Abstract In my thesis, I analyze drawings created by

Christiane Hess | Bielefeld University
Abstract
In my thesis, I analyze drawings created by inmates of the Ravensbrück and Neuengamme
concentration camps. My sources include drawings, sketches and handicrafts produced
secretly by the prisoners in the camps, and drawings produced shortly after the liberation.
More specifically, my work circles around three broad, basic questions. First of all, it is
concerned with the different meanings drawings could acquire, that is their social,
communicative, and mnemonic or memorial functions. Secondly, I give an account of the
strategies, continuities, and changes in the visual narratives that prisoners offered about
different aspects of everyday-life in the camps. Finally, in analyzing which of the drawings
were used and re-used in what way in collections, exhibitions, and trials after the end of the
war, I shed light on the criteria that organized the processes of transmission, the reception and
the perception of these drawings after 1945.
The drawings of prisoners are part of the visual archive of the National Socialist concentration
camps, next to SS photos and film footage. Holocaust research needs more studies that take
into account the prisoners’ perspective, in this case their visualization of violence, or of social
relations between inmates and camp personnel as well as between inmates themselves. My
dissertation wants to contribute to a micro-historical analysis of how inmates dealt with their
ordeal in concentration camps. The prisoners’ visual perspective has to be taken into account
as a serious and complex cluster of source material that offers a wide range of subjective
interpretations of social relations, diverse cultural practices and the everyday-life in the
camps.
Christiane Hess | Bielefeld University
Functions, Perceptions, and Representations of Concentration Camp Drawings. The
Visual Archives of Ravensbrück and Neuengamme
In connection with the history and historiography of the Holocaust, pictorial representations
play a central role. The photographs and films made by the Allied Forces when they liberated
the concentration camps, for example, are firmly anchored in our collective visual memory.1
Absent from our visual memory, however, are the thousands of pictures produced in the
ghettos, concentration camps and extermination camps: drawings, water colors, and sketches
by inmates and survivors, done in situ or after liberation. These pictorial representations are as
much a part of the visual archive of the Nazi concentration camps as the familiar photos of
atrocity.2 Some of these pictures are included in exhibitions in museums and memorials, and
they are increasingly used in Holocaust education, but they have only recently become the
focal point for research from the perspective of cultural history.
The objects of study for this dissertation are the drawings and sketches produced between
1938 and 1948 by inmates and survivors of the Ravensbrück and Neuengamme concentration
camps. Ravensbrück was the central and largest women’s camp (aside from the women’s
section at Auschwitz-Birkenau) in the concentration camp system; Neuengamme was the
largest concentration camp in northern Germany.3 Thus, this dissertation focuses on two camp
complexes whose visual heritage has only recently been included in the historiography
dealing with the camps, as opposed to Buchenwald, Bergen-Belsen, or Auschwitz.4
The dissertation emphasises three basic questions: the practice of drawing in the concentration
camps and its meaning; the subjects of the drawings; and the ways in which the drawings
have been used and interpreted since 1945. The study covers the time period from the
establishment of the Neuengamme and Ravensbrück concentration camps in 1938/39 until the
creation of their on-site memorials and collections in 1958 (Ravensbrück) and 1965
(Neuengamme). In doing so, the study brings into focus the commonality and continuity of
the two time periods, the concentration camps and the decades thereafter, which are still often
treated separately.
1
See also Hannah Arendt’s comment about these pictures: Arendt (1962), here p. 654.
I understand archive(s) not only as an institution or a material collection, such as a state archive where public
records are kept, but in a broader sense – speaking in a Foucaultian sense – also as a system of formation of what
is said, or what can be said, or in this case more specifically, what has been depicted and can be depicted. See:
Ebeling/Günzel (2009).
3
Between 1939 and 1945 over 132,000 women and children, 20,000 men und appx. 1,000 female adolescents
were imprisoned in the Ravensbrück concentration camp. 100,000 men and women were imprisoned in the
Neuengamme concentration camp and its sub-camps.
4
See Erpel (2007). See also Buggeln (2010), here: 167-198.
