his work.
The German Expressionist movement was a number of movements that began in Germany during the start of the 20th century. It mainly dealt with poetry, painting, art and cinema. The success of expressionist films helped Germany seen as the most technically advanced in the world. The expressionist style can be...
In the search for who is the victim in the war, there arose different opinions on whether the perpetrator can be regarded as the victim, some people believe that the perpetrators can never be a victim, because they are responsible for the killing, abusing and raping during the war. But other are hold the different idea, there is a frequently using word in the holocaust research that fits the question—the perpetrator trauma. How can we understand the perpetrator trauma? And how can we distinguish the victim and perpetrator in the war? with these questions, we look into the Folman’ animated movie Waltz with Bashir, which is a very good work for us to dig and see how the war affect the perpetrators in the post-war life, and can we see the perpetrators
The second portion of the semester has had a focus on how the Holocaust has continued to cause devastation and familial conflict even after the war ended. Of the texts we have read, Maus by Art Speigelman and Still Alive by Ruth Kluger were two very different accounts of the Holocaust, however there was one strong continuity between the texts: the effects of the Holocaust were not exclusive to any single person or family, survivors and their offspring continued to suffer long after escaping the camps. The constant tension documented in Maus between Speigelman and his father was not exclusive to their family as Holocaust survivors; Ruth Kluger also incorporates her family struggles into her book by detailing the differences between her and her mother, even after her mother has passed away. Because their experiences differ, with Speigelman being the son of a Holocaust victim and Kluger actually enduring it, the texts took different forms, both linguistically and aesthetically, to communicate their messages of familial conflict.
When the Holocaust is featured in literature, survival, interpersonal interactions, and resourcefulness of main characters is often shown. In Maus I and Maus II, Art Spiegelman utilizes the graphic novel format to tell the story of Vladek Spiegelman’s application of bilingual, bartering, and salesmanship skills to survive the tragic lifestyle of camps in the Holocaust. In contrast, in the memoir, Night, by Elie Wiesel, Elie portrays his family’s manipulation of lack of faith, prior knowledge of basic first aide, and sale of Elie’s golden-crowned tooth to persevere through the suffering faced during the Holocaust. At the same time, Spiegelman’s stories Maus I and Maus II and Wiesel’s novel Night show the importance of interpersonal interactions and the struggle to survive through the eyes of Jews living during the Holocaust, the differences in how they employ their resources and how they remain alive cause an obvious divergence between the novels.
The German Expressionism was a period that came following the devastation of World War I, it came when the people of Germany needed something to claim as their own. The expressionism movement gave Germany just that; it helped them not only in the filmmaking industry, but also in their personal lives. The German Expressionism changed the way we look at and view films. The German Expressionism altered, for the better, the way that films were made back then and the way that they are made today.
372). Dramatizing the atrocity that was Holocaust doesn’t come without issues arising in representing the Jewish culture and brutal events respectfully and tastefully which has implicated multiple decisions in staging and performing this piece. Falling between that of stereotypical clichés and proper representation when given the direction to overact holds difficult choices in how to perform my character, and having historical events as the basis of the play leaves us creating theatrical decisions such as symbolic movements from the selection scene to emphasize rather than
The German Weimar Republic was an attempt to make Germany a more democratic state. While this was a very good idea in theory, the Weimar Republic was ineffective due to the instability that came with it. Several factors contributed to the instability of Germany’s Weimar Republic, such as the new political ideals brought forward and the government’s hunger for war. To begin, one of the factors that contributed to the instability of the Weimar republic was the presence of new political ideals. Marie Juchacz unintentionally highlighted that reason in her speech to the National Assembly.
They were the ones who carried out the war, they were cut down to size