This document discusses the use of the book and film The Boy in the Striped Pyjamas in Holocaust education in British secondary schools. It notes that while the story is commonly used, it provides an inaccurate and unrealistic portrayal of the Holocaust that is often taken at face value by students without critical analysis. The document argues that The Boy in the Striped Pyjamas should still be used in the classroom, but alongside other historical sources and in a way that encourages students to critically examine the work and identify its flaws and limitations rather than accept it as factual. Promoting critical thinking skills is key to helping students approach representations of the Holocaust from multiple perspectives and draw appropriate moral lessons.
This presentation provides teachers with resources to teach about the Holocaust to 5th through 8th grade students. It recommends using historical fiction books like Number the Stars, The Boy in the Striped Pajamas, and The Boy Who Dared. Non-fiction works like We Remember the Holocaust and A Child's War can help students learn about the Holocaust through the experiences of children. The presentation also lists movies, documentaries, and websites that teachers can use to enhance lessons on the Holocaust.
This document announces a series of public events from May to November 2016 commemorating the centenary of the Battle of the Somme during World War I. The events will explore how the Great War is represented in history, literature, music, and visual culture, and how it is remembered today. They include public talks, a study day in collaboration with Welsh National Opera, an international symposium with scholars from Europe and North America, recitals of WWI songs, a workshop, and a Friday lecture series. The goal is to bring together experts from Cardiff University and partner institutions to investigate responses to the war in Wales and more broadly.
The two-day conference at Clark University and Worcester State University brought together scholars from various disciplines to discuss different forms of denial and how scholarship has become a battleground. Presentations examined denial of genocide, scientific facts, and political truths. They found that denial persists due to politics, ideology, identity or profit. While evidence is often ineffective at changing deeply held beliefs, public opinion responds best when elites agree. The conference aimed to understand denial and find ways to counter it.
This proposal is for a graphic novel called "The Heroes of Messines" that would illustrate the Irish participation in the 1917 Battle of Messines during World War I. It has two sponsoring organizations: the Verbal Arts Centre, which supports comic culture and production in Ireland, and the International School for Peace Studies, which would use the graphic novel in its conflict resolution education programs. The graphic novel would tell the story of the nationalist and unionist Irish divisions that fought together successfully at Messines, focusing on the act of heroism where a unionist soldier saved the life of a nationalist officer, galvanizing mutual respect between the two ideologies. The goals are to provide an engaging educational tool about shared Irish military experiences and history
Graphic History: Teaching with Comic Books (Underhill 2022) Amie Wright
While many titles like Maus (Art Spiegelman), Persepolis (Marjane Satrapi), and Footnotes in Gaza (Joe Sacco) appear on history curriculum lists, ‘Graphic History’ - the teaching of history with comic books and graphic novels - is still a relatively new vocational practice, even in public history and popular culture. This short presentation for the Underhill Colloquium 2022 has two aims: (1) to briefly analyze historical reasons for why ‘graphic history’ as a format is still sparse in the teaching of public history - including the 1952/53 Canadian Senate Hearings on comic books and other ‘salacious literature’ (2) to introduce new titles and genres of graphic history (such as ‘graphic medicine’ or comics for studies of migration) as well as new platforms like the political op-ed webcomic platform, The Nib, for teaching and reflecting history.
The document discusses integrating picture books into upper elementary school classrooms. It argues that picture books are misunderstood and undervalued but can be used across curriculums and ages to stimulate students visually, connect with their experiences, and explore important themes. Some ways pictured books can be used include journal responses, character studies, writing from different perspectives, and examining literary devices. Picture books highlighted raise issues like the environment, racism, and cultural differences.
The document discusses integrating picture books into upper elementary school classrooms. It argues that picture books are misunderstood and undervalued but can be used across curriculums and ages to stimulate students visually, connect with their experiences, and explore important themes. Some ways mentioned to use picture books include journal responses, character studies, writing from different perspectives, and examining literary devices. Specific picture books are also highlighted that raise social issues.
This presentation was for the OELMA Cbus Litcamp on April 22, 2016. The focus is multicultural/global literature for intermediate, middle and high school students.
Prepared by Karen Hildebrand.
This presentation provides teachers with resources to teach about the Holocaust to 5th through 8th grade students. It recommends using historical fiction books like Number the Stars, The Boy in the Striped Pajamas, and The Boy Who Dared. Non-fiction works like We Remember the Holocaust and A Child's War can help students learn about the Holocaust through the experiences of children. The presentation also lists movies, documentaries, and websites that teachers can use to enhance lessons on the Holocaust.
This document announces a series of public events from May to November 2016 commemorating the centenary of the Battle of the Somme during World War I. The events will explore how the Great War is represented in history, literature, music, and visual culture, and how it is remembered today. They include public talks, a study day in collaboration with Welsh National Opera, an international symposium with scholars from Europe and North America, recitals of WWI songs, a workshop, and a Friday lecture series. The goal is to bring together experts from Cardiff University and partner institutions to investigate responses to the war in Wales and more broadly.
The two-day conference at Clark University and Worcester State University brought together scholars from various disciplines to discuss different forms of denial and how scholarship has become a battleground. Presentations examined denial of genocide, scientific facts, and political truths. They found that denial persists due to politics, ideology, identity or profit. While evidence is often ineffective at changing deeply held beliefs, public opinion responds best when elites agree. The conference aimed to understand denial and find ways to counter it.
