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New! This book is in the same immaculate condition as when it was published 3.42

First published in 1955, with a revised edition appearing five years later, H. G. Adler's Theresienstadt, 1941-1945 is a foundational work in the field of Holocaust studies. As the first scholarly monograph to describe the particulars of a single camp - the Jewish ghetto in the Czech city of Terezin - it is the single most detailed and comprehensive account of any concentration camp. Adler, a survivor of the camp, divides the book into three sections: a history of the ghetto, a detailed institutional and social analysis of the camp, and an attempt to understand the psychology of the perpetrators and the victims. A collaborative effort between the United States Holocaust Memorial Museum and the Terezin Publishing Project makes this authoritative text on Holocaust history available for the first time in the English language, with a new afterword by the author's son Jeremy Adler.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 3.42

First published in 1955, with a revised edition appearing five years later, H. G. Adler's Theresienstadt, 1941-1945 is a foundational work in the field of Holocaust studies. As the first scholarly monograph to describe the particulars of a single camp - the Jewish ghetto in the Czech city of Terezin - it is the single most detailed and comprehensive account of any concentration camp. Adler, a survivor of the camp, divides the book into three sections: a history of the ghetto, a detailed institutional and social analysis of the camp, and an attempt to understand the psychology of the perpetrators and the victims. A collaborative effort between the United States Holocaust Memorial Museum and the Terezin Publishing Project makes this authoritative text on Holocaust history available for the first time in the English language, with a new afterword by the author's son Jeremy Adler.

This is the first book in English on the Theresienstadt (Terezin) concentration camp in former Czechoslovakia and the only one of its kind which focuses on the women who were forced to live in it. Interwoven with the description of everyday life in the camp are memoirs and poems selected from the work of over twenty women. Carefully translated into English, these testimonies form an extraordinary and moving collection.

Directed by Benedict Mirow. Starring Anne Sofie von Otter, Christian Gerhaher, Bengt Forsberg.

The Bauhaus and its influences are to be found throughout Twentieth-Century art and design; the architecture of Walter Gropius and Mies van der Rohe, and the art of Paul Klee and Wassily Kandinsky being among the most widely recognized instances. Perhaps the most poignant example of this influence, however, may be understood through the life of a little-known student of the Bauhaus who entered its first class in 1919-Friedl Dicker, whom Gropius described as "a distinguished, rare talent...The multidimensional nature of her talent and her indomitable energy received the highest esteem..." Friedl Dicker was a prolific and multi-talented artist, producing work in theatre, architecture, textiles, graphic design, drawing, painting and sculpture; in 1926, in Vienna, she founded Atelier Singer-Dicker with a classmate Franz Singer. In 1934 she was arrested by the Gestapo for anti-Fascist activities and fled to Prague, where she taught art classes for Jewish refugees. In 1942, she was sent to the Theresienstadt Ghetto in 1942, where she secretly taught art to the children there, gifting them with the tools for the expression of their fears of the hunger, disease and death in their midst. Dicker-Brandeis (she had married in 1936) and thirty of her students perished in the gas chambers of Auschwitz in 1944. Art, Music and Education as Strategies for Survival collects for the first time in one volume the children's art of Theresienstadt, unpublished work of Friedl Dicker-Brandeis, and historical photographs, as well as numerous essays of interest to historians, art educators/ therapists, and Holocaust scholars-providing an important new interdisciplinary approach to exploring the power of art to teach, express, commemorate, and-perhaps, most importantly-heal. Art, Music and Education as Strategies for Survival is published in cooperation with the Payne Gallery of Moravian College, Bethlehem, Pennsylvania.

Depicts the existence of Czechoslovakian Jews imprisoned in the ghetto at Theresienstadt prior to their removal to death camps, their attempts at self-government, and Zionist Jakob Edelstein's efforts on their behalf

Book is in NEW condition. 1.16

Zustand: Sehr gut - Gepflegter, sauberer Zustand. Seiten: 376 Sprache: Englisch Produktart: Bücher

