Abstract: The Auschwitz-Birkenau State Museum received two million visitors in 2019, making it the most heavily visited museum in Poland. This entry situates tourism at Auschwitz within the broader context of Holocaust tourism by providing an historical account of the phenomenon. It begins with those visitors to the camp before 1945 who were not tourists (Nazi officials, local suppliers, engineers), drawing attention to tourism’s ethical ambiguity. Since the museum’s 1947 opening, tourists have encountered a site undergoing continual development, its exhibition spaces and its messaging evolving from the Stalinist era through the Cold War to the present period. This chapter considers how shifts in the site’s memory politics, especially regarding the representation of different victim groups, have led to unresolved tensions that still surface during the tour. It then considers some present-day challenges to the legitimacy of tourism at Auschwitz, such as visitor behaviour or the difficulties in providing an appropriate, authentic, and informative experience to large crowds. Finally, the chapter reviews different scholarly approaches to Holocaust tourism, such as dark tourism theory and empirical visitor research, before concluding with questions for future research into Auschwitz tourism.
Abstract: The past is never past, wrote William Faulkner. The great American writer had in mind his native Mississippi, but he might as well have written those words about Poland. Indeed, among history-conscious Poles, the findings of historians have had far-reaching social and political consequences that transcend the esoteric discussions of scholars. This was corroborated in recent times by the emergence of a discourse in Poland over what some have called polityka historyczna (Geschichtspolitik, or history policy), which focuses on the question of whether historians who write of the less glorious episodes in Polish history are actually acting against the interests of the nation. Many Polish historians, including the best-known scholars among them, have protested against this suggestion, which poses a clear danger to the fidelity of their discipline. The dissolution of the Communist regime in Poland at the end of the 1980s made possible the deconstruction of every aspect of contemporary history. The process of reconstruction, begun in earnest, proved to be complex and painful. This was particularly the case when dealing with the bitterest chapters in the millennial story of Polish-Jewish relations, which were, and continue to be, the subject of popular and intellectual discussion as well as serious scholarly research. Out of this process emerged a new understanding of history, one that renders much of the earlier canon on the topic virtually obsolete. It had, in fact, been under way for some years even before the collapse of Communism – especially in the pages of Poland’s extraordinarily vibrant underground press and also, to an impressive extent given the prevailing censorship, in those of Poland’s legally operated independent Catholic press. Polish émigré journals were also regularly smuggled into Poland and had significant influence. Nevertheless, it was only with the collapse of the old regime and the birth of Poland’s Third Republic that this activity could be carried out without interference and Poland could finally undergo its own Vergangenheitsbewältigung (coming to terms with the past). This chapter discusses the evolution of Poland’s confrontation with the destruction of Polish Jewry.
Abstract: The terrain of the past remains a battleground in Ukraine, where policymakers, interest groups, and individuals continue to use and abuse history for contemporary gains. The recent escalation of Russian violence has only exacerbated these processes. Apart from discussions of Ukraine and Russia’s historical relations and the Holodomor, nothing looms larger than the Holocaust in Ukraine’s ongoing memory wars, whether in discussions and denials of local collaboration and complicity in anti-Jewish violence or exercises in comparative and/or competitive suffering. This article examines the Holocaust as it played out in Ukraine and the evolving memoryscapes that emerged in its wake, homing in on two major massacres, Babyn Yar and Bohdanivka, and their memorial afterlives in Soviet Ukraine (ca. 1945–91) and independent Ukraine (1991–today). While this project briefly engages the well-trod topics of local collaboration and competitive suffering, as evidenced in competing monuments on the site of Babyn Yar itself and the larger commemorative landscape of Kyiv, it draws attention to understudied sites like Bohdanivka, which fell within the Romanian occupation zone during the war.
Abstract: Holocaust Memorial Day 2026 reached more people than ever before, with millions engaging across the UK through national moments of remembrance, education and community activity. From Light the Darkness to events in schools, workplaces and public spaces, this year showed the growing impact of coming together to remember, learn and stand against all prejudice today.
Central to this was the Light the Darkness campaign, which saw 230 buildings and landmarks illuminated in purple at 8pm as part of a nationwide act of remembrance – an increase from 200 in 2025. Delivered in partnership with Ocean Outdoor and supported by JCDecaux, Global and Bauer Media, the campaign appeared on 3,000 billboards across the UK, generating over 10 million impacts\*. HMDT’s radio advert aired more than 900 times across Global’s network, reaching a further 14 million impacts.
Engagement also grew at community level, with 3,800 organisations marking HMD – up from 3,500 the previous year. This was mirrored by a surge in digital participation on the day, with social media interactions across HMDT’s Facebook, Instagram and LinkedIn rising by 140%, from 10,000 in 2025 to 24,000 in 2026.