This proposal is for a graphic novel called "The Heroes of Messines" that would illustrate the Irish participation in the 1917 Battle of Messines during World War I. It has two sponsoring organizations: the Verbal Arts Centre, which supports comic culture and production in Ireland, and the International School for Peace Studies, which would use the graphic novel in its conflict resolution education programs. The graphic novel would tell the story of the nationalist and unionist Irish divisions that fought together successfully at Messines, focusing on the act of heroism where a unionist soldier saved the life of a nationalist officer, galvanizing mutual respect between the two ideologies. The goals are to provide an engaging educational tool about shared Irish military experiences and history
Graphic History: Teaching with Comic Books (Underhill 2022) Amie Wright
While many titles like Maus (Art Spiegelman), Persepolis (Marjane Satrapi), and Footnotes in Gaza (Joe Sacco) appear on history curriculum lists, ‘Graphic History’ - the teaching of history with comic books and graphic novels - is still a relatively new vocational practice, even in public history and popular culture. This short presentation for the Underhill Colloquium 2022 has two aims: (1) to briefly analyze historical reasons for why ‘graphic history’ as a format is still sparse in the teaching of public history - including the 1952/53 Canadian Senate Hearings on comic books and other ‘salacious literature’ (2) to introduce new titles and genres of graphic history (such as ‘graphic medicine’ or comics for studies of migration) as well as new platforms like the political op-ed webcomic platform, The Nib, for teaching and reflecting history.
The document discusses integrating picture books into upper elementary school classrooms. It argues that picture books are misunderstood and undervalued but can be used across curriculums and ages to stimulate students visually, connect with their experiences, and explore important themes. Some ways pictured books can be used include journal responses, character studies, writing from different perspectives, and examining literary devices. Picture books highlighted raise issues like the environment, racism, and cultural differences.
The document discusses integrating picture books into upper elementary school classrooms. It argues that picture books are misunderstood and undervalued but can be used across curriculums and ages to stimulate students visually, connect with their experiences, and explore important themes. Some ways mentioned to use picture books include journal responses, character studies, writing from different perspectives, and examining literary devices. Specific picture books are also highlighted that raise social issues.
This presentation was for the OELMA Cbus Litcamp on April 22, 2016. The focus is multicultural/global literature for intermediate, middle and high school students.
Prepared by Karen Hildebrand.
This document provides tips and guidelines for taking Cornell notes. It explains that Cornell notes involve taking notes in the large right column with questions, key terms, diagrams, etc. in the left column. A summary should be written at the bottom of the last page. Guidelines are provided for what information goes in each column and examples are given. Tips for active reading, textbook organization, and identifying important points from text style are also outlined.
Resistance during the Holocaust took many forms across occupied Europe. The largest resistance movements were the Yugoslav and Soviet partisans, who used guerrilla warfare tactics against Nazi forces. Resistance included sabotage of factories, strikes, armed uprisings like the Warsaw Ghetto Uprising of 1943, and hiding Jews and escaped prisoners of war. Groups resisting the Nazis included partisans in countries like Poland, France, and Belarus, as well as German anti-Nazi groups. While dangerous, resistance was an important struggle that helped defeat Nazi Germany.
The document provides an overview of the Holocaust and other examples of genocide throughout history. It discusses the Nazis' persecution and mass murder of Jews and other groups, including the establishment of ghettos and concentration camps. Key events of the Holocaust are summarized, such as the Wannsee Conference which formalized the "Final Solution" and the mass killings that took place at Auschwitz. The document also briefly outlines examples of genocide committed by other regimes such as the Turks against Armenians and the Khmer Rouge in Cambodia.
The Holocaust was the systematic persecution and murder of approximately six million Jews by the Nazi regime and its allies and collaborators. Between 1933-1945, Jews were segregated into ghettos, deported to concentration and extermination camps, and murdered en masse. In total, the Nazis established over 300 ghettos and camps across Europe where Jews and other victims lived in inhumane conditions before being transported to death camps to be killed in gas chambers or by other means. By 1945, around 90% of Europe's Jewish population had been killed under the Nazi "Final Solution" plan.
The Holocaust was the systematic persecution and murder of approximately six million Jews by the Nazi regime and its allies. Hitler wanted to create a superior race and targeted Jews, Roma, Slavs, homosexuals, disabled people and political opponents for persecution and genocide. The Holocaust progressed in stages from discrimination and ghettoization to the use of death camps for industrialized mass murder, where victims were killed using gas chambers and other methods. By the time the camps were liberated in 1944-1945, millions of innocent people had been brutally murdered in one of the worst crimes in human history.
This document outlines a WebQuest for 9th grade English students on the Holocaust. Students will be assigned to groups of 3 and tasked with creating a graphic novel telling the story of a Holocaust survivor. They will conduct research on Holocaust survivors and events using provided websites. Each student will take on a role in their group as an author, graphic artist, or research editor. Students will submit individual and group proposals, create their graphic novels over 3 weeks, and present their work to the class. They will evaluate their group work and reflect on learning about the Holocaust. The goal is for students to gain understanding of the Holocaust through this project.
This presentation provides teachers with resources to teach about the Holocaust to 5th through 8th grade students. It recommends using historical fiction books like Number the Stars, The Boy in the Striped Pajamas, and The Boy Who Dared. Non-fiction works like We Remember the Holocaust and A Child's War can help students learn about the Holocaust through the experiences of children. The presentation also lists movies, documentaries, and websites that teachers can use to enhance lessons on the Holocaust.
Anne Frank In Historical Perspective A Teaching Guide For Secondary SchoolsNatasha Grant
This document provides an overview of the uniqueness of the Holocaust compared to other modern tragedies. It argues that while other events involved large-scale loss of life, they did not target the total destruction of an entire people in the way that the Holocaust did against European Jews. Specifically, it notes that the atomic bombings of Hiroshima and Nagasaki aimed to end the war, not destroy the Japanese people. Treatment of Native Americans and African slaves involved exploitation for economic gain rather than a goal of extermination. Japanese internment in the US during WWII was due to security concerns, not a plan for murder. While the Armenian genocide and other mass killings were atrocities, they did not have the same industrialized system of mass
This photo album documents major historical events in Europe between 1945-2015 through photos collected by students and teachers from several schools across Europe. It aims to fill gaps in knowledge about post-World War 2 European history. The album is organized thematically, with sections such as "Behind the Iron Curtain" showing life behind the Iron Curtain and images from the divided Berlin. Other sections portray the difficulties after the war, environmental disasters, conflicts, struggles for freedom and changing perspectives over time. The collaborative project helped develop language, research, technology and group skills.