2
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Christiane Hess | Bielefeld University
In the Nazi concentration camps, there were few if any opportunities for the prisoners to
depict what they saw and experienced. Drawing was the only medium available to them for
visually documenting their daily lives or producing portraits of their fellow prisoners.5 Both
professional and amateur artists drew – from some only a few pieces have survived, from
others more than 100. The drawings are mostly small, stained, torn, and faded. They depict
prisoners in the barracks, searching for food, in conversation or alone. They document and
comment upon daily life in the camp from the prisoners’ perspective. This perspective, or, to
be more exact, this visualized testimony, has seldom been perceived as a serious source for
social, cultural, or general historical analyses.6 Yet the drawings offer a narrative of their own,
as valuable as written and oral testimony, that communicates observations and interpretations
of the inmates’ society, their living conditions and their struggle for survival in the camps.7
In this sense, the dissertation focuses on its sources from multiple perspectives. The surviving
drawings, as historical sources, communicate more than simply their pure pictorial content:
they are also evidence and testimony, aesthetic/artistic expression and representation of the
socio-cultural identity of the artist.8 The drawings chosen for analysis are understood as a
“process of reporting [...] from otherwise inaccessible or difficult to access places.”9
Drawings, with their intrinsic subjectivity, do not simply transport traces of the past: the paths
they take, their subsequent use, and their entire transmission histories all become a part of the
work itself and must be taken into consideration when analyzing it.10 The drawings, sketches,
and other artifacts are also a representation of the inmates’ agency and self-determination.
From such a perspective, the inmates and survivors of the concentration camps are seen not as
victims, but rather as protagonists. They appear as producers, but also as interpreters, of
artistic works.
Following these premises, the dissertation is organised around several central questions. With
regard to the time spent in the camps, how did the practice of drawing fit into the context of
resistance and survival strategies? In other words, was the act of artistic expression an
opportunity to escape the absolute control of those in power?11 What role did cultural imprint
and previous education play? With regard to the subjects depicted, which illustrative
conventions, which motives and which iconographic vocabulary did the artists/producers
5
For the few photographs made secretly by prisoners in the concentration camps see: Chéroux (2001).
The historian Sybil Milton already mentioned this in the 1990s: Milton (1992).
7
For the discussion of the term testimony/witness see e.g.: Felman/Laub (1992); Weigel (2000).
8
For a critical discussion of ‘identiy’ as a concept see: Brubaker/Cooper (2000).
9
See Krümmel (2004), 10.
10
Hirsch/Spitzer (2006), 355. See also Young (1988).
11
For the discussion about camps as an institution of ‘absolute power’, see: Lüdtke (2003), 291 and Sofsky
(2004).
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Christiane Hess | Bielefeld University
choose? How were social relationships, violence, and hierarchies, both among the prisoners
and between prisoners and concentration camp personnel, visualised? In light of the fact that
‘concentration camp prisoners’ generally connotes ‘men,’ what conclusions can be drawn
about the different constructions of masculinity and femininity?12 For the years after 1945, the
central question is which pictures were displayed, circulated, and remembered and which ones
were not. An investigation of the processes of transmission, conservation, collection and
exhibition practices will pursue this last question.13
The nearly completed evaluation of sources has shown that determining the differences and
special characteristics of particular drawings in the context of two concrete concentration
camps is best achieved using a micro-historical approach, rather than assuming pan-cultural
visual narratives, which persist in seeing the portrayal of human behaviour in captivity as an
anthropological constant.14 An analysis of the subversive potential of these drawings and
sketches allows conclusions to be drawn about processes of communication and resistance in
the camps. In addition, analyzing the subjects of the drawings gives us a differentiated image
of the ‘prisoner,’ and helps us to reconstruct the individual artists’ perspectives of the social
structures in the concentration camps. Finally, it will be shown how the drawings were used
or conveniently forgotten in the post-war discourses, feeding into the politics of memory. This
dissertation thus aims to contribute to Holocaust and concentration camp research from the
perspective of cultural and visual history, as well as to the analysis of the politics of memory
in Europe after 1945.
Structure and Method
The dissertation is divided into five chapters. The first chapter introduces the subject matter,
the epistemological interest, and the methods and approaches used. A large part of the
analysis consisted of examining the body of sources according to the central questions and
criteria mentioned above, and of refining and developing the questions in the actual encounter
with the material. As a result, each chapter will present individual drawings or groups of
drawings and discuss them from different perspectives.
