# data[].attributes.body
Students explore an interactive map of Holocaust events and concentration camps, documenting and discussing their findings with classmates.

# data[].attributes.attachment_link.readable_text
Media Essay

This content is available in the following languages

The Holocaust
Your browser does not support the video tag.

The Holocaust was the systematic, state-sponsored persecution and murder of six million Jews by the Nazi regime and its allies and collaborators. The Nazis came to power in Germany in January 1933. They believed that the Germans belonged to a race that was "superior" to all others. They claimed that the Jews belonged to a race that was "inferior" and a threat to the so-called German racial community.

By 1945, the Germans and their allies and collaborators killed nearly two out of every three European Jews as part of the "Final Solution."
Item View

European Jewish population distribution, ca. 1950

Item View

Major deportations to killing centers, 1942-1944

At the Wannsee Conference in Berlin in January 1942, the SS (the elite guard of the Nazi state) and representatives of German government ministries estimated that the " Final Solution," the Nazi plan to kill the Jews of Europe, would involve 11 million European Jews, including those from non-occupied countries such as Ireland, Sweden, Turkey, and Great Britain. Jews from Germany and German-occupied Europe were deported by rail to the killing centers in occupied Poland, where they were killed. The Germans attempted to disguise their intentions, referring to deportations as "resettlement to the east." The victims were told they were to be taken to labor camps, but in reality, from 1942 onward, deportation for most Jews meant transit to killing centers and then death.
Item View

Killing centers in occupied Poland, 1942

Killing centers (also referred to as "extermination camps" or "death camps") were designed to carry out genocide. Between 1941 and 1945, the Nazis established six killing centers in former Polish territory- Chelmno, Belzec, Sobibor, Treblinka, Auschwitz-Birkenau (part of the Auschwitz complex), and Majdanek. Chelmno and Auschwitz were established in areas annexed to Germany in 1939. The other camps (Belzec, Sobibor, Treblinka, and Majdanek) were established in the Generalgouvernement (General Government) of Poland. Both Auschwitz and Majdanek functioned as concentration and forced-labor camps as well as killing centers. The overwhelming majority of the victims of the killing centers were Jews. An estimated 3.5 million Jews were killed in these six killing centers as part of the Final Solution. Other victims included Roma (Gypsies) and Soviet prisoners of war.
Item View

Einsatzgruppen massacres in eastern Europe

Item View

Persecution of Roma (Gypsies), 1939-1945

Roma (Gypsies) were among the groups singled out on racial grounds for persecution by the Nazi regime. Roma were subjected to internment, deportation, and forced labor, and were sent to killing centers. Einsatzgruppen also killed tens of thousands of Roma in the German-occupied eastern territories. The fate of the Roma closely paralleled that of Jews.
Item View

"Euthanasia" centers, Germany 1940-1945

In Nazi usage, " euthanasia" referred to the systematic killing of those Germans whom the Nazis deemed "unworthy of life" because of alleged genetic diseases or defects. Beginning in the fall of 1939, gassing installations were established at Bernburg, Brandenburg, Grafeneck, Hadamar, Hartheim, and Sonnenstein. Patients were selected by doctors and transferred from clinics to one of these centralized gassing installations and killed. After public outrage forced an end to centralized killings, doctors instead administered lethal injections to those selected for "euthanasia" in clinics and hospitals throughout Germany. In this way, the "euthanasia" program continued and expanded until the end of World War II.
Item View

Nazi concentration camps, 1933-39

The first concentration camps in Germany were established soon after Hitler's appointment as chancellor in January 1933. The Storm Troopers (SA) and the police established concentration camps to handle the masses of people arrested as alleged political opponents of the regime. These camps were established on the local level throughout Germany. Gradually, most of these early camps were disbanded and replaced by centrally organized concentration camps under the exclusive jurisdiction of the SS ( Schutzstaffel; the elite guard of the Nazi state). By 1939, seven large concentration camps had been established. Besides Dachau, they were Sachsenhausen (1936) north of Berlin, Buchenwald (1937) near Weimar, Neuengamme (1938) near Hamburg, Flossenbürg (1938), Mauthausen (1938), and Ravensbrück (1939).
Item View