This photo album documents major historical events in Europe between 1945-2015 through photos collected by students and teachers from 8 schools across 7 European countries. It aims to illustrate important moments that shaped European history after World War 2, including the division of Germany and Berlin during the Cold War, difficult post-war times, and environmental/man-made disasters like the Vajont Dam failure. The album is organized thematically rather than chronologically and explores topics such as life behind the Iron Curtain, struggles for freedom and human rights, and technological progress across Europe over the past 70 years.
1. German Christian women voting in 1919. German Christian womTatianaMajor22
1. German Christian women voting in 1919. German Christian women were newly
enfranchised.
Eastern European Jewish women are asked for ID cards in Berlin's "Barn Quarter" in 1920.
Life in Weimar Germany was often unpredictable, as a former soldier, Henry
Buxbaum, discovered one evening in the early 1920s:
“The train was pitch-dark. The lights were out, nothing uncommon after the war when
the German railroads were in utter disrepair and very few things functioned orderly. . . . That
night, we were seven or eight people in the dark, fourth-class compartment, sitting in utter
silence till one of the men started the usual refrain: “Those God-damned Jews, they are at the
root of all our troubles.” Quickly, some of the others joined in. I couldn’t see them and had no
idea who they were, but from their voices they sounded like younger men. They sang the same
litany over and over again, blaming the Jews for everything that has gone wrong with Germany
and for anything else wrong in this world. It went on and on, a cacophony of obscenities,
becoming more vicious and at the same time more unbearable with each new sentence echoing
in my ears. Finally, I couldn’t stand it any longer. I knew very well that to start up with them
would get me into trouble, and that to answer them wasn’t exactly the height of wisdom, but I
couldn’t help it. . . . I began naturally with the announcement: “Well, I am a Jew and etc., etc.”
That was the signal they needed. Now they really went after me, threatening me physically. I
didn’t hold my tongue as the argument went back and forth. They began jostling me till one of
them . . . probably more encouraged by the darkness than by his own valor, suggested: “Let’s
throw the Jew out of the train.” Now, I didn’t dare ignore this signal, and from then on I kept
quiet. I knew that silence for the moment was better than falling under the wheels of a moving
train. One of the men in our compartment, more vicious in his attacks than the others, got off
the train with me in Friedburg. When I saw him under the dim light of the platform, I
recognized him as a fellow I knew well from our soccer club. . . . I would never have suspected
this man of harboring such rabid, antisemitic feelings.”
In the Weimar Republic, Germany’s schools remained centers of tradition. Most
teachers were conservative, both in their way of teaching and in their politics, and
many were anti-socialist and antisemitic. A young man known as Klaus describes
his schooling in the 1920s:
“We were taught history as a series of facts. We had to learn dates, names, places of
battles. Periods during which Germany won wars were emphasized. Periods during which
Germany lost wars were sloughed over. We heard very little about World War I, except that the
Versailles peace treaty was a disgrace, which someday, in some vague way, would be rectified.
In my school, one of the best in Berlin, there were three courses in Greek and Roman history,
four ...
This document provides a summary and analysis of a lesson plan about teaching the Holocaust and antisemitism through the examination of Der Giftpilz, an antisemitic children's picture book published in Nazi Germany in 1938. The summary outlines the key points of the lesson plan, including its educational goals and approach, as well as briefly summarizing and analyzing several of the images from Der Giftpilz to demonstrate how the lesson would examine the depictions of Jewish stereotypes and propaganda techniques through a historical and critical lens. The lesson aims to help students understand the roots and evolution of antisemitism while also developing skills in analyzing primary sources and recognizing how propaganda manipulates images and messages.
At The Bottom Of A Well Teaching The Otherworld As A Folktale EnvironmentDarian Pruitt
This document provides an introduction to a collection of essays on teaching folklore and fairy tales in higher education. It discusses the origins and evolution of fairy tales from oral stories to literary works, highlighting examples from French, German, and English traditions. The introduction emphasizes the educational value of fairy tales in conveying life lessons and social norms. It notes the lack of resources on fairy tale pedagogy in higher education. The collection aims to fill this gap by presenting diverse international perspectives and innovative teaching strategies from a range of academic disciplines. It is intended to inspire instructors to incorporate fairy tales into their courses in new ways. The essays are organized into four parts addressing theoretical approaches, sociocultural analyses, linguistic issues, and adaptations in film
German suffering and victimhood during the Second WorldPeter Barron
This document discusses the view that recent discussions of German victimhood and suffering during World War 2 threaten the cultural memory of German perpetration during the Nazi period. It argues that for the most part, these discussions have been constructive by placing German suffering in context of their acts of perpetration. While some conservatives have attempted to use discussions of German victimhood to downplay the Nazi regime, most discussions acknowledge both German suffering and the suffering they caused others. By recognizing the interdependence of German victimhood and perpetration, these discussions allow for a balanced cultural memory that does not undermine recognition of German war crimes.
The Museum of Tolerance examines racism, prejudice, and discrimination around the world with a focus on the Holocaust. It uses multimedia exhibits including videos, text, and artifacts to educate visitors about prejudice and foster tolerance. The museum aims to crack down on racism and discrimination through its educational exhibits, but some feel it could be biased in its portrayal of certain groups.
Teaching Holocaust and Genocide: An Interdisciplinary Approachtimothyhensley
1. The document provides an overview of concepts and themes that can be used to create an interdisciplinary approach to teaching about the Holocaust.
2. It discusses how using chronology, themes, historical and literary connections can help students better understand the complexities and non-uniform nature of the Holocaust.
3. Examples of how different subject areas like history, English, art, and music can incorporate Holocaust education through specific lessons, texts, and artworks are given.
This document provides tips and guidelines for taking Cornell notes. It explains that Cornell notes involve taking notes in the large right column with questions, key terms, diagrams, etc. in the left column. A summary should be written at the bottom of the last page. Guidelines are provided for what information goes in each column and examples are given. Tips for active reading, textbook organization, and identifying important points from text style are also outlined.
