ToC: Jewish Social Studies 21,1 (2015)

Jewish Social Studies 21.1 (2015)

Table of Contents

 Front Matter


New Book: Hansen-Glucklich, Holocaust Memory Reframed

Hansen-Glucklich, Jennifer. Holocaust Memory Reframed. Museums and the Challenges of Representation. New Brunswick: Rutgers University Press, 2014.


Holocaust memorials and museums face a difficult task as their staffs strive to commemorate and document horror. On the one hand, the events museums represent are beyond most people’s experiences.  At the same time they are often portrayed by theologians, artists, and philosophers in ways that are already known by the public. Museum administrators and curators have the challenging role of finding a creative way to present Holocaust exhibits to avoid clichéd or dehumanizing portrayals of victims and their suffering.

In Holocaust Memory Reframed, Jennifer Hansen-Glucklich examines representations in three museums: Israel’s Yad Vashem in Jerusalem, Germany’s Jewish Museum in Berlin, and the United States Holocaust Memorial Museum in Washington, D.C. She describes a variety of visually striking media, including architecture, photography exhibits, artifact displays, and video installations in order to explain the aesthetic techniques that the museums employ. As she interprets the exhibits, Hansen-Glucklich clarifies how museums communicate Holocaust narratives within the historical and cultural contexts specific to Germany, Israel, and the United States. In Yad Vashem, architect Moshe Safdie developed a narrative suited for Israel, rooted in a redemptive, Zionist story of homecoming to a place of mythic geography and renewal, in contrast to death and suffering in exile. In the Jewish Museum in Berlin, Daniel Libeskind’s architecture, broken lines, and voids emphasize absence. Here exhibits communicate a conflicted ideology, torn between the loss of a Jewish past and the country’s current multicultural ethos. The United States Holocaust Memorial Museum presents yet another lens, conveying through its exhibits a sense of sacrifice that is part of the civil values of American democracy, and trying to overcome geographic and temporal distance. One well-know example, the pile of thousands of shoes plundered from concentration camp victims encourages the visitor to bridge the gap between viewer and victim.

Hansen-Glucklich explores how each museum’s concept of the sacred shapes the design and choreography of visitors’ experiences within museum spaces. These spaces are sites of pilgrimage that can in turn lead to rites of passage.

Cite: Hansen-Glucklich, Visual Holocaust Narratives in National Museums

Jennifer Hansen-Glucklich. "EVOKING THE SACRED: VISUAL HOLOCAUST NARRATIVES IN NATIONAL MUSEUMS." Journal of Modern Jewish Studies 9.2 (2010): 209-32.




This essay examines how Yad Vashem: The Holocaust Martyrs’ and Heroes’ Remembrance Authority in Jerusalem and The Jewish Museum in Berlin move beyond the usual informative and communicative functions of museum exhibits to visually evoke sacred feelings in regard to Holocaust memory. Ideas and images of the sacred vary in the two museums, reflecting two very different memorial cultures and commemorative goals, and these contrasting contexts frame the analysis. Theoretically informed by religious and ritual studies, both sacred time and space are considered through close readings of museum architecture, visual exhibits and the movement of the visitor through the museums.