Crucially, the 2026 impact data highlights the reversal of a decline over the past two years in secondary school participation, which had previously attracted national concern. More than 1,000 secondary schools marked Holocaust Memorial Day this year – 17% of the total number of secondary schools nationwide, which increased from just 9% last year. This was further bolstered by the reach of the charity’s educational film, *It began with words*, which was viewed by over 130,000 pupils, helping ensure that the lessons of the Holocaust remain central to younger generations.
To take a deeper look at the key moments behind this year’s commemoration, read our Impact Report for Holocaust Memorial Day 2026. From a special event hosted by Their Majesties The King and Queen to acts of remembrance in communities across the UK, the report captures the scale and significance of HMD 2026.
Abstract: In 2009, the Auschwitz-Birkenau State Museum took the experimental initiative of creating a Facebook page; since then, it has established accounts on other social media platforms, such as Instagram and Twitter, and is now followed by more than one million users across these networks. This chapter investigates the ways in which the Museum utilises social media, particularly with regard to its authority as an institution and site of Holocaust education and remembrance. On one hand, the Museum has fostered an online virtual community where Auschwitz victims are commemorated, the ethics of remembrance are discussed, and users’ feedback is sought and acknowledged. On the other hand, the institution uses social media to fact-check and criticise certain representations of Auschwitz, suggesting only those explicitly approved by the Museum are acceptable. This demonstrates a wider Museum dichotomy between retaining traditional, didactic practices and establishing contemporary, participatory ones.
Abstract: In this chapter, we investigate how four Italian and five German Holocaust memorials and museums, as well as three major internationally relevant Holocaust organizations, employed Facebook for Holocaust remembrance purposes during the period of pandemic lockdown. A comparison was made of the quantity and variety of activity on their Facebook pages during the months of April and May 2020, as compared with the same time span in 2019 and 2021. Although the study revealed major changes and adjustments in Holocaust institutions’ Facebook activities, both in terms of volume and type of content and regarding interaction strategies, the results show that the COVID-19 lockdown did not appear to trigger a radical change in Holocaust remembrance institutions’ use of social media. Despite the changes found in many Holocaust remembrance practices on Facebook and their growing use of digital media, the memorials and museums considered in this study appear to adopt a conservative stance in terms of the topics and themes addressed via social media and a general little change in the framework of commemoration policies. Also, despite a drive toward internationalization, as demonstrated by the Holocaust institutions’ increased use of English, there still appears to be a certain tension between local and global memories of the Holocaust.
Abstract: The severe restrictions on public life following the spread of the COVID-19 pandemic affected Holocaust memorials and museums worldwide, especially in Europe, Israel, and the United States. These measures posed significant challenges to contemporary forms of Holocaust commemoration, which were based on collaborative practices of remembering, particularly related to the experience of presence at the memorial sites. In our chapter, we ask in which ways the pandemic had an accelerating effect on global Holocaust memory by tracing, analyzing, and identifying the institutionalized use of online platforms and digital formats on social media. We present results from an online survey conducted with 32 key institutions in the field of Holocaust commemoration in the Spring and Summer of 2020 and discuss them in the context of various forms of digital activities initiated by Holocaust memorials and museums in response to the pandemic. For that purpose, we have created a comprehensive database of 45 digital projects, which were released in the first months of the pandemic, and conducted a multimodal analysis of selected projects. We identified a significant increase in social media use and digital tools, in particular video formats, helping institutions to communicate virtually with potential audiences. Memorials utilized various social media features like live streams, stories, and hashtags to implement elements of participatory memory culture that offer users the possibility to participate in new collaborative forms of mediated commemoration. In doing so, they helped to establish like-minded and co-creative commemoration communities.
Abstract: In our chapter, we investigate how the Covid-19 restrictions affected the translation of in-person commemorative ceremonies into online-only events. Whilst the majority of existing research has a relatively small scale, we have turned to the larger scope of social media data to examine wider online memory culture. To do so, we conduct comparative analysis of Twitter, Facebook, and Instagram data from institutions organising commemorative events for the liberation of Neuengamme, the massacre at Srebrenica, and the liberation of Beau Bassin together with non-institutional posts using the hashtags from these institutions. Through this analysis, we aim to answer our main research questions: how do the online discourses by institutions and the wider public compare in relation to posts using shared hashtags during major commemoration periods during Covid-19 lockdowns? To what extent did the move to remote engagement during the pandemic reconfigure the so-called bifurcation of memory culture, between institutional and popular memory discourse (Hoskins, 2014) in any way that might suggest that the lockdowns evidence a change in commemoration practices? Our findings demonstrate that despite the major anniversaries marked in 2020, related memory institutions had little impact on social media, and their commemorative approaches in these spheres were not transformed by the pandemic.