Resistance during the Holocaust took many forms across occupied Europe. The largest resistance movements were the Yugoslav and Soviet partisans, who used guerrilla warfare tactics against Nazi forces. Resistance included sabotage of factories, strikes, armed uprisings like the Warsaw Ghetto Uprising of 1943, and hiding Jews and escaped prisoners of war. Groups resisting the Nazis included partisans in countries like Poland, France, and Belarus, as well as German anti-Nazi groups. While dangerous, resistance was an important struggle that helped defeat Nazi Germany.
The document provides an overview of the Holocaust and other examples of genocide throughout history. It discusses the Nazis' persecution and mass murder of Jews and other groups, including the establishment of ghettos and concentration camps. Key events of the Holocaust are summarized, such as the Wannsee Conference which formalized the "Final Solution" and the mass killings that took place at Auschwitz. The document also briefly outlines examples of genocide committed by other regimes such as the Turks against Armenians and the Khmer Rouge in Cambodia.
The Holocaust was the systematic persecution and murder of approximately six million Jews by the Nazi regime and its allies and collaborators. Between 1933-1945, Jews were segregated into ghettos, deported to concentration and extermination camps, and murdered en masse. In total, the Nazis established over 300 ghettos and camps across Europe where Jews and other victims lived in inhumane conditions before being transported to death camps to be killed in gas chambers or by other means. By 1945, around 90% of Europe's Jewish population had been killed under the Nazi "Final Solution" plan.
The Holocaust was the systematic persecution and murder of approximately six million Jews by the Nazi regime and its allies. Hitler wanted to create a superior race and targeted Jews, Roma, Slavs, homosexuals, disabled people and political opponents for persecution and genocide. The Holocaust progressed in stages from discrimination and ghettoization to the use of death camps for industrialized mass murder, where victims were killed using gas chambers and other methods. By the time the camps were liberated in 1944-1945, millions of innocent people had been brutally murdered in one of the worst crimes in human history.
This document outlines a WebQuest for 9th grade English students on the Holocaust. Students will be assigned to groups of 3 and tasked with creating a graphic novel telling the story of a Holocaust survivor. They will conduct research on Holocaust survivors and events using provided websites. Each student will take on a role in their group as an author, graphic artist, or research editor. Students will submit individual and group proposals, create their graphic novels over 3 weeks, and present their work to the class. They will evaluate their group work and reflect on learning about the Holocaust. The goal is for students to gain understanding of the Holocaust through this project.
This presentation provides teachers with resources to teach about the Holocaust to 5th through 8th grade students. It recommends using historical fiction books like Number the Stars, The Boy in the Striped Pajamas, and The Boy Who Dared. Non-fiction works like We Remember the Holocaust and A Child's War can help students learn about the Holocaust through the experiences of children. The presentation also lists movies, documentaries, and websites that teachers can use to enhance lessons on the Holocaust.
Anne Frank In Historical Perspective A Teaching Guide For Secondary SchoolsNatasha Grant
This document provides an overview of the uniqueness of the Holocaust compared to other modern tragedies. It argues that while other events involved large-scale loss of life, they did not target the total destruction of an entire people in the way that the Holocaust did against European Jews. Specifically, it notes that the atomic bombings of Hiroshima and Nagasaki aimed to end the war, not destroy the Japanese people. Treatment of Native Americans and African slaves involved exploitation for economic gain rather than a goal of extermination. Japanese internment in the US during WWII was due to security concerns, not a plan for murder. While the Armenian genocide and other mass killings were atrocities, they did not have the same industrialized system of mass
This photo album documents major historical events in Europe between 1945-2015 through photos collected by students and teachers from several schools across Europe. It aims to fill gaps in knowledge about post-World War 2 European history. The album is organized thematically, with sections such as "Behind the Iron Curtain" showing life behind the Iron Curtain and images from the divided Berlin. Other sections portray the difficulties after the war, environmental disasters, conflicts, struggles for freedom and changing perspectives over time. The collaborative project helped develop language, research, technology and group skills.
This photo album documents major historical events in Europe between 1945-2015 through photos collected by students and teachers from 8 schools across 7 European countries. It aims to illustrate important moments that shaped European history after World War 2, including the division of Germany and Berlin during the Cold War, difficult post-war times, and environmental/man-made disasters like the Vajont Dam failure. The album is organized thematically rather than chronologically and explores topics such as life behind the Iron Curtain, struggles for freedom and human rights, and technological progress across Europe over the past 70 years.
1. German Christian women voting in 1919. German Christian womTatianaMajor22
1. German Christian women voting in 1919. German Christian women were newly
enfranchised.
Eastern European Jewish women are asked for ID cards in Berlin's "Barn Quarter" in 1920.
Life in Weimar Germany was often unpredictable, as a former soldier, Henry
Buxbaum, discovered one evening in the early 1920s:
“The train was pitch-dark. The lights were out, nothing uncommon after the war when
the German railroads were in utter disrepair and very few things functioned orderly. . . . That
night, we were seven or eight people in the dark, fourth-class compartment, sitting in utter
silence till one of the men started the usual refrain: “Those God-damned Jews, they are at the
root of all our troubles.” Quickly, some of the others joined in. I couldn’t see them and had no
idea who they were, but from their voices they sounded like younger men. They sang the same
litany over and over again, blaming the Jews for everything that has gone wrong with Germany
and for anything else wrong in this world. It went on and on, a cacophony of obscenities,
becoming more vicious and at the same time more unbearable with each new sentence echoing
in my ears. Finally, I couldn’t stand it any longer. I knew very well that to start up with them
would get me into trouble, and that to answer them wasn’t exactly the height of wisdom, but I
couldn’t help it. . . . I began naturally with the announcement: “Well, I am a Jew and etc., etc.”
That was the signal they needed. Now they really went after me, threatening me physically. I
didn’t hold my tongue as the argument went back and forth. They began jostling me till one of
them . . . probably more encouraged by the darkness than by his own valor, suggested: “Let’s
throw the Jew out of the train.” Now, I didn’t dare ignore this signal, and from then on I kept
quiet. I knew that silence for the moment was better than falling under the wheels of a moving
train. One of the men in our compartment, more vicious in his attacks than the others, got off
the train with me in Friedburg. When I saw him under the dim light of the platform, I
recognized him as a fellow I knew well from our soccer club. . . . I would never have suspected
this man of harboring such rabid, antisemitic feelings.”
