In this brave and original work, Federica Clementi focuses on the mother-daughter bond as depicted in six works by women who experienced the Holocaust, sometimes with their mothers, sometimes not. The daughtersÕ memoirs, which record the Òall-too-humanÓ qualities of those who were persecuted and murdered by the Nazis, show that the Holocaust cannot be used to neatly segregate lives into the categories of before and after. ClementiÕs discussions of differences in social status, along with the persistence of antisemitism and patriarchal structures, support this point strongly, demonstrating the tenacity of traumaÑindividual, familial, and collectiveÑamong Jews in twentieth-century Europe.

Family stories of the ties between mothers and daughters form the foundation of Mothers and Daughters: Complicated Connections Across Cultures. Nationally and internationally known feminist scholars frame, analyze, and explore mother-daughter bonds in this collection of essays. Cultures from around the world are mined for insights which reveal historical, generational, ethnic, political, religious, and social class differences. This book focuses on the tenacity of the connection between mothers and daughters, impediments to a strong connection, and practices of good communication. Mothers and Daughters will interest those studying communication, women's studies, psychology, sociology, anthropology, counseling, and cultural studies.

Relational Responses to Trauma in Twenty-First-Century French and Spanish Women's Writing offers new insight into what it means to write relational lives. It broadens the parameters of existing discussions in terms of geography as well as genre, drawing together two literatures whose prominence in life-writing theory to date could hardly be more different: while French women's writing has long been at the centre of international discussions of autobiography, the relative invisibility of Spanish women's writing remains striking. The dialogue that thus underpins this study, between diverse twenty-first-century case studies and broader approaches to life-writing, shines a light on what is gained from inviting different voices into the discussion. These narrative projects challenge longstanding critical assumptions in autobiography studies and trauma theory about how writers can and should represent the multiple perspectives that are at the heart of intergenerational stories. In exploring the narrative solutions that these texts propose in response to the ethical questions they navigate, this book shows that writing relational lives rests on far more than the mere recounting of a shared history. 'Relating' in these texts, it proposes, is an act embedded in the telling of the story. It is a mode of testifying together to traumatic experience, one that reveals a powerful preoccupation in contemporary women's life-writing practice with making more audible the many voices and versions that go unheard.

This is a verbatim memoir of Teodora Verbitskaya. Very little is known about Teodora, a gentile Ukrainian woman who bravely chronicled the years before, during and after World War II, in Soviet Ukraine. The Two Regimes Memoir specifically includes deportation to German forced labor camps. Through it all, Teodora was a woman who strived to feed and protect her children under very severe conditions, and she did so with sheer survival mode determination, integrity, prayer, and perseverance. These are Teodora’s thoughts concerning her children and what they lived through. Teodora and her daughters, Nadia, and Lucy were survivors and witnesses to the Holodomor and the Holocaust. Teodora wrote her memoir to document that these events took place, and, most importantly, to validate that the people she knew and lost would never be forgotten. Teodora’s daughter, Nadia Werbitzky, was haunted her entire life by what she had experienced. As a professional artist, Nadia used a paintbrush to express her thoughts. Nadia understood the importance of her mother’s manuscript, memories shared by both mother and daughter. Nadia painted feverishly in the last years of her life so that her story would not perish with her.

Continually revised and reinvented, the Jewish Mother archetype becomes in Antler's expert hands a unique lens with which to examine vital concerns of American Jews and the culture at large.

The 1990s saw the appearance of many new works that have redefined and embellished the canon of Holocaust literature. While many of these works have quickly become classics, some have raised new questions about the processes of canonicity. This study concentrates particularly on works in German by Jewish Holocaust survivors written and published approximately fifty years after the fateful cataclysm, focusing on such crucial issues as genre and testimony. Despite the long shadow cast by the Holocaust on subsequent generations, the author shows that narratives on the Holocaust have continued to thrive, offering inventive interpretations of questions that have been thought to defy explanation.

In this brave and original work, Federica Clementi focuses on the mother-daughter bond as depicted in six works by women who experienced the Holocaust, sometimes with their mothers, sometimes not. The daughtersÕ memoirs, which record the Òall-too-humanÓ qualities of those who were persecuted and murdered by the Nazis, show that the Holocaust cannot be used to neatly segregate lives into the categories of before and after. ClementiÕs discussions of differences in social status, along with the persistence of antisemitism and patriarchal structures, support this point strongly, demonstrating the tenacity of traumaÑindividual, familial, and collectiveÑamong Jews in twentieth-century Europe.

Comics, the Holocaust and Hiroshima breaks new ground for history by exploring the relationship between comics as a cultural record, historiography, memory and trauma studies. Comics have a dual role as sources: for gauging awareness of the Holocaust and through close analysis, as testimonies and narratives of childhood emotions and experiences.

This book considers how women’s experiences have been treated in films dealing with Nazi persecution. Focusing on fiction films made in Europe between 1945 and the present, this study explores dominant discourses on and cinematic representation of women as perpetrators, victims and resisters. Ingrid Lewis contends that European Holocaust Cinema underwent a rich and complex trajectory of change with regard to the representation of women. This change both reflects and responds to key socio-cultural developments in the intervening decades as well as to new directions in cinema, historical research and politics of remembrance. The book will appeal to international scholars, students and educators within the fields of Holocaust Studies, Film Studies, European Cinema and Women’s Studies.