女性大屠杀艺术中受害与自我牺牲的母亲象征的扩张与毁灭

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY Nashim-A Journal of Jewish Womens Studies & Gender Issues Pub Date : 2018-12-29 DOI:10.2979/NASHIM.33.1.09
Mor Presiado
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引用次数: 3

摘要

摘要:历史学家和艺术史学家已经确定了母亲形象在大屠杀和大屠杀后艺术和纪念活动中的中心地位。影片中,这位犹太母亲或独自一人,或与孩子们一起,面对着贫穷、饥饿和战争的残酷现实。她的形象是受害者的终极象征,也是女性英雄主义的化身和适当的母亲行为的典范。然而,这个符号并不是一成不变的。对与大屠杀有关的大量女性艺术作品的内省分析表明,除了这个大屠杀象征的典型形象之外,还有其他形象——主要是当代的——母亲形象,这些形象扩大甚至破坏了这一传统形象。这种转变是大屠杀意识和学术的变化、幸存者生活的发展、第二代和第三代人的特殊观点、大屠杀记忆和后记忆以及女权主义的结果。
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The Expansion and Destruction of the Symbol of the Victimized and Self-Sacrificing Mother in Women's Holocaust Art
Abstract:Historians and art historians have identified the central place held by the maternal figure in Holocaust and post-Holocaust art and commemoration. The Jewish mother is shown, alone or with her children, facing the brutal reality of poverty, hunger and war. Her figure serves as the ultimate symbol of victimhood, as well as the embodiment of feminine heroism and the paradigm of appropriate motherly behavior.However this symbol has not remained static. An introspective analysis of a wide corpus of women's art relating to the Holocaust reveals that alongside this canonical figure in Holocaust symbolization, there are other images—mostly contemporary—of the maternal figure that expand and even destroy this traditional image. This transformation is a result of changes in Holocaust consciousness and scholarship, developments in the lives of the survivors, the particular perspectives of the second and third generations, Holocaust memory and post-memory, and feminism.
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