In the Weimar Republic, Germany’s schools remained centers of tradition. Most
teachers were conservative, both in their way of teaching and in their politics, and
many were anti-socialist and antisemitic. A young man known as Klaus describes
his schooling in the 1920s:
“We were taught history as a series of facts. We had to learn dates, names, places of
battles. Periods during which Germany won wars were emphasized. Periods during which
Germany lost wars were sloughed over. We heard very little about World War I, except that the
Versailles peace treaty was a disgrace, which someday, in some vague way, would be rectified.
In my school, one of the best in Berlin, there were three courses in Greek and Roman history,
four ...
This document provides a summary and analysis of a lesson plan about teaching the Holocaust and antisemitism through the examination of Der Giftpilz, an antisemitic children's picture book published in Nazi Germany in 1938. The summary outlines the key points of the lesson plan, including its educational goals and approach, as well as briefly summarizing and analyzing several of the images from Der Giftpilz to demonstrate how the lesson would examine the depictions of Jewish stereotypes and propaganda techniques through a historical and critical lens. The lesson aims to help students understand the roots and evolution of antisemitism while also developing skills in analyzing primary sources and recognizing how propaganda manipulates images and messages.
At The Bottom Of A Well Teaching The Otherworld As A Folktale EnvironmentDarian Pruitt
This document provides an introduction to a collection of essays on teaching folklore and fairy tales in higher education. It discusses the origins and evolution of fairy tales from oral stories to literary works, highlighting examples from French, German, and English traditions. The introduction emphasizes the educational value of fairy tales in conveying life lessons and social norms. It notes the lack of resources on fairy tale pedagogy in higher education. The collection aims to fill this gap by presenting diverse international perspectives and innovative teaching strategies from a range of academic disciplines. It is intended to inspire instructors to incorporate fairy tales into their courses in new ways. The essays are organized into four parts addressing theoretical approaches, sociocultural analyses, linguistic issues, and adaptations in film
German suffering and victimhood during the Second WorldPeter Barron
This document discusses the view that recent discussions of German victimhood and suffering during World War 2 threaten the cultural memory of German perpetration during the Nazi period. It argues that for the most part, these discussions have been constructive by placing German suffering in context of their acts of perpetration. While some conservatives have attempted to use discussions of German victimhood to downplay the Nazi regime, most discussions acknowledge both German suffering and the suffering they caused others. By recognizing the interdependence of German victimhood and perpetration, these discussions allow for a balanced cultural memory that does not undermine recognition of German war crimes.
The Museum of Tolerance examines racism, prejudice, and discrimination around the world with a focus on the Holocaust. It uses multimedia exhibits including videos, text, and artifacts to educate visitors about prejudice and foster tolerance. The museum aims to crack down on racism and discrimination through its educational exhibits, but some feel it could be biased in its portrayal of certain groups.
Teaching Holocaust and Genocide: An Interdisciplinary Approachtimothyhensley
1. The document provides an overview of concepts and themes that can be used to create an interdisciplinary approach to teaching about the Holocaust.
2. It discusses how using chronology, themes, historical and literary connections can help students better understand the complexities and non-uniform nature of the Holocaust.
3. Examples of how different subject areas like history, English, art, and music can incorporate Holocaust education through specific lessons, texts, and artworks are given.
Teaching Holocaust and Genocide: An Interdisciplinary Approach
Holocaust Education in Britain
1. 1102075f
Promoting Critical Analysis in British
Holocaust Education:
The Case of The Boy in the Striped Pyjamas
History MLitt
Public Humanities [HIST5121]
2nd
May 2016
2. Since the 1990s British public engagement with the Holocaust has surged and identified a need
for children to be educated on the subject. The first National Curriculum for History,
introduced in 1991, made Holocaust study mandatory in English and Welsh secondary schools.
An annual Holocaust Memorial Day (HMD) was established following a Stockholm conference
in 2000 which identified a need to commemorate Holocaust victims, honour those who stood
against it and educate future generations.1
In the same year, the London Imperial War Museum
opened the Holocaust Exhibition. Books and films representing the Holocaust have become
increasingly popular. For example Schindler’s List (1993), The Reader (2008) and The Boy in the
Striped Pyjamas (2006/2008) received several movie awards and are commonly used as educational
tools.
Two main issues have emerged regarding this Holocaust engagement growth. First, debate is
ongoing over the aim and method of Holocaust education: some teachers focus on the historical
narrative while others, seemingly a larger proportion, emphasise moral lessons.2
For example,
Ronnie Landau argues the Holocaust ‘perhaps more effectively than any other subject, has the
power to sensitise’ pupils ‘to the dangers of indifference, intolerance, racism and the
dehumanisation of others’.3
In contrast, Richard Evans feels ‘moral judgement’ is
‘inappropriate’, ‘arrogant’ and ‘presumptuous’.4
No approach is set by the National Curriculum
for History; it is up to the individual educator.5
Second, the frequent focus on moral education
and increasing representation of the Holocaust in popular culture, such as films and
commemoration ceremonies, makes some feel the Holocaust has been ‘sanitised’ for
consumption6
, resulting in a ‘loss of past’7
, ‘a waning of historical consciousness’8
and a ‘neglect
1 Holocaust Memorial Day [HMD] is held on the anniversary of the liberation of Auschwitz in January 1945.
2
Lucy Russel, Teaching the Holocaust in School History: Teachers or Preachers (London, Network Continuum: 2008)