Abstract: Virtual reality and augmented reality experiences play an increasingly significant role in Holocaust memory and education as professional memory institutions continue to explore the affordances of integrating digital technologies into visitor and user experience. There is a rapidly expanding list of projects experimenting with cinematic virtual reality, photogrammetry, digital mapping, 3D modelling, 360-degree on-location survivor testimony as well as a growing portfolio of augmented and mixed reality mobile and tablet applications.
Principally being implemented as spatial technologies, several memorial sites and museums are exploring the possibilities of creating 3D graphic reconstructions of former sites of Nazi persecution in AR/VR such as the digital reconstruction of Falstad Concentration Camp, the Here: Spaces for Memory App at the Bergen-Belsen Memorial Site, the Sobibor AR exhibit, the project Auschwitz VR as well as the 360-degrees-walks at Neuengamme Concentration Camp Memorial. Going further, some digital initiatives are using VR/AR/MR technologies to zoom in on historical documents, testimonies and artefacts, notable projects include the ARt AR App at the Dachau Memorial Site and Museum which revivifies historical and contemporary drawings and paintings in-situ at the present-day site, the Anne Frank House VR which invites visitors to navigate the annex through a series of digital objects, and The Last Goodbye VR experience which foregrounds survivor testimony within Majdanek, the similarly survivor-driven Walk with Me at The Melbourne Holocaust Museum and numerous films that shape the Illinois Holocaust Museum and Education Center’s The Journey Back exhibition space.
While it is important to note that VR technology is not new and has existed for more than 30 years, it is only recently that the technology has become more widely accessible in the heritage and museum sectors (in part, due to the affordability of headsets and devices in the domestic market). The proliferation of VR and AR projects within the sector, then, raises critical questions regards the opportunities for digital Holocaust memory practice and education while also bringing to the fore issues of curation, contextualisation, visitor experience and accessibility.
This report serves as an important first step in this work. It was created as part of the research project ‘Participatory Workshops – Co-Designing Standards for Digital Interventions in Holocaust Memory and Education’, which is one thread of the larger Digital Holocaust Memory Project at the University of Sussex. The participatory workshops project have focused on six themes, each of which brought together a different range of expertise to discuss current challenges and consider possible recommendations for the future.
The themes were:
AI and machine learning
Digitising material evidence
Recording, recirculating and remixing testimony
Social media
Virtual memoryscapes
Computer games
Abstract: The social media landscape is ever-changing as is its relationship to Holocaust memory and education. In the earlier days of Facebook and Twitter’s dominance, there was a clear divide of opinions in the Holocaust sector. On one hand, some institutions were early adopters (notably the Auschwitz State Museum) and others experimented with the affordances of these platforms such as the team at Grodzka Gate, Lublin extending the analogue practice of school pupils sending letters to child Holocaust victim Henio Zytomirski onto Facebook and the United States Holocaust Memorial Museum’s ‘tweet-up’ hybrid architecture tour. On the other hand, expressions of hesitance about these participatory spaces informed the need for the International Holocaust Remembrance Alliance’s Education Working Group to establish guidelines for using social media in this context (2014).
As practice grew, it also became somewhat formalised with most organisations predominantly focusing on Twitter, Facebook and Instagram for public engagement work, and most content presenting traditional curation of historical sources with additional narrative, promoting the organisation’s offline (or elsewhere online) work, or behind the scenes access to curator and educator experiences. Whilst, one of the
celebrated potentials about social media is their ability to help organisations to reach wider (global) audiences, little has changed online since Eva Pfanzelter’s (2014) claim that the Holocaust institutions that dominated previously offline, also dominate on social media platforms. Few others attract much engagement with their posts.
TikTok has brought both new opportunities and challenges for the Holocaust sector – organisations and individuals who have taken to creating content on the platform are seeing far greater engagement than they had on previous ones. Yet, TikTok is also one of the most data-invasive and opaque platforms regarding researcher access. Many also encounter far more Holocaust denial, distortion and trivialisation on this platform. However, the social media landscape is also far larger than the Holocaust sector has really acknowledged and much of the coded hate content that appears on mainstream platforms has been cultivated at scale on others, from 8Chan to Telegram, and gaming and VR social spaces. It is imperative therefore that we bring together a wide range of stakeholders and experts to discuss what the sector needs to move forward with its work on social media. If Holocaust memory and education is to remain visible in the ever-expanding digital world, then it must be visible across a variety of digital spaces.