European rail system, 1939

The European rail network played a crucial role in the implementation of the Final Solution. Jews from Germany and German-occupied Europe were deported by rail to killing centers in occupied Poland, where they were killed. The Germans attempted to disguise their intentions, referring to deportations as "resettlement to the east." The victims were told they were to be taken to labor camps, but in reality, from 1942 onward, deportation meant transit to killing centers for most Jews. Deportations on this scale required the coordination of numerous German government ministries, including the Reich Security Main Office (RSHA), the Transport Ministry, and the Foreign Office. The RSHA coordinated and directed the deportations; the Transport Ministry organized train schedules; and the Foreign Office negotiated with German-allied states to hand over their Jews.
Item View

European Jewish population distribution, ca. 1933

Jews have lived in Europe for more than two thousand years. The American Jewish Yearbook placed the total Jewish population of Europe at about 9.5 million in 1933. This number represented more than 60 percent of the world's Jewish population, which was estimated at 15.3 million. Most European Jews resided in eastern Europe, with about 5 1/2 million Jews living in Poland and the Soviet Union. Before the Nazi takeover of power in 1933, Europe had a dynamic and highly developed Jewish culture. In little more than a decade, most of Europe would be conquered, occupied, or annexed by Nazi Germany and most European Jews- two out of every three -would be dead.
Item View

# data[].attributes.attachment_link.title
Introduction to the Holocaust - Animated Map/Map

# data[].attributes.attachment_link.description
Media Essay This content is available in the following languages

# data[].attributes.body
Watch testimonies from Holocaust survivors. This can include video libraries available online. Discuss the impact of these testimonies on students' understanding of the Holocaust.

# data[].attributes.attachment_link.title
Jewish Holocaust Survivor Rachel Gottstein Full Testimony | USC Shoah Foundation

# data[].attributes.body
Analyze excerpts from Anne Frank's diary. Discuss the personal experiences and feelings depicted during the Holocaust.

# data[].attributes.body
Create an art project that reflects on the themes of remembrance and resilience. This could involve drawing, painting, or digital art.

# data[].attributes.body
Critically analyze Nazi propaganda materials. Discuss the role of propaganda in perpetuating the Holocaust and its impact on society.

# data[].attributes.body
Create a timeline of significant Holocaust events using online resources. This helps visualize the progression and key moments of the Holocaust.

# data[].attributes.body
Read and discuss significant works of literature related to the Holocaust, such as 'Night' by Elie Wiesel, and reflect on the human experiences depicted.

# data[].attributes.attachment_link.provider_name
The National Holocaust Centre and Museum

# data[].attributes.attachment_link.readable_text
Authors who first wrote about the Holocaust were almost always victims of National Socialist persecution. Their texts usually took the form of diaries or letters. When they were written, the authors very rarely intended them to be published. Often, they appeared in published form after the end of the Second World War and, in many cases, after the writer had been killed in a Nazi camp or ghetto.

Diaries offer us an insight into day-to-day life during the war, during occupation, while in hiding, during imprisonment in ghettos, and during imprisonment in concentration camps. Entries may stop suddenly. The break could mark the arrest, imprisonment, or even death of the writer.

Diaries can be adapted into other literary forms such as plays or novels.

Diaries reflect events as experienced by one individual. They are both a record of these events, and an attempt, through the act of writing, to come to terms with them as they happen. Because they are written in the present tense, there is no anticipation of events that we, readers today, know will happen later in time.

The Diary of Anne Frank

Anne Frank was born into a Jewish family in Germany in 1929. With the coming to power of the Nazi Party, the Frank family fled to Amsterdam. In May 1940, the Germans invaded the Netherlands.

"It's really a wonder that I haven't dropped all my ideals, because they seem so absurd and impossible to carry out. Yet I keep them, because in spite of everything, I still believe that people are really good at heart" (Anne Frank, 15 July 1944)

On 6 July 1942, the family went into hiding in a secret annex above the Opekta Works in Amsterdam. The were assisted by employees of the Opekta Works. On 4 August 1944, the hiding place was stormed by the Nazi authorities. The family was taken to Westerbork camp (Holland) and then Auschwitz. From there, Anne and her sister were sent to Bergen-Belsen. Here, they died of typhus shortly before the camp was liberated in April 1945.