3 Ronnie Landau, ‘No Nazis War in British History’, Jewish Chronicle, 25th August 1989
4 Richard Evans, author of In Defence of History (London, Granta Books: 1997), quoted in Russel, Teaching the
Holocaust, 3
5 Ibid.
6 Mark Levene, ‘Britain’s Holocaust Memorial Day: A Case of Post-Cold War Wish-Fulfillment, or Brazen
Hypocrisy?’ Human Rights Review, 7: 3 (2006), 33
7 Andrew Huyssen, ‘Monument and Memory in a Postmodern Age’, Yale Journal of Criticism, 6: 2 (1993), 253
3. of history’9
. With regard to secondary education, Dan Stone asserts the Holocaust has
undergone ‘infantilisation’ because it is now directed towards children in a manner ‘so didactic
and prescriptive’.10
These issues are exemplified in the debate surrounding the appropriateness of John Boyne’s The
Boy in the Striped Pyjamas being used as a Holocaust education tool.11
Originally a book, but
released as a film in 2008, it tells the story of 9 year old Bruno who befriends a Jewish inmate at
Auschwitz, Shmuel, after his family moves to a house outside the camp following his father’s is
promotion to camp commandant.12
When Bruno secretly enters the camp to help Shmuel find
his father, both children are put into a gas chamber and murdered. This essay uses Boyne’s
representation as a case study to investigate British secondary school children’s relationship with
the Holocaust: first, evaluating concerns over Holocaust engagement in a specific context;
second, demonstrating why and how these issues may be combatted in this particular case and,
hence, more widely. Ultimately, it is proposed that by using a range of sources and encouraging
critical analysis, Holocaust education will be more effective and balance historical facts and moral
lessons.
The Boy in the Striped Pyjamas in current Holocaust Education
The Boy in the Striped Pyjamas is influential and commonly used as a Holocaust educational tool. It
is explicitly promoted as a beneficial teaching resource and supplied to schools. For example,
Miramax and Film Education collaboratively run showings of the film and provide production
information online. Indeed, it appears The Boy in the Striped Pyjamas has a ‘second career in
8 Ibid., 253
9 Tony Judt, Reappraisals: Reflection on the Forgotten Twentieth Century (London, Vintage Books: 2009), 215
10 Dan Stone, ‘From Stockholm to Stockton: The Holocaust and/as Heritage in Britain’ in Caroline Sharples & Olaf
Jensen (eds.), Britain and the Holocaust: Remembering and Representing War and Genocide (Basingstoke, Palgrave Macmillan:
2013), 215
11 John Boyne, The Boy in the Striped Pyjamas (London, Definitions: 2006)
12 Mark Herman et al., The Boy in the Striped Pyjamas (Burbank CA, Miramax Home Entertainment: 2009)
4. education’.13
Michael Gray found 76 per cent of pupils in his study had either read the book or
watched the film and, in many cases, it heavily influenced their view of the Holocaust.14
However, according to Gray, The Boy in the Striped Pyjamas is a ‘curse’ to Holocaust education.15
The story is implausible and replete with historical inaccuracies. Bruno’s innocence and his
mother’s naivety regarding Auschwitz depict an outdated notion that Germans, notably women
and children, did not know what happened to Jews and other victims during the Third Reich
because it was carried out covertly and participants were brainwashed.16
There were not, as
Shmuel stated, ‘a lot of us – boys our age, I mean – on this side of the fence’ as, although
exceptional cases occurred, Jewish children were immediately gassed when reaching
extermination centres like Auschwitz.17
Shmuel’s daily appearance at the un-electrified and
unguarded perimeter fence is unrealistic, as is Bruno’s ability to enter the camp undetected.
Inmates’ suffering is not only downplayed by the false depiction of camp experience but side-
lined by the overall focus and dramatization of the story. Ultimately, the audience’s grief is
focused on Bruno and his parents: the camp commandant father who loses his son by mistake
and the mother who was oblivious to the camp’s purpose and nature, thus detracting from the
terrible fate of Shmuel and others who died in the gas chamber.18
The father’s responsibility for
thousands of deaths is almost forgotten. The humanisation of perpetrators is valuable,
counteracting the false view of them as deranged or sub-human, but here the ‘victim-perpetrator
universe is inverted’.19
Eric Santner calls this ‘narrative fetishism’ where ‘the construction and
deployment of a narrative [is] consciously or unconsciously designed to expunge the traces of the
13 Olaf Jensen, ‘The Holocaust in British Television and Film: a look over the Fence’ in Sharples & Jensen (eds.),
Britain and the Holocaust, 118
14 Gray, ‘The Boy’, 114
15 Ibid., 133
16 Jensen, ‘The Holocaust in British Television and Film’, 120
17 Boyne, The Boy in the Striped Pyjamas, 114
18 Ibid.
19 Stone, ‘From Stockholm to Stockton’, 215
5. trauma of loss that called that narrative into being in the first place’.20
Thus, while the book is
coined a ‘fable’, moral lessons are difficult to identify.21
David Cesarani asserts the only ‘moral to
the story is that you should keep a closer eye on your kids’.22
Furthermore, although encouraging
an emotional response, The Boy in the Striped Pyjamas distances the audience from the Holocaust.
The camp is portrayed as isolated when in reality it was ‘not a remote village… but a large town
at a main railway function’.23
With no references to individuals, groups or countries beyond the
camp, the story appears disconnected from the world: ‘the view remains a distant look over the
fence into the (artistically fabricated) horrors of Auschwitz’.24
Diana Popescu argues ‘in the absence of full evidence, one can only assume that an educated
public is able to distinguish between history and its cultural representation’.25
However, many
pupils are unable to differentiate between historical and fictional elements of the film, nor do
they draw moral lessons from it. When asked why the Holocaust ended, one boy responded ‘I
think it ended when one of the Nazi children died in the poisonous gas in the Jew camp’.26
38 of
298 students explicitly referred to The Boy in the Striped Pyjamas as evidence for what occurred in
the Holocaust.27
When asked to write about what they knew about Nazi treatment of Jews, one
wrote the film ‘gave a great insight into Jewish gas camps’, another stated ‘I learnt a lot about
concentration camps from’ it, and a third claimed ‘you can find out by watching The Boy in the
Striped Pyjamas.28
One pupil demonstrates confusion and grapples with the extent of truth: ‘it’s
based on a true story. There was a General’s son who bonded with one of the Jewish boys and
went in. I’m not sure if that’s actually true but I think it says at the beginning of the film it’s
20 Eric Santner, ‘History Beyond the Pleasure Principal: Some Thoughts on the Representation of Trauma’ in Saul
Friedländer (ed.), Probing the Limits of Representation: Nazism and the ‘Final Solution’ (Cambridge, Harvard University