This report serves as an important first step in this work. It was created as part of the research project ‘Participatory Workshops – Co-Designing Standards for Digital Interventions in Holocaust Memory and Education’, which is one thread of the larger Digital Holocaust Memory Project at the University of Sussex.
The participatory workshops project have focused on six themes, each of which brought together a different range of expertise to discuss current challenges and consider possible recommendations for the future. The themes were:
AI and machine learning
Digitising material evidence
Recording, recirculating and remixing testimony
Social media
Virtual memoryscapes
Computer games
Abstract: The article discusses the development of the symbolic meanings of Auschwitz in Poland since the end of the Second World War, taking into account the context of Polish history and memory, in particular the memory of the Holocaust and disputes surrounding it. Analyzing various kinds of representations, the article examines chronologically the major symbolisms of the former camp – Polish, international, universalist, and Jewish – as well as pointing to others, and identifying the periods of their development. The article argues that Auschwitz has had various meanings in Poland. At present, it is, among others, a symbol of the Holocaust, but not the symbol thereof.
Abstract: In this article, we analyse Il Memoriale della Shoah, the memorial of the victims of the Shoah in Milan, which was inaugurated in 2013 and, in 2015, was turned into a night shelter for destitute migrants. To understand the rhetoric and politics of the Memorial, we bring together the notions of affective practices, découpages du temps (lit. slices of time) and multidirectional memory. This analytic approach allows us to examine the nonlinear shape of remembering, the dialectic relationships between the spatialisation of time and the temporalisation of space, the ways in which emotions are brought into being semiotically in context, and the ethical questions that these feelings raise. Through detailed multimodal and affective analysis of the affordances of the built environment and its soundscape, the curation of the Memorial, the contextualisation of three guided tours (two online and one in situ) and politicised commentary on the Memorial’s decision to shelter refugees, our paper illustrates the multi-layered character of the relationship between space and time – one in which the past, the present and the future partly overlap and mobilise political action.
Abstract: In October 2021, Imperial War Museums (IWM) opened its new Holocaust Galleries in its London branch, replacing its first Holocaust Exhibition (from 2000) that had become a landmark in British Holocaust memory. Because of its comprehensive nature and intricate scenography, the new Holocaust Galleries are at the centre of almost all recent major narrative, political, and ethical debates about Holocaust representation in museums. The book provides an ideal global case-study understanding the possibilities and limitations of re-presenting trauma and violence in museums today and whether Holocaust exhibitions can promote democratic, civic, or human rights values, making it an important resource for museum practitioners, public history educators, and university researchers alike, interested in Historical, Museum, Memory, Holocaust, Genocide, or Cultural Studies. The volume brings together texts written by museum practitioners and academic scholars. It is divided in three parts: a long essay by James Bulgin, Head of Content for the new Holocaust Galleries, about the genesis and implementation of the exhibition, supplemented with briefer essays by educators and community members involved in the development of the exhibition, an extensive interview by Stephan Jaeger with IWM researchers James Bulgin and Suzanne Bardgett, and an extensive part with six critical essays by university scholars analysing the new Holocaust Galleries from numerous theoretical angles.
Abstract: In Italy, after the victory of Giorgia Meloni’s post-fascist party, “Fratelli d’Italia,” several studies began to discuss whether or not the country has come to terms with the memory of fascism, its role as an inspirer of Nazism, and the collaboration with Nazi Germany in the Holocaust. Especially the latter, scholarly literature pointed out, has failed to receive the attention it deserves. This article argues that this is particularly true with regard to public history, the way historical information and events are interpreted and presented to the general public, and focuses on public museums exhibiting the Holocaust and resistance. Evidence for this article comes from two in-depth case studies regarding the oldest yet unaltered Liberation Museum in Rome and the Museum-Monument to Racial and Political Deportees in the Nazi Lagers in Carpi. The article contends that within these museums, the narration of resistance prevails, whilst evidence of Italy’s past collaborationism remains hidden and unexhibited. In essence, these museums emphasise national heroism and sidestep Italian accountability in the Holocaust.