Anne kept a diary between 12 June 1942 and 1 August 1944. It was addressed to "Kitty", whose identity has not been fully clarified. The diary charts Anne's relationship with those around her, her reactions to isolation and to anti-Semitism.

The diary, first published in Dutch in 1947, was translated into several languages. In the 1950s, it was the most-sold paperback in West Germany. Today the diary is one of the most widely read examples of Holocaust literature and has been adapted several times into films.

Despite this prominence, it has provoked controversy. Before its publication, Anne's father Otto removed parts of the diary in which Anne chronicled her sexual awakening, or criticised those around her - including Otto. An unabridged version was published in 1995.

Victor Klemperer (1881-1960)

Victor Klemperer was born into a Jewish family. In 1912, he converted to Protestantism. He received a Distinguished Service Medal as a volunteer in the German army during the First World War.

"Truly, I have always felt myself to be a German" (Victor Klemperer, 30 March 1933) "I am German and am waiting for the Germans to come back; they have gone into hiding somewhere" (Victor Klemperer, 30 May 1942)

His diaries chronicle his experiences in the Third Reich under a racial system which deemed him Jewish - a label he rejected.

He survived the war for two principal reasons: he was married to a non-Jew and his Gestapo records were destroyed during the Allied bombing of Dresden.

Between 1998 and 2003, English translations of his German-language diaries were published in three volumes: I Will shall Witness (1933 to 1941), To The Bitter End (1942 to 1945), and The Lesser Evil (1945 to 1959). They are valued for their insights into the experience of anti-Semitism during the Third Reich. They also shed light on the behaviour of German civilians and officials towards Jews.

Poems use language and grammar creatively. Writers employ poetic techniques such as rhyme or alliteration to draw attention to certain ideas, words, or emotions. There is no fixed way to write a poem: length, rhyme scheme, rhythm, and use of imagery vary from poem to poem. Because of the stylistic use of language, some have questioned whether poetry is a suitable form for writing about the Holocaust.

Theodor Adorno

In 1955, the German-Jewish philosopher Theodor Adorno famously declared: "to write a poem after Auschwitz is barbaric". For Adorno, the Holocaust was the product of the "Dialectic of the Enlightenment". By this, he meant that there were certain traditions in Western society and culture which had been manipulated for destructive purposes. The arts were a part of these western traditions. To go on using the arts after Auschwitz would be, according to Adorno, to use contaminated systems of speaking and thinking.

Linked to this was Adorno's criticism of the commercialisation of culture under capitalism. In Dialectic of the Enlightenment (1947), written together with Max Horkheimer, Adorno argued that the independence of art had been sacrificed to the interests of making money. The arts had been reduced to a "product" where all that mattered was their "market value": their aesthetic or ethical quality was irrelevant as long as they "sold well".

In 1966, Adorno revised his statement to acknowledge that "perennial suffering has as much right to expression as a tortured man has to scream; hence it may have been wrong to say that after Auschwitz you can no longer write poems."

"First They Came", Martin Niemöller (1892-1984)

Martin Niemöller was a Lutheran pastor. He initially supported Hitler's rise to power, but quickly became disillusioned with the Nazi Party's ideology. In 1937, he was imprisoned in Sachsenhausen and then Dachau. He was freed by the Allies in 1945.

His poem "First They Came" was first published in 1955 although it is believed to have been adapted from a 1946 speech. It highlights the dangers of not speaking out against injustice.

"Death Fugue", Paul Celan (1920-1970)

Paul Celan was born into a Jewish family in Romania. His parents died in an internment camp in Transnistria. Celan himself was imprisoned in different work camps during the war.

Celan's iconic poem "Death Fugue" directly confronts the annihilation of the Jews. Written towards the end of the war, it was first published in Romanian. The German version appeared in 1948. It only reached a wider public in 1952, as part of a poetry volume called Poppy and Memory. The line "Death is a master from Germany" is repeated four times and is the poem's central idea.