Chapter II defines the frame of the dissertation. It offers a historical overview of the
Ravensbrück and Neuengamme concentration camps and of the existing research on the
12
Recently: Caplan (2010). See also: Weckel (2005).
See e.g. Olick/Robbins (1998); LaCapra (2000).
14
An examination of visual representations of concentration camps need a reflection on the categories ‘art’ and
‘camp’. See as a comment: Hoffmann (2003).
13
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Christiane Hess | Bielefeld University
visual material that pertains to them. Chapter III introduces the ”resistant material”15 and
analyzes it according to its social, communicative, and cultural function. It examines the
cultural practices that developed in an environment bounded by violence and resistance, as
well as the social relationships between the prisoners and their individual survival strategies.
Both camps had, at least temporarily, workshops in which prisoners were forced to produce
decorative art objects for the SS. At the same time, numerous artifacts were produced
secretly. They were given as gifts, bartered, hidden, or destroyed. This chapter investigates
what conclusions can be drawn about strategies of communication, barter, and remembrance
regarding both the aesthetics and materiality of the drawings.
Chapter IV focuses on the issue of the (un-)seeable and (un-)showable. To what extent do the
drawings conform to the existing visual narrative pattern or depart from it? Four themes are
examined using selected examples: the artists, their view of their fellow prisoners, the
physical location, and the representations of violence by the SS and others. Section IV.2, for
example, examines the variety of perspectives toward fellow prisoners. Concepts of
community, such as are portrayed in drawings showing the ‘Knitting Women’ (‘Strickerei’,
workshop in Ravensbrück) or in a drawing of French prisoners in quarantine, as well as the
categories of labor (as a central category of the Nazi forced labor camps16), motherliness, and
heroism are discussed and illustrated with the help of visual narratives. The body of the
prisoner is a central theme in nearly every picture – it is shown covered, naked, damaged, or
fragmented. The figure of the ‘Muselmann’ in particular, which plays a role not only in
literary discourses and the politics of memory, but also in the camp itself, is a representation
of the inner battle with the loss of the will to live, physical strength and identity.17 Section
IV.4, on the other hand, analyzes the representations of physical and psychological violence
and power. To what extent are SS members, male and female guards, and prisoner
functionaries represented in the drawings? This section in particular uses post-liberation
drawings as a comparison, since it was often impossible to produce explicit illustrations of
acts of violence before 1945.
The final chapter examines the use and interpretation of the drawings after 1945. It
investigates the ways in which they were presented, selected for exhibition, and annotated,
15
See Gludovatz (2004). The term ‘resistant material’ applies not only to works that can be seen as – what could
be defined as – ‘Resistance Art’, but also to the act of drawing/artistic expression as a form of resistance, selfassertion, and/or survival strategy. The term particularly points to the materiality of the paper, in that it carries
traces of the producer’s presence as well as “embodies” the process of transmission.
16
Wildt (2011), 80.
17
‘Muselmann’ was the term used by the inmates in the camps for those who, through exposure, violence, and
starvation, lost their will to survive. In the Ravensbrück concentration camp they used the term ’Schmuckstück‘
(jewel). See also: Agamben (1999).
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Christiane Hess | Bielefeld University
and analyzes their place in various discourses and the use of the pictures as testimony,
evidence, or as souvenirs. Examples include drawings that were exhibited in Swedish
displaced persons camps or were named in the Hamburg Ravensbrück Trials 1946/47. This
chapter also investigates the ways in which fellow prisoners used the drawings.
The appendix contains short biographies of the artists researched thus far, specifications of the
drawings and their current locations. Biographical information on the victims of the Nazi
concentration camps and the Holocaust is often extremely difficult to find. This table is the
result of detailed research in more than forty archives in ten different countries. It is a catalog
that will be helpful in basic research for future projects.