From 1942 to 1944, twelve thousand children passed through the Theresienstadt internment camp, near Prague, on their way to Auschwitz. Only a few hundred of them survived the war. In The Girls of Room 28, ten of these children—mothers and grandmothers today in their seventies—tell us how they did it. The Jews deported to Theresienstadt from countries all over Europe were aware of the fate that awaited them, and they decided that it was the young people who had the best chance to survive. Keeping these adolescents alive, keeping them whole in body, mind, and spirit, became the priority. They were housed separately, in dormitory-like barracks, where they had a greater chance of staying healthy and better access to food, and where counselors (young men and women who had been teachers and youth workers) created a disciplined environment despite the surrounding horrors. The counselors also made available to the young people the talents of an amazing array of world-class artists, musicians, and playwrights–European Jews who were also on their way to Auschwitz. Under their instruction, the children produced art, poetry, and music, and they performed in theatrical productions, most notably Brundibar, the legendary “children’s opera” that celebrates the triumph of good over evil. In the mid-1990s, German journalist Hannelore Brenner met ten of these child survivors—women in their late-seventies today, who reunite every year at a resort in the Czech Republic. Weaving her interviews with the women together with excerpts from diaries that were kept secretly during the war and samples of the art, music, and poetry created at Theresienstadt, Brenner gives us an unprecedented picture of daily life there, and of the extraordinary strength, sacrifice, and indomitable will that combined—in the girls and in their caretakers—to make survival possible.

Philipp Manes was an average, well-to-do middle-class Berlin merchant, who considered himself first and foremost a German, and then a Jew. In 1942 he was deported to Theresienstadt, together with his wife Gertud. Theresienstadt, initially intended for the Jews of Czechoslovakia, later became the "showpiece"ghetto of the Third Reich to show the world that the Jews were being treated humanely. It was controlled by the SS but run by a council of Jewish elders, and presented to the Red Cross as an idyllic utopia with shops, cafes, concerts and theatre groups. Manes himself organized over 500 evening lectures. But in reality, Theresienstadt was a holding post for Jews being shipped to certain death, chiefly in Treblinka and Auschwitz. Manes wrote his first-hand account in the ghetto before his deportation to Auschwitz, where he and his wife were killed. Manes' account is filled with careful and fascinating details of everyday life in those years, and delivers an accurate portrait of the ghetto, its inmates and practices, offering a new understanding of one of the most painful periods in the history of mankind.

Unread book in perfect condition.

Neuware - Es war wohl ein anderer Stern, auf dem wir lebten . Diese Worte schrieb die jüdische Künstlerin Julie Wolfthorn nach der Machübernahme Hitlers an die Frauenrechtlerin Ida Dehmel. Von diesem Zeitpunkt an war der Alltag auch dieser Künstlerin geprägt von Repressalien und finanzieller Not. Durch ihre Deportation nach Theresienstadt und ihren dortigen Tod geriet sie über lange Jahre in Vergessenheit.Dieses von dem NS-Regime beabsichtigte Sich-nicht-Erinnern ist verantwortlich dafür, dass viele jüdische Künstlerinnen in der Kunstbewegung des 20. Jahrhunderts bis heute kaum Beachtung finden. Zahlreiche Dokumente über diese Frauen und etliche ihrer Werke sind verschollen oder gar vernichtet.In diesem Buch werden zwölf dieser Künstlerinnen vorgestellt. Die Rekonstruktion ihres Lebens soll zeigen, was für außergewöhnliche Malerinnen sie waren und welch couragiertes Leben sie einst zu führen gewagt haben.Künstlerinnen: Julie Wolfthorn, Else Argutinsky-Dolgorukow, Malva Schalek, Hilda Zadikow,Agnes Meyerhof, Johanna Oppenheimer, Clara Arnheim, Charlotta Bure ová, Amalie Seckbach, Caroline Borchardt, Chava Pressburger, Helga Weissová-Ho ková