"Black milk of daybreak we drink you at night we drink you at noon death is a master from Germany" (Paul Celan, "Death Fugue")

Between 1945 and the end of the 1960s, literary treatments of the Holocaust were dominated by the writings of survivors. The works of first-generation authors represent the difficulties they faced when trying to comprehend the enormity of what they had experienced. Yet their works have more differences than similarities: every survivor's experience was unique. These texts often cross literary boundaries: they are neither purely autobiographical nor are they entirely fictional.

Night, Elie Wiesel (1928-2016)

Night (1960 in English translation) depicts Elie Wiesel's experience with his father in Auschwitz and Buchenwald between 1944 and 1945. The book details Wiesel's growing anger and disgust with his life and with humanity.

Critics are divided about how to categorise the book. Most agree it is not an eyewitness account. It is part autobiographical, part fictional. As a first-generation novel, it is often described as an autobiographical novel.

"Yet another last night. The last night at home, the last night in the ghetto, the last night in the train, and, now, the last night in Buna. How much longer were our lives to be dragged out from one 'last night' to another?" (Elie Wiesel, Night)

The writing of Night reflects the transnational character of the Holocaust and its aftermath: written in Yiddish, first published in Spanish-speaking Argentina, it recounts the experiences of a Romanian Jew and became known worldwide after its French translation.

If This Is a Man, Primo Levi (1919 - 1987)

Primo Levi, an Italian Jew and a member of the Italian resistance who survived Auschwitz, wrote If This Is a Man in 1946. In it, he discusses his feeling of guilt at having survived when others perished, and the sense of shame.

In 1986, Levi published The Drowned and the Saved. Here, he examines what he calls the "grey zone": in the case of those prisoners who collaborated with the Nazis, it is difficult to draw a categorical dividing line between victim and perpetrator.

This Way for the Gas, Ladies and Gentlemen, Tadeusz Borowski (1922-1951)

Born in Ukraine to Polish parents, Tadeusz Borowski was imprisoned as a political prisoner in Auschwitz and Dachau.

This Way for the Gas, Ladies and Gentlemen was first published in Polish in 1959. The main character, Tadek, describes how he and other prisoners assist the SS in the process of sending Jews to the gas chambers. Tadek is one of those in the "grey zone" described by Levi.

"There can be no beauty if it is paid for by human injustice, nor truth that passes over injustice in silence, nor moral virtue that condones it" (This Way for the Gas, Ladies and Gentlemen)

"I saw the death of a million people - literally, not metaphorically" (Tadeusz Borowski, 1946)

Second Generation Literature

The children of Holocaust survivors struggled to understand their parents' trauma, but at the same time were affected by it. Second-generation literature often reflects this sense of inherited trauma. Marianne Hirsch calls this "postmemory". Second-generation authors push out the boundaries of literature by combining different literary forms or subverting genre expectations.

Maus, Art Spiegelman (1948- )

Art Spiegelman's parents were Polish Jews who survived Auschwitz. The family moved to the United States when Art was two years old.

Art Spiegelman, author of Maus

Maus (the German word for "mouse") is a graphic novel depicting the Holocaust through drawings and text. It won the Pulitzer prize in 1992. Jews are represented as mice. The Germans are represented as cats. Key themes include the persecution of the mice, the violence exhibited by the cats and the difficulty experienced by Vladek (based on Art's father) in telling his son about his past.

Since the 1980s, new ways of writing about the Holocaust have emerged. Authors with no personal connection to the Holocaust now write first-person narratives about life in concentration camps. There are books aimed specifically at children. There are also now novels about the Holocaust told from the perspective of the perpetrators, such as Jonathan Littell's novel The Kindly Ones (first published in French in 2006). This novel is narrated by an SS officer involved in carrying out the Holocaust.

The Reader, Bernhard Schlink (1944- )

Bernhard Schlink was born in Germany in 1944. He is not Jewish and has no personal connection to the Holocaust.