Theoretical and methodical approaches
The analysis of these visual representations and other material, such as photographs, memoirs,
and Nazi documents requires various approaches, which “encounter” each other across
disciplines.18 The theoretical and methodical frame of the dissertation is therefore
transdisciplinary. It includes approaches from visual studies which consider drawings to be
not simply signs and structures of signs, but rather complex storage and communications
media.19 Recent sociological and historical research has shown how concentration camp
research can benefit from concepts like Erving Goffman’s study of behavioral patterns in
totalitarian institutions, Pierre Bourdieu’s habitus concept, and Zygmunt Bauman’s
deliberations about the meaning of culture as a life strategy.20 Historical anthropological
approaches to the analysis of gender, society and everyday life in ghettos and concentration
camps also offer innovative perspectives on the material.21 This study draws on all of these
concepts , and they are discussed and applied in the attempt to expand the scope of
concentration camp research in the fields of cultural and visual history.
Current state of research
Early concentration camp scholarship included the phenomenon of cultural and artistic
practices in concentration camps22, and there has been significant progress in the research of
music and spoken language.23 Scholars like Nelly S. Toll, Miriam Novitch, Janet Blatter,
Sybil Milton, Mary S. Costanza, and Janina Jaworska have conducted basic research in the
18
See Pollock (2007).
Huber (1996); Didi-Huberman (2003); Neugebauer (2003); Schade/Wenk (2011).
20
See e.g. Suderland (2004); Suderland (2009).
21
See Ofer (1995) and recently: Hájková (2009); Brauer (2009); Mailänder Koslov (2009).
22
See e.g. Kogon (1974); Kiedrzynska (1961).
23
See Brauer (2009), Gilbert (2005).
19
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Christiane Hess | Bielefeld University
field of visual arts.24 In their works some of the artistic productions from Neuengamme and
Ravensbrück are mentioned but not further analyzed.25 The art historian Ziva AmishaiMaisels was the first to present a complex iconographic analysis of pictures by professional
artists from the ghettos, concentration camps, and extermination camps, and of the reception
of the works in various media.26 Michaela Haibl has studied artifacts from Dachau from the
perspective of European Ethnology. She emphasizes the necessity of considering not only the
iconographic but also the biographical perspective.27 Recent studies have expanded our
knowledge of the visual culture of the camps, although most of these studies focus on
photography and film.28 But there is still a great need for a historical analysis of the drawings
from Neuengamme and Ravensbrück. Biographies of several artists from Ravensbrück have
been published recently, but they seldom contain analyses of their works.29 For the works
from Neuengamme there is only a catalog with selected short biographies.30
Sources
Drawings from the Ravensbrück and Neuengamme concentration camp complexes are
dispersed throughout the world. Most of them are in Europe, but also in Israel and the USA.
They are to be found in the collections and archives of museums or memorials, or are the
private property of individuals, generally survivors and their families.31
For this project I visited more than 40 institutes and private archives. In my research in France
and Poland, I discovered considerably more sources than expected. I registered more than 500
drawings and sketches, and sorted them according to the categories listed above. As was to be
expected, the collected works from Ravensbrück and Neuengamme differ with respect to the
conditions under which they were created, the number of surviving pictures, the choice of
motive, the materials used, their transmission, and the history of the collections. I was able to
discover the names of 56 Ravensbrück inmates who produced drawings while in prison or
who drew pictures of their prison experiences after 1945. For 24 of these women I was able to
reconstruct some biographical data (beyond their dates of birth and imprisonment). Some of
them have given extensive interviews or have written memoirs. For Neuengamme I found the
24
Toll (1978); Miriam Novitch et al. (1981); Blatter/Milton (1981); Costanza (1983).
One exception is the study of Janina Jaworska, who examined the artistc works of Polish artists from the
Ravensbrück concentration camp. See Jaworska (1975); Dunin-Wąsowicz (1982).
26
See Amishai-Maisels (1993). See also: Sujo (2001).
27
See Haibl (2002).
28
See Doosry (1995); Zelizer (2001); Kramer (2003);Martinez (2004).
29
See e.g. Afoumado (1998); Hübner (2002); L’Herminier (2011).
30
Bruhns (2007). As an exception: Fröbe (1985).
31
In the database at the Ravensbrück Memorial, the keyword “Zeichnung” (drawing) results in 613 hits: copies
and originals, which were produced between 1938 and 2009. Not mentioned here: small self-made books,
collages, topographical drawings, which I also took into consideration.