"Draw what you see" was my father's response, when I managed to smuggle to the men's barracks the drawing of children building a snowman. This was in December of 1941, shortly after we arrived in Theresienstadt. That snowman was actually my last genuine drawing as a child. Through this sentence of my father's, and through my own inner motivation, I felt called from now on to capture in my drawings the everyday life of the ghetto. The impressions that from this point in time would affect me, ended my childhood. Am 10. Dezember 1941 wurde Helga Weissovß, ein zwölfjähriges Mädchen aus Prag nach Theresienstadt deportiert. 'Zeichne, was Du siehst!' hatte ihr Vater gesagt, nachdem sie ihm ein selbstgemaltes Bild in die Männerkaserne geschmuggelt hatte. Helga zeichnete und dokumentierte den Alltag der Menschen im Ghetto. Sie malte Bilder von dieser in sich abgeschlossenen Welt, von alltäglichen Szenen wie der Essensausgabe oder dem Transport von Brot auf einem Leichenwagen, sie hielt aber auch die Träume eines Kindes von einer besseren Zukunft. Da es keine Fotografien aus jener Zeit gibt, sind Zeichnungen die einzigen erhaltenen Bilddokumente über das Leben in Theresienstadt. »Maluj, co vidís«, odpovedel mi tatínek, kdyz jsem mu do muzských kasáren propasovala kresbu, na níz si deti stavejí snehuláka. Bylo to v prosinci 1941, krátce po nasem príjezdu do Terezína. Ten snehulák, to byla vlastne moje poslední skutecne detská kresba. Dojmy, které me od této chvíle provázely, mé detství ukoncily. Veta mého otce a moje vnitrní presvedcení mi propujcily pocit, ze jsem povolána k tomu, ve svých kresbách zachytit vsední zivot ghetta.

Winner of the National Jewish Book Award for FictionPerla S. is a beautiful seventeen-year-old girl who, while interred in the Theresienstadt concentration camp, becomes a prostitute. Capturing Perla's voice through a series of diary entries, Arnost Lustig shows how she maintains her integrity, honesty, and hope amidst lies and horror. This first paperback edition has been extensively revised and expanded by the author.

Susan Cernyak-Spatz was born in Vienna in 1922. In the following twenty-three years she experienced many of the terrors of her fellow European Jews: early Nazi oppression in Berlin; post-"Anschluss" Vienna; Nazi occupied Prague; and deportation to Theresienstadt in 1942. But the true horrors of the Nazi "Final Solution" awaited her in Birkenau, the woman's concentration camp where she survived her internment, beginning in January, 1943, for two years. These months of hell were followed by a "Death March" and incarceration in Ravensbrück from which she and a group of fellow inmates walked away to freedom. As Professor Emerita in German literature at UNC-Charlotte, Dr. Cernyak-Spatz continues to teach and to lecture about the Holocaust. This book is a rare firsthand testament of a Holocaust survivor. The audiobook version of this title is also now available on her website.

Written by a Czech Jewish boy, A Boy in Terezín covers a year of Pavel Weiner's life in the Theresienstadt transit camp in the Czech town of Terezín from April 1944 until liberation in April 1945. The Germans claimed that Theresienstadt was "the town the Führer gave the Jews," and they temporarily transformed it into a Potemkin village for an International Red Cross visit in June 1944, the only Nazi camp opened to outsiders. But the Germans lied. Theresienstadt was a holding pen for Jews to be shipped east to annihilation camps. While famous and infamous figures and historical events flit across the pages, they form the background for Pavel's life. Assigned to the now-famous Czech boys' home, L417, Pavel served as editor of the magazine Ne?ar. Relationships, sports, the quest for food, and a determination to continue their education dominate the boys' lives. Pavel's father and brother were deported in September 1944; he turned thirteen (the age for his bar mitzvah) in November of that year, and he grew in his ability to express his observations and reflect on them. A Boy in Terezín registers the young boy's insights, hopes, and fears and recounts a passage into maturity during the most horrifying of times.

When Adolf Hitler created the model camp at Theresienstadt (Terezín in Czech) for the better-known of Europe's Jewish transportees, he gathered together many of the continent's finest musicians. This examination of the associations, the compositions, the performances, and above all, the people in Terezín accentuates the roles the active musical life played in the struggle for hope in those darkest of times.This second edition of Music in Terezín adds information on the lives of the survivors of the camp and corrects some material from the first edition.

Ruth Kluger is one of the child-survivors of the Holocaust. In 1942, at the age of eleven, she was deported to the Nazi 'family camp' Theresienstadt with her mother. "Landscape Of Memory" is the story of Ruth's life. Of a childhood spent in the Nazi camps and her refusal to forget the past as an adult in America. 'It is not in our power to forgive: memory does that for us,' says Kluger. Not erasing a single detail, not even the inconvenient ones, she writes frankly about the troubled relationship with her mother even through their years of internment, and of her determination not to forgive and absolve the past. It is this memory, pure and harsh, that makes Kluger's memoir so unforgettable.