His 1995 novel, The Reader, centres around two characters: Michael and Hanna. Michael is introduced as a fifteen-year-old boy who embarks on a sexual relationship with Hanna, a thirty-six-year-old woman to whom he reads classical literature. Michael subsequently encounters Hanna again as a university student - and discovers she is on trial for crimes committed during the Holocaust.

"So I was still guilty. And if I was not guilty because one cannot be guilty of betraying a criminal, then I was guilty of having loved a criminal" (Michael in The Reader)

One central theme is: can we still love someone after we discover that they have committed heinous crimes? But in the novel, Hanna's illiteracy appeared to excuse her slide into criminality, while the main victim on whom The Reader focused is not a Jew, but a young German.

The Boy in the Striped Pyjamas, John Boyne (1971-)

In John Boyne's 2006 novel, The Boy in the Striped Pyjamas, Bruno is the nine-year-old son of an SS officer. He befriends a Jewish boy, Shmuel, who is a prisoner in the nearby concentration camp run by Bruno's father. The book was criticised for its numerous historical inaccuracies. It implies, problematically, that perpetrators, or their family members, were also victims. But it has nonetheless become a bestseller and is frequently used in schools.

"What exactly was the difference? he wondered to himself. And who decided which people wore the striped pyjamas and which people wore the uniforms?" (The Boy in the Striped Pyjamas)

John Boyne, author of The Boy in the Striped Pyjamas (copyright: Barry O'Donovan. CC BY-SA 3.0)

There has been relatively little controversy about who can write about the Holocaust. There is one exception: when authors pretend to have a personal link but in fact have none.

The Belgian writer Misha Defonseca claimed in Misha: A Mémoire of the Holocaust Years (1997) that she had survived the Holocaust as a young girl.

It subsequently transpired that she was neither Jewish nor incarcerated during the war. There are a number of similar examples.

Is poetry simply too "beautiful" to be an appropriate medium for an engagement with the Holocaust?

Is it ethically problematic to present the Holocaust in a novel from the point of view of the perpetrators?

Does The Reader invite us to feel a degree of empathy with a perpetrator? If so, is this not also problematic?

To what degree can a novel alter the history of the Holocaust without becoming a travesty? Is The Boy in the Striped Pyjamas a travesty?

If there is a Holocaust novel you admire above all others, can you say why?

What can a novel do that a history book cannot?

Marianne Hirsch and Irene Kacandes, Teaching the Representation of the Holocaust (Modern Language Association of America, New York, 2004)

Erin McGlothlin, Second-Generation Holocaust Literature: Legacies of Survival and Perpetration (Camden House: Rochester, NY, 2006)

David Patterson, Encyclopedia of Holocaust Literature (Oryx: Phoenix, 2002)

Alan Rosen, Literature of the Holocaust (Cambridge University Press: Cambridge, 2013)

David G. Roskies and Naomi Diamant, Holocaust Literature: A History and Guide (Brandeis University Press: Waltham, MA, 2012)

R Clifton Spargo and Robert M. Ehrenreich, After Representation? The Holocaust, Literature, and Culture (Rutgers University Press: New Brunswick, NJ, 2010)

# data[].attributes.attachment_link.description
Initial Responses Authors who first wrote about the Holocaust were almost always victims of National Socialist persecution. Their texts usually took the form of diaries or letters. When they were written, the authors very rarely intended them to be published.

# data[].attributes.body
Take a virtual tour of a Holocaust museum. Students can explore exhibits virtually and discuss their observations and reflections.

# data[].attributes.attachment_link.readable_text
The Holocaust: History and Memory provides students with a new way to learn about Holocaust history. Developed in cooperation with Houghton Mifflin Harcourt and powered by Google Expeditions, this field trip allows students to virtually experience the US Holocaust Memorial Museum.

The virtual field trip includes nine different scenes from the Museum-covering our permanent exhibition, The Holocaust, our Hall of Witness and Hall of Remembrance, and a conservation lab where students can examine how our staff preserve and present Holocaust history.

Get Started

There are two ways to access this virtual field trip. It was originally developed, and is still best experienced, as an immersive VR experience for use with the Google Expeditions mobile app. However, you can now explore the field trip as a virtual tour using the web browser on any computer or mobile device. You can learn more about the Google Expeditions field trip below or explore in your web browser here.