25
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Christiane Hess | Bielefeld University
names of 26 artists, most of whom drew in 1944/45.32 The historiography of both
concentration camps has been heavily influenced by survivors who were politically organized
while imprisoned, and therefore most of the artifacts are by members of this group. Other,
more ‘peripheral’ groups of prisoners are generally only represented as motives in the
drawings. The five collections of drawings by Jewish prisoners (i.e. Olga Benario-Prestes und
Valeska Türner), those of survivors of Ravensbrück (i.e. Edit Kiss) and the Neuengamme
subcamps, as well as the album put together by a man imprisoned as a “professional criminal”
are therefore of special interest.
In addition to the visual sources I have consulted other material for the analysis:
contemporary or post-war reports and interviews with survivors as well as the examination of
their estates give insight into the living situation and the self-image of the artists. Also of
interest is the correspondence pertaining to the founding of the memorials and the
development of their collections. The surviving official concentration camp documents and
the documents from the Allied trials are also important sources. Especially the documents
from the trials offer insights into the manifold meanings of the artifacts – in the attempt to
exonerate themselves the defendants pointed to drawings given as gifts, while survivors
presented their self portraits as evidence of the violence they were subjected to.
Schedule
The analysis of the sources has, for the most part, been completed. Drafts of Chapter II
and individual sub-sections are also complete; numerous aspects have been discussed in
lectures and productively integrated into the analysis. I plan to finish writing the dissertation
this year and to defend my thesis in the spring of 2013. I have scheduled time for final
research in the Ravensbrück and Neuengamme archives and in the Polish National Library in
Warsaw.
My grant from the History Department of Bielefeld University will end on 28
February 2012. A fellowship from the Claims Conference would greatly facilitate the
conclusion of this project, as it would enable me to finish the dissertation in the projected time
period.
32
I have not found any pictures produced before 1942 in the context of the Neuengamme concentration camp.
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Christiane Hess | Bielefeld University
List of works cited
- Agamben (1999): Agamben, Giorgio, Remnants of Auschwitz: The Witness and the Archive,
New York 1999.
- Afoumado (1998): Diane Afoumado, Les dessins des concentrationnaires français, témoins
de la résistance spirituelle dans les camps nazis, in: Revue d’histoire de la Shoah – Le monde
juif, N° 162, 1998, 96-126.
- Amishai-Maisels (1993): Ziva Amishai-Maisels, Depiction and Interpretation: The
influence of the Holocaust on the Visual Arts, Oxford: Pergamon Press, 1993.
- Arendt (1962): Hannah Arendt, Elemente und Ursprünge totaler Herrschaft, Frankfurt a.M.:
Europäische Verlagsanstalt, 1962, (Original: New York 1955).
- Blatter/Milton (1981): Janet Blatter/Sybil Milton, Art of the Holocaust, New York:
Routledge Press,1981.
- Brauer (2009): Juliane Brauer, Musik im Konzentrationslager Sachsenhausen, Berlin:
Metropol, 2009.
- Brubaker/Cooper (2000): Rogers Brubaker/Frederick J. Cooper, Beyond Identity, in: Theory
and Society 29 (2000), 1-47.
- Bruhns (2007): Maike Bruhns, ‚Die Zeichnung überlebt...’: Bildzeugnisse von Häftlingen
des KZ Neuengamme, Bremen: Temmen, 2007.
- Buggeln (2010): Marc Buggeln, Arbeit & Vernichtung: Die Außenlager des KZ
Neuengamme, Göttingen: Wallstein, 2010.
- Caplan (2010): Jane Caplan et al. (Ed.), Concentration Camps in Nazi Germany: The New
Histories, New York/London: Routlegde Press, 2010.
- Chéroux (2001): Clement Chéroux (Ed.), Memoire de camps: Photographies des camps de
concentration et d’extermination nazis (1933-1999), Paris: Marval, 2001.
- Costanza (1981): Mary S. Costanza, Bilder der Apokalypse: Kunst in Konzentrationslagern
und Ghettos, München: Kindler, 1983.
- Didi-Huberman (2003): Georges Didi-Huberman, Images malgré tout, Paris: Éditions de
Minuit 2003.
