brutin batya (14 resultados)

hardcover. Condición: New. 1st.

hardcover. Condición: As New. Never read, no marks or highlighting in the book. Our copy is hardback with printed covers, showing light shelf-wear.

Hardcover. Condición: As New. Hardcover with printed boards. Shows light shelf wear, otherwise as new. Pages are clean and unmarked. No notes or highlighting.

Hardcover. Condición: As New. Text clean and tight; no dust jacket; 8vo 8" - 9" tall; 336 pages.

Hardcover. Condición: As New. 1st Edition. Book is as new. 196pp with colour and b/w photographs.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Condición: New. A series of numbers was tattooed on prisoners' forearms only at one location - the Auschwitz concentration camp complex. Children, parents, grandparents, mostly Jews but also a significant number of non-Jews scarred for life. Indelibly etched with a number into their flesh and souls, constantly reminding them of the horrors of the Holocaust. References to the Auschwitz number appear in artworks from the Holocaust period and onwards, by survivors and non-survivor artists, and Jewish and non-Jewish artists. These artists refer to the number from Auschwitz to portray the Holocaust and its meaning. This book analyzes the place that the image of the Auschwitz number occupies in the artist's consciousness and how it is grasped in the collective perception of different societies. It discusses how the Auschwitz number is used in public and private Holocaust commemoration. Additionally, the book describes the use of the Auschwitz number as a Holocaust icon to protest, warn, and fight against Holocaust denial.

Condición: New. In.

Hardback. Condición: New. A series of numbers was tattooed on prisoners' forearms only at one location - the Auschwitz concentration camp complex. Children, parents, grandparents, mostly Jews but also a significant number of non-Jews scarred for life. Indelibly etched with a number into their flesh and souls, constantly reminding them of the horrors of the Holocaust. References to the Auschwitz number appear in artworks from the Holocaust period and onwards, by survivors and non-survivor artists, and Jewish and non-Jewish artists. These artists refer to the number from Auschwitz to portray the Holocaust and its meaning. This book analyzes the place that the image of the Auschwitz number occupies in the artist's consciousness and how it is grasped in the collective perception of different societies. It discusses how the Auschwitz number is used in public and private Holocaust commemoration. Additionally, the book describes the use of the Auschwitz number as a Holocaust icon to protest, warn, and fight against Holocaust denial.

Hardback. Condición: New. Arbeit Macht Frei befasst sich mit den verschiedenen Darstellungen, Bedeutungen und Interpretationen des berüchtigten Satzes in der Kunst. Dessen Ursprung liegt in dem Roman des deutschen Philologen Lorenz Diefenbach (1806-1883) aus dem Jahr 1873 und geht auf die Zeit der Weimarer Republik zurück. ,Arbeit macht frei' wird aber vor allem mit den Nationalsozialisten in Verbindung gebracht, die die Phrase an den Eingängen von sechs Konzentrationslagern anbrachten. Mit Verachtung und Ironie sollten die Gefangenen in die Irre geführt und falsche Hoffnungen geweckt, sowie Widerstand und Aufstände verhindert werden. Batya Brutin spricht über Künstler/-innen, die den Holocaust überlebt haben, und Nachkommen, die ebenfalls Künstler/-innen sind, sowie über andere, die die Phrase in ihren (Kunst)Werken verwenden. Sie nehmen in Auseinandersetzung mit und dem Gedenken an den Holocaust einen persönlichen oder allgemeinen Blickwinkel ein, vermitteln politische Botschaften, oder ringen mit universellen Wahrnehmungen. Dies ist das erste Buch, das sich mit diesem schwierigen, aber notwendigen Thema in der Kunst beschäftigt.

Hardback. Condición: New. A series of numbers was tattooed on prisoners' forearms only at one location - the Auschwitz concentration camp complex. Children, parents, grandparents, mostly Jews but also a significant number of non-Jews scarred for life. Indelibly etched with a number into their flesh and souls, constantly reminding them of the horrors of the Holocaust. References to the Auschwitz number appear in artworks from the Holocaust period and onwards, by survivors and non-survivor artists, and Jewish and non-Jewish artists. These artists refer to the number from Auschwitz to portray the Holocaust and its meaning. This book analyzes the place that the image of the Auschwitz number occupies in the artist's consciousness and how it is grasped in the collective perception of different societies. It discusses how the Auschwitz number is used in public and private Holocaust commemoration. Additionally, the book describes the use of the Auschwitz number as a Holocaust icon to protest, warn, and fight against Holocaust denial.

Hardback. Condición: New. Arbeit Macht Frei befasst sich mit den verschiedenen Darstellungen, Bedeutungen und Interpretationen des berüchtigten Satzes in der Kunst. Dessen Ursprung liegt in dem Roman des deutschen Philologen Lorenz Diefenbach (1806-1883) aus dem Jahr 1873 und geht auf die Zeit der Weimarer Republik zurück. ,Arbeit macht frei' wird aber vor allem mit den Nationalsozialisten in Verbindung gebracht, die die Phrase an den Eingängen von sechs Konzentrationslagern anbrachten. Mit Verachtung und Ironie sollten die Gefangenen in die Irre geführt und falsche Hoffnungen geweckt, sowie Widerstand und Aufstände verhindert werden. Batya Brutin spricht über Künstler/-innen, die den Holocaust überlebt haben, und Nachkommen, die ebenfalls Künstler/-innen sind, sowie über andere, die die Phrase in ihren (Kunst)Werken verwenden. Sie nehmen in Auseinandersetzung mit und dem Gedenken an den Holocaust einen persönlichen oder allgemeinen Blickwinkel ein, vermitteln politische Botschaften, oder ringen mit universellen Wahrnehmungen. Dies ist das erste Buch, das sich mit diesem schwierigen, aber notwendigen Thema in der Kunst beschäftigt.

Hardback. Condición: New. A series of numbers was tattooed on prisoners' forearms only at one location - the Auschwitz concentration camp complex. Children, parents, grandparents, mostly Jews but also a significant number of non-Jews scarred for life. Indelibly etched with a number into their flesh and souls, constantly reminding them of the horrors of the Holocaust. References to the Auschwitz number appear in artworks from the Holocaust period and onwards, by survivors and non-survivor artists, and Jewish and non-Jewish artists. These artists refer to the number from Auschwitz to portray the Holocaust and its meaning. This book analyzes the place that the image of the Auschwitz number occupies in the artist's consciousness and how it is grasped in the collective perception of different societies. It discusses how the Auschwitz number is used in public and private Holocaust commemoration. Additionally, the book describes the use of the Auschwitz number as a Holocaust icon to protest, warn, and fight against Holocaust denial.

219 S., 146 farb. Abb. Kart. *neuwertig* A series of numbers was tattooed on prisoners' forearms only at one location - the Auschwitz concentration camp complex. Children, parents, grandparents, mostly Jews but also a significant number of non-Jews scarred for life. Indelibly etched with a number into their flesh and souls, constantly reminding them of the horrors of the Holocaust. References to the Auschwitz number appear in artworks from the Holocaust period and onwards, by survivors and non-survivor artists, and Jewish and non-Jewish artists. These artists refer to the number from Auschwitz to portray the Holocaust and its meaning. This book analyzes the place that the image of the Auschwitz number occupies in the artist's consciousness and how it is grasped in the collective perception of different societies. It discusses how the Auschwitz number is used in public and private Holocaust commemoration. Additionally, the book describes the use of the Auschwitz number as a Holocaust icon to protest, warn, and fight against Holocaust denial.