Download the Google Expeditions App

Google Expeditions is a free virtual reality teaching tool that lets you lead or join immersive virtual trips all over the world. For guidance on setting up and using the app, visit the Google Expeditions Help Center.

1. Download the app for your iOS or Android device.

2. When you open the app, you will be prompted to sign in with a Google account.

3. After signing in, click Discover.

4. In the search bar at the top of the app screen, search for The Holocaust: History and Memory.

5. Click on the search result to save the virtual field trip.

Download the Lesson Plan

Lesson length: One to two class periods

In this lesson, students examine how the Museum uses artifacts and photographs from its collections to present the history of the Holocaust and memorialize its victims-including artifacts and photographs that illustrate important aspects of Holocaust history such as Torah scrolls rescued during Kristallnacht, a train car, prisoner barracks from Auschwitz, and a gas chamber model. Students also tour the Museum's architecture and discuss what makes the Museum a living memorial. Through their exploration of the Museum's exhibitions, students gain a greater understanding of key events and topics related to the Holocaust and are able to explain the systematic nature, scope, and consequences of the Holocaust.

Frequently Asked Questions

What will I experience during this virtual field trip?

Using VR headsets and mobile phones, The Holocaust: History and Memory immerses you in several 360-degree virtual spaces within the Museum, including sections of the permanent exhibition, memorial space, and conservation lab.

Each stop along the tour provides prompts for you to take a closer look at selected photographs and objects, as well as details in the building architecture.

Narration, as well as questions and answers, are provided for teachers to focus student attention and encourage critical thinking.

What equipment do I need to view the Museum's expedition?

Google Expeditions were originally designed for use in a classroom with teachers acting as a guide and students following along. They are best experienced as guided tours with the teacher acting as the guide. However, students may also independently take self-guided tours.

A compatible iOS or Android phone or tablet is required. Some Chromebooks work as well. While the tour works without a VR headset, for the full immersive experience, they are required. The best setting is one in which teachers use a tablet to narrate the tour, and students use mobile phones or similar WiFi-enabled devices and VR headsets. Learn more about recommended devices and mobile phone requirements.

To explore on your own, the minimum requirement is a compatible mobile phone, tablet, or Chromebook and a WiFi connection. Learn more about exploring on your own.

Are there other technology requirements to use this expedition?

Yes. You need a WiFi connection in order to download the tour within the Google Expedition app. Once the tour has downloaded, WiFi is no longer required.

In order for a teacher to provide a guided tour experience, the teacher's device and all of the students' devices must be connected to the same WiFi network. The WiFi must allow peer-to-peer communication. This is how the teacher is able to use their tablet to direct students to visual details during the tour. Learn more about setting up your WiFi network.

# data[].attributes.attachment_link.title
The Holocaust: History and Memory Virtual Field Trip

# data[].attributes.attachment_link.description
The Holocaust: History and Memory provides students with a new way to learn about Holocaust history. Developed in cooperation with Houghton Mifflin Harcourt and powered by Google Expeditions, this field trip allows students to virtually experience the US Holocaust Memorial Museum.

# data[].attributes.body
Students write reflective essays on the Holocaust, focusing on lessons learned, the impact on humanity, and personal reflections.

# data[].attributes.attachment_link.readable_text
In 2011, Humanity in Action published its first book, Reflections on the Holocaust. The essays collected in this volume were written by Humanity in Action Fellows, Senior Fellows, board members and lecturers who participated in Humanity in Action's educational programs from 1997 to 2010. Humanity in Action programs focus on the obligation to understand genocide, particularly the Holocaust and other mass atrocities in the 20th and 21st centuries and connect them to the complex challenges of diversity in contemporary societies. Interdisciplinary and intellectually rigorous, these programs explore past and present models of resistance to injustice and emphasize the responsibility of future leaders to be active citizens and accountable decision makers.

Each essay in this volume reflects upon the difficult necessity of understanding, teaching and memorializing the Holocaust. In addition, the essays consider our responsibility, as citizens living under democracies, to draw moral and ethical lessons from the Holocaust, as well as other mass genocides.