- Doosry (1995): Yasmin Doosry (Ed.), Representations of Auschwitz: 50 Years of
Photographs, Paintings and Graphics, Oświęcim: Auschwitz Birkenau State Museum, 1995.
- Dunin-Wąsowicz (1982): Krzystof Dunin-Wąsowicz, Resistance in the Nazi Concentration
Camps 1933-1945, Warszawa: PWN, 1982.
- Ebeling/Günzel (2009): Knut Ebeling and Stephan Günzel (Ed.), Archiviologie: Theorien
des Archivs in Philosophie, Medien und Künsten, Berlin: Kadmos, 2009.
- Erpel (2007): Simone Erpel (Ed.), Im Gefolge der SS: Aufseherinnen des Frauen-KZ
Ravensbrück, Berlin: Metropol, 2007.
- Felman/Laub (1992): Shoshana Felman and Dori Laub, Testimony: Crises of Witnessing in
Literature, Psychoanalysis and History, New York 1992.
- Fröbe (1985): Rainer Fröbe, Exkurs: René Baumer - Ein Zeichner im KZ. Kunst, Widerstand
und Identität im Konzentrationslager, in: R. Fröbe et al., Konzentrationslager in Hannover.
KZ-Arbeit und Rüstungsindustrie in der Spätphase des Zweiten Weltkriegs, Hildesheim:
LAX, 1985, 109-130.
- Gilbert (2005): Shirli Gilbert, Music in the Holocaust: Confronting Life in the Nazi Ghettos
and Camps, Oxford: Oxford University Press, 2005.
- Gludovatz (2004): Karin Gludovatz, Widerständiges Material: Zeichnungen aus
nationalsozialistischen Konzentrations- und Vernichtungslagern, in: Clemens Krümmel et al.
(Ed.), Tauchfahrten: Zeichnung als Reportage, Düsseldorf: Kunstverein Düsseldorf, 2004, 3845.
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Christiane Hess | Bielefeld University
- Haibl (2002): Michaela Haibl, „Überlebensmittel“ und Dokumentationsobjekt: Zeichnungen
aus dem Konzentrationslager Dachau, Dachauer Hefte: Studien zur Geschichte der
nationalsozialistischen Konzentrationslager 18 (2002), 42-64.
- Hájková (2009): Anna Hájková, Die fabelhaften Jungs aus Theresienstadt: Junge
tschechische Männer als dominante soziale Elite im Theresienstädter Ghetto, in: Christoph
Dieckmann/ Babette Quinkert (Ed.), Im Ghetto 1939-1945. Neue Forschungen zu Alltag und
Umfeld, Göttingen: Wallstein, 2009, 116-135.
- Hirsch/Spitzer (2006): Marianne Hirsch and Leo Spitzer, Testimonial Objects: Memory,
Gender and Transmission, in: Poetics Today, 27:2, 2006, 353-383.
- Hoffmann (2003): Detlef Hoffmann, Relics in the Force Field of Art: Drawings Made in
Concentrations Camps, in: David Mickenberg/Corinne Granof/Peter Hayes (Ed.), The last
expression: art and Auschwitz, Evanston: Block Museum, 2003, 24-35.
- Huber (1996): Hans Dieter Huber, „Draw a distinction!“. Ansätze zu einer Medientheorie
der Handzeichnung, in: Deutscher Künstlerbund (Ed.): zeichnen. Der deutsche Künstlerbund
in Nürnberg 1996, Berlin: Dt. Künstlerbund, 1996, 8-21.
- Hübner (2002): Hans Hübner, Helen Ernst – Ein zerbrechliches Menschenkind (1904–
1948). Athen, Zürich, Berlin, Amsterdam, Ravensbrück und Schwerin – Stationen einer
Künstlerin im Widerstand, Berlin: trafo, 2002.
- Jaworska (1975): Janina Jaworska, „Nie wszystek umrę...“: twórczość plastyczna Polaków w
hitlerowskich więzieniach i obozach koncentracyjnych: 1939-1945, Warszawa: KiW, 1975.
- Kiedrzynska (1961): Wanda Kiedrzynska, Ravensbrück, Kobiecy oboz kocentracyjny,
Warszawa: KiW, 1961.