Press: 1992), 144
21 The Boy in the Striped Pyjamas is described as a ‘fable’ on the title page of the book.
22 David Cesarani, ‘Striped Pyjamas’ (Book Review), Literary Review (2006)
23 Martin Gilbert, The Holocaust: The Jewish Tragedy (London, Collins: 1986), 287
24 Jensen, ‘The Holocaust in British Television and Film’, 123
25 Diana Popescu & Tanja Schult (eds.), Revisiting Holocaust Representation in the Post-Witness Era (Basingstoke, Palgrave
Macmillan: 2015), 2
26 Gray, ‘The Boy’, 117
27 Ibid., 114
28 Ibid., 115
6. based on a true story.’29
Some believed the story to be entirely true.30
Few comments include
analysis of the film and none challenge elements of the representation.31
Thus, not only did the
film provide an inaccurate representation of the Holocaust, its depiction was taken at face value
and used as a primary source of Holocaust information. Any attempt by the teacher to correct
historical inaccuracies and draw moral lessons failed, if any such attempt occurred, and pupils
were not critical of the resource.
Hence, academic criticisms, such as a ‘loss’ or ‘neglect’ of history in Holocaust engagement, seem
wholly founded in this case: The Boy in the Striped Pyjamas is frequently factually incorrect and
unrepresentative of history or current research on the Holocaust, instead trivialising the event
and supporting unrealistic and stereotypical views of the Third Reich. In addition, the film,
book or education surrounding these tools do not appear to encourage moral reflection or
critical thinking. Current use of The Boy in the Striped Pyjamas is an example where, as Tim Cole
stated, ‘partial and inadequate’ representations of the Holocaust are ‘positively harmful’.32
When
the film was released Monohla Dargis declared: ‘See the Holocaust trivialised, glossed over,
kitsched up, commercially exploited and hijacked for a tragedy about a Nazi family. Better yet
and in all sincerity: don’t.’33
The Boy in the Striped Pyjamas in future Holocaust Education
However, is not seeing The Boy in the Striped Pyjamas really the answer? No. While it is worrying,
indeed shocking, that it is often used as the principle source of Holocaust information, neither
the book nor the film should be dismissed entirely. It is important for children to engage with
The Boy in the Striped Pyjamas in schools along with a range of other resources. For instance, this may
29 Ibid., 116
30 Ibid., 116: for example, one boy exclaimed ‘it is true!’
31 Ibid.
32 Tim Cole, Images of the Holocaust (London, Ducksworth: 1999), paraphrased in David Cesarini, ‘Seizing the Day:
Why Britain will Benefit from Holocaust Memorial Day’, Patterns of Prejudice, 34: 4 (2000), 61
33 Monohla Dargis, ‘Horror through a Child’s Eyes’, The New York Times, 6 November 2008, quoted in Jensen, ‘The
Holocaust in British Television and Film’, 120
7. include comparing Bruno’s story with testimonies from Holocaust survivors, perpetrators and
bystanders, and a documentary on Auschwitz. For older pupils, more complex analysis could
involve questioning what the representation failed to include and why, such as British responses
to the Nazis regime.
It should remain an educational tool for several reasons. First, the public are not going to ignore
The Boy in the Striped Pyjamas because it is a flawed representation and unhistorical. As Gray
asserts, ‘it is no use burying one’s head in the sand and ignoring the fact that John Boyne’s story
is perhaps the most influential representation of the Holocaust in recent years’.34
Children will
continue to access it: the book will be sold and the film remain available on DVD and streaming
services. Is it not better to have them view it in a classroom environment, where educators can
correct inaccuracies, provide factual information on the Holocaust, draw on moral lessons and
encourage analytical skills? However, as shown by Gray’s study, improvements regarding these
teacher behaviours are essential.35
Second, The Boy in the Striped Pyjamas is not the only unrealistic representation of the Holocaust.
One of the leading Holocaust denial websites received over 200,000 visitors each month in 2009,
and typing basic and typical questions, such as ‘when did the Holocaust start’, into search
engines leads to similar denial-related websites.36
YouTube and social networking sites contain
inappropriate Holocaust-related representations. For instance, a video of ‘Hitler’ intending to
murder Justin Bieber received comments such as ‘Hitler is my hero’, and parodies of a Downfall
(2004) scene depicting Hitler’s anger are increasingly popular, encouraging humour and
flippancy.37
In a culture where children are increasingly using the internet, it is crucial they are
exposed to resources, like The Boy in the Striped Pyjamas, in a classroom, where they can be
34 Gray, ‘The Boy’, 131-2
35
Ibid.
36 Scott Darnell, Measuring the Holocaust Denial in the United States (Policy Analysis Exercise, MA, Harvard Kennedy
School of Government), 38
37 Jason Hansen, ‘Auschwitz is made of Lego and Hitler hates Justin Beckham: YouTube and the Future of
Holocaust Remembrance’, Paper presented at The Future of Holocaust Studies Conference, Universities of
Southampton and Winchester (July 2013)
8. encouraged to be critical of information, and helped to identify falsified and manipulated facts
and immoral representations.38
Future Holocaust Education: promoting critical analysis
Indeed, the skill to approach information critically is invaluable; the Holocaust is not the only
historical event that has been unrealistically depicted. It would be a severe case of censorship if
any popular culture representation which was historically inaccurate was banned. The Boy in the
Striped Pyjamas being shown along with other Holocaust representations will help children deal
with contradictory information more widely. According to Peter Brooks and Hilary Jewett, this
skill is increasingly crucial: ‘the ability to read critically the messages that society, politics, and
culture bombard us with is, more than ever, needed training in a society in which the
manipulation of minds and hearts in increasingly what running the world is all about’.39
Yet
Andy Pearce states ‘a widespread “critical” Holocaust consciousness in Britain remains elusive’.40
Indeed, there is a surprising lack of reference to analytical skills in Holocaust teaching packs and
books.41
They appear to be consumed with the rivalry between historical and moral education.