These essays do not set out to find answers. Instead, in the sprit of Humanity in Action, they challenge the reader to ask questions, to think critically and to act courageously. This volume of essays highlights the dangers of standing by, tolerating injustice and turning a blind eye.

Humanity in Action thanks Julia Zarankin, Senior Fellow and the editor of this book, and Werner Design Werks for their groundbreaking and innovative design. Humanity in Action is also grateful for the support of the Dutch Ministry of Health, Welfare and Sport, especially the Department of War Victims and Remembrance, for the publication of this volume.

To purchase this book directly from Humanity in Action, please contact info@humanityinaction.org. It can also be purchased online here. An e-book version can be downloaded free of charge further below on this page.

TABLE OF CONTENTS

Introduction, Julia Zarankin
1. Memorials, Monuments and Museums

"A Self-Serving Admission of Guilt: The Intention and Effects of Germany's New Memorial to the Murdered Jews", Sharon Chin, Fabian Franke and Sheri Halpern

"Auschwitz-Birkenau: A Visitor's Manual", Tomasz Cebulski

"Visiting the United States Holocaust Memorial Museum", Judith Goldstein

"Journey to Auschwitz", Julia Zarankin

2. The Challenges of Educating and Remembering

"Challenging Dutch Holocaust Education: Towards a Curriculum Based on Moral Choices and Empathetic Capacity", Jacob Boersema and Noam Schimmel

"The Responsibility of Knowledge: Developing Holocaust Education for the Third Generation", Kelly Bunch, Matthew Canfield and Birte Schöler

"Untangling Emotional History: How President Sarkozy's Failed Memory Initiative Illuminates France's Continuing Struggle with the Holocaust", Vera Jotanovic and Juliana Schnur

"Heroism in Danish Culture and Self-Understanding: The Problems with Writing the Rescue", Saskia Hansen and Julia Zarankin

"A Founding Myth for the Netherlands: The Second World War and the Victimization of Dutch Jews", Matthijs Kronenmeijer and Darren Teshima

3. Drawing Lessons from the Holocaust

"Sixty-Five Years Later: The Meaning of Humanity in Action", Ed van Thijn

"The Banality of Genocide", Konstanty Gebert

"The Educational Imperative", Anders Jerichow

# data[].attributes.attachment_link.title
Reflections on the Holocaust - Humanity in Action

# data[].attributes.attachment_link.description
In 2011, Humanity in Action published its first book, Reflections on the Holocaust. The essays collected in this volume were written by Humanity in Action Fellows, Senior Fellows, board members and lecturers who participated in Humanity in Action's educational programs from 1997 to 2010.

# data[].attributes.body
Organize a class debate on ethical dilemmas faced during the Holocaust, such as choices made by individuals to survive or resist.

# data[].attributes.attachment_link.title
The ethics issue: The 10 biggest moral dilemmas in science

# data[].attributes.attachment_link.description
Minimising suffering. Maximising happiness. Saving the planet. Looking after future generations. Worthy goals all, but what happens when they come into conflict? Science and technology are constantly pitting our values against each other. In this special feature, we've selected 10 particularly burning dilemmas.

# data[].attributes.body
Analyze music composed during or about the Holocaust, discussing its emotional impact and the messages conveyed through the music.

# data[].attributes.attachment_link.readable_text
When the war broke out Joseph Schmidt (1904-1942) fled to France then retreated to Switzerland. Although in possession of an American visa and well known, he was interned and, owing to a lack of medical attention, he died on 16 November 1942.

German conductor, composer and pianist Peter Gellhorn (1912-2004) fled Germany during the 1930s and settled in London. He conducted at the Royal Opera House, Sadler's Wells and Glyndebourne.

Walter Bricht (1904-1970) was an Austrian composer whose years as a professional composer coincided with Hitler's rise and the onset of Austro-fascism in 1933.

# data[].attributes.attachment_link.description
Music and the Holocaust presents over 500 articles about music including audio recordings of classical pieces and songs created or played in the camps and ghettos. The site includes additional biographies, background history, analysis in English, Spanish, French, German, Italian and Russian and many Holocaust Education resources.