- Kogon (1974): Eugen Kogon, Der SS-Staat. Das System der deutschen Konzentrationslager,
München: Kindler 1974 (first print: 1946)
- Kramer (2003): Sven Kramer (Ed.), Die Shoah im Bild, München: Text + Kritik, 2003.
- Krümmel (2004): Clemens Krümmel, Es reicht zu zeichnen: Möglichkeiten der
Reportagezeichnung, in: ders. et al. (Ed.), Tauchfahrten (2004), 8-17.
- LaCapra (2000): Dominick LaCapra, Writing History, Writing Trauma, Ithaca/London:
Cornell University Press 2000.
- L’Herminier (2011): Médiathèque André Malraux et al. (Ed.), Les Robes Grises. Dessins et
manuscrits clandestins de Jeannette L'Herminier et Germaine Tillion réalisés au camp de
Ravensbrück, Gilly: Bietlot, 2011.
- Lüdtke (2003): Alf Lüdtke, Alltagsgeschichte – ein Bericht von unterwegs, in: Historische
Anthropologie, 11, 2003, 278-295.
- Mailänder-Koslov (2009): Elissa Mailänder Koslov, Gewalt im Dienstalltag: Die SSAufseherinnen des Konzentrations- und Vernichtungslagers Majdanek 1942-1944, Hamburg:
Hamburger Edition, 2009.
- Martinez (2004): Matías Martinez (Ed.), Der Holocaust und die Künst: Medialität und
Authentizität von Holocaust-Darstellungen in Literatur, Film, Video, Malerei, Denkmälern,
Comic und Musik, Bielefeld: transkript, 2004.
- Milton (1992) : Sybil Milton, Kunst als historisches Quellenmaterial in Gedenkstätten und
Museen, in: Wulff E. Brebeck et al. (Ed.), Über-Lebens-Mittel: Kunst aus
Konzentrationslagern und in Gedenkstätten für die Opfer des Nationalsozialismus, Marburg:
Jonas-V., 1992, 44-63.
- Neugebauer (2003): Rosamunde Neugebauer, Zeichnen im Exil - Zeichen des Exils?
Handzeichnung und Druckgraphik deutschsprachiger Emigranten ab 1933, Weimar: VDG,
2003.
- Novitch (1981): Miriam Novitch et al. (Ed.), Spiritual restistance: Art from Concentration
Camps 1940-1945. A Selection of drawings and paintings from the collection of Kibbutz
Lohamei Haghetaot, Israel, Philadelphia: Jewish Publ. S. of America,1981.
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Christiane Hess | Bielefeld University
- Ofer (1995): Dalia Ofer, Everyday life of Jews under Nazi Occupation: Methodological
Issues, in: Holocaust and Genocide Studies 9, N° l, 1995, pp 42-69.
- Olick/Robbins (1998): Olick, Jeffrey K./Robbins, Joyce, Social Memory Studies. From
‘Collective Memory’ to the Historical Sociology of Mnemonic Practices, in: Annual Review
of Sociology 24 (1998), 104-140.
- Pollock (2007): Griselda Pollock (Ed.), Conceptual Odyseeys: Passages to cultural
Analysis, London: I.B. Tauris, 2007.
- Schade/Wenk (2011): Sigrid Schade and Silke Wenk, Studien zur visuellen Kultur:
Einführung in ein transdisziplinäres Forschungsfeld, Bielefeld: transcript, 2011.
- Sofksy (2004): Wolfgang Sofksy, Die Ordnung des Terrors: Das Konzentrationslager,
Frankfurt a.M.: Fischer 2004.
- Suderland (2004): Maja Suderland, Territorien des Selbst: kulturelle Identität als Ressource
für das tägliche Überleben im Konzentrationslager, Frankfurt [et al.]: Campus Verlag, 2004.
- Suderland (2009): Maja Suderland, Ein Extremfall des Sozialen: die Häftlingsgesellschaft in
den nationalsozialistischen Konzentrationslagern, Frankfurt/Main [et al.]: Campus Verlag,
2009.
- Sujo (2001): Glenn Sujo, Legacies of Silence: The visual Arts and Holocaust Memory,
London: IWM, 2001.
- Toll (1978): Nelly Toll, Without Surrender: Art of the Holocaust, Philadelphia: Running
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