Promoting the development of critical thinking may reconcile historical and moral approaches.
As Paul Salmons argues, ‘learning the history of the Holocaust and drawing moral lessons are not
mutually exclusive’.42
If children are presented with a range of sources and encouraged to ‘spot
the difference’ (to be overly simplistic), they are less likely to perceive information presented in a
single source as wholly true and adhere to false information, instead asking historical and moral
38 ‘Teenagers “spend an average of 31 hours online”’, The Telegraph (February 2009)
39 Peter Brooks & Hilary Jewett, The Humanities and Public Life (New York, Fordham University Press: 2014), 2
40 Andy Pearce, ‘Britain’s Holocaust Memorial Day: Inculcating British or European Holocaust Consciousness’ in
Sharples & Jenson (eds.), Britain and the Holocaust, 206
41 For example, none of the following mention developing analytical skills: Geoffrey Short & Carrie Supple &
Katherine Klinger, The Holocaust in the School Curriculum: a European Perspective (Strasbourg, Council of Europe: 1998);
Ian Davies, Teaching the Holocaust: Educational Dimensions, Principals and Practices (London, Continuum: 2000); Geoffrey
Short & Carole Ann Reed, Issues in Holocaust Education (Aldershot, Ashgate: 2004); & Lucy Russel, Teaching the
Holocaust in School History: Teachers or Preachers (London, Network Continuum: 2008). Searching teacher power-points
and worksheets on https://www.tes.com/teaching-resources reveal again a lack of focus on analysing and
comparing sources.
42 Paul Salmons, ‘Moral Dilemmas: history-teaching and the Holocaust’, Teaching History 104 (2001), 34
9. questions of the resources. Studies are needed to determine whether this theory is successful in
practice, but the Imperial War Museum Holocaust Exhibition is an example where this method
appears to be working. It encourages pupils to analyse objects and oral and written testimonies.
In discussion sessions these sources are used by children to narrate Holocaust history but also to
tackle moral questions such as ‘why do people become murderers’ and ‘can we say the decision is
a matter of right and wrong’.43
Using multiple resources and encouraging critical analysis is likely to have other beneficial effects
on the relationship between school children and the Holocaust. It will become less dictatorial in
nature. Encouraging individual analysis and interpretation of materials fosters debate,
confirming or challenging existing narratives.44
Being less prescriptive may reduce pupil
complacency with the topic. In Simone Schweber’s article on ‘Holocaust fatigue’, one teacher
commented ‘my kids are sick of it, sick of the Holocaust’.45
It may also decrease the suspicion
felt by those who distrust teachers and British Holocaust education. Gunther Jikeli’s study on
‘Perceptions of the Holocaust Among Young Muslims in Berlin, Paris and London’ found some
felt the information presented by schools is biased and dictated by a small group.46
For example,
one London pupil does not believe what he was told at school because he thinks ‘there is an elite
who says what does and doesn’t go’.47
Perhaps the over emphasis on moral lessons by some
teachers makes another believe ‘they’ have an ‘agenda teaching the Holocaust in school’.48
Encouraging critical analysis through the use of a range of sources is logistically possible.
Holocaust resources are becoming increasingly available. Oral testimonies are easily accessed
online. For example, ‘IWitness’ is an online educational programme from the USC Shoah
43 Ibid.
44 Caroline Sturdy Colls, Holocaust Archaeologies: Approaches and Future Directions (Cham, Springer: 2015), 336
45 Simone Schweber, ‘Holocaust Fatigue’, Social Education 70: 1 (2006), 50
46 Gunther Jikeli, ‘Perceptions of the Holocaust Among Young Muslims in Berlin, Paris and London’ in Gunther
Jikeli & Joelle Allouche-Benayoun (eds.), Perceptions of the Holocaust in Europe and Muslim Communities: sources, comparisons
and educational challenges (Dordrecht & New York, Springer: 2013), 105-131
47 Ibid., 110
48 Ibid., 110
10. Foundation’s testimony project.49
As well as providing oral testimonies, it details their length
and suggested viewers’ age, and possible lesson plans. Similarly, electronic databases of artefacts
found at excavations, such as Buchenwald and Mittelbau-Dora, exist.50
These include images
and descriptions. With advancing technology, 3-dimensional catalogues and interactive tours
may also be used in future Holocaust education. The latter is currently being created for
Treblinka.51
Challenges may include, firstly, having the time to use multiple resources and, secondly,
determining appropriate sources for certain age groups and intellectual capabilities. However,
the Holocaust is often taught within multiple subjects, for example History and Religious
Studies, and, by coordinating lessons, time can be more effectively used and repetition avoided.
Some resource providers suggest an appropriate age for viewers. Crucially, for this method to be
effective, teachers need to know historical inaccuracies in sources so they can highlight them or
guide pupils’ analysis. This goes beyond the remit of this essay, but it is important that resource
information is collected and distributed to educators.
Conclusion
As it currently stands, British school children’s relationship with the Holocaust through The Boy
in the Striped Pyjamas is full of historical inaccuracies and unrepresentative portrayals. It is a
relationship which does not appear to teach moral lessons. Although it should no longer be the
principle source of Holocaust information, used with other resources The Boy in the Striped Pyjamas
can develop children’s analytical skills. By emphasising critical thinking in Holocaust education,
the relationship between pupils and the Holocaust will likely be less prescriptive and more
engaging. It may also aid balancing historical facts with moral lessons. By encouraging pupils to
interpret a range of sources with the guide of a teacher, history is found, not lost or neglected.
49 ‘IWitness: one voice at a time’, University of South California Shoah Foundation
50 Colls, Holocaust Archaeologies, 336
51 Ibid. 336
11. As Holocaust survivor Branko Lustig states: ‘the next generation will tell… [the] story in their
own words with whatever means they have at their disposal. Our job is not to dissuade them
from using their voice and the technology at their fingertips but rather to encourage them to do
it with care, with dignity and humanity’.52
52 Branko Lustig quoted in Michael Gray, Contemporary Debates in Holocaust Education (Basingstoke, Palgrave
Macmillan: 2014), 111
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