Abstract: La culture mémorielle de l’Europe de l’Est a subi une transformation radicale après l’effondrement du communisme, du fait de l’« américanisation » de la Shoah, c’est-à-dire, pour reprendre les termes de Winfried Fluck, spécialiste de la culture allemande, un processus de démocratisation consistant à éradiquer toute complexité afin de rendre accessibles à un vaste public des événements complexes. De nouveaux musées ont été créés pour réécrire l’histoire de la Seconde Guerre mondiale d’un point de vue anticommuniste. Le langage utilisé ne correspondait ni à la culture mémorielle nationale, ni à la conceptualisation religieuse de la Shoah, ni au contexte linguistique et culturel de la vie dans l’Allemagne nazie avant et pendant le conflit. Divers auteurs ont analysé le phénomène des pays européens qui n’opposèrent aucune résistance à l’hégémonie de l’Allemagne nazie et de son programme politique. Ceux-ci s’accordent à dire que l’analyse devrait dépasser le clivage bourreaux-spectateurs-victimes.Il existe une contradiction flagrante entre la terminologie employée par la muséologie antifasciste avant 1989 et celle qui est en cours dans les nouveaux musées construits dans les années 2000. L’idée d’une coexistence avec l’Allemagne nazie est une question idéologique et politique majeure, notamment, aujourd’hui, avec la mise en relief illibérale de zones d’ombre précédemment ignorées dans le discours muséologique. Le présent article soutient que le terme « collaboration » n’est pas un bon critère de mesure des phénomènes qui ont fait l’objet de travaux récents…
Abstract: In discussions of commemorative spatial practices, landscape has often been relegated to the background of more figured forms of architecture and sculpture. This paper presents three recent landscape-based Holocaust Memorial projects – Esterwegen Concentration Camp, Platform 17 Memorial, and Memorial Place at Mühldorfer Hart – which centre on trees to address key themes of absence and resilience. Unlike the German Holocaust memorials that rely on Minimalist forms to communicate, these projects embrace ambiguity and process. In doing so, these projects present a powerful counterpoint to the dehumanising abstraction of other Holocaust sites. Through these case studies, this discussion will engage memorial scholarship by James E. Young, Jacky Bowring, and Andrew Shanken to illuminate how landscape can create complex and enduring memorial narratives. Using the author’s site photos, the project designers’ published documentation, and key theoretical works, this paper will compare these projects to suggest new strategies for spatialising memory.
Abstract: Significance
Commemoration initiatives seek to increase the public visibility of past atrocities and the fates of victims. This is counter to the objectives of revisionist actors to downplay or deny atrocities. Memorials for victims might complicate such attempts and reduce support for revisionist actors. The current research examines whether, on the level of local neighborhoods, exposure to memorials for victims of NS persecution can reduce support for a far-right, revisionist party. We find that, in Berlin, Germany, the placement of small, local “stumbling stones” commemorating victims and survivors of NS persecution, is associated with a substantial decrease in the local far-right vote share in the following election. Our study suggests that local, victim-focused memorials can reduce far-right support.
Abstract
Does public remembrance of past atrocities lead to decreased support for far-right parties today? Initiatives commemorating past atrocities aim to make visible the victims and crimes committed against them. This runs counter to revisionist actors who attempt to downplay or deny atrocities and victims. Memorials for victims might complicate such attempts and reduce support for revisionist actors. Yet, little empirical evidence exists on whether that happens. In this study, we examine whether exposure to local memorials that commemorate victims of atrocities reduces support for a revisionist far-right party. Our empirical case is the Stolpersteine (“stumbling stones”) memorial in Berlin, Germany. It commemorates victims and survivors of Nazi persecution in front of their last freely chosen place of residence. We employ time-series cross-sectional analyses and a discontinuity design using a panel dataset that matches the location and date of placement of new Stolpersteine with the election results from seven elections (2013 to 2021) at the level of polling station areas. We find that, on average, the presence of Stolpersteine is associated with a 0.96%-point decrease in the far-right vote share in the following election. Our study suggests that local memorials that make past atrocities visible have implications for political behavior in the present.
Abstract: La presenza della memoria della Shoah nel discorso pubblico italiano si è profondamente modificata negli ultimi decenni, innanzitutto a partire da uno sviluppo storiografico iniziato nel 1988, cinquantesimo anniversario delle leggi razziali del fascismo. Più tardi, nel 2001, è stato introdotto per legge il Giorno della memoria (27 gennaio), data che ha prodotto un riconoscimento ufficiale nel calendario civile italiano degli eventi della Shoah, ma anche una ritualizzazione e sovrapproduzione del ricordo. Paradossalmente, inoltre, la legge italiana istitutiva del 27 gennaio non contiene la parola “fascismo”. È in seguito prevalsa nel discorso pubblico la commemorazione costante dei “Giusti”, cioè dei salvatori degli ebrei, a discapito del ricordo degli italiani che arrestarono gli ebrei nel 1943-1945, collaborando con i tedeschi alla loro deportazione. La più recente fase della “postmemoria” lascia intravedere un possibile superamento della monumentalizzazione, ad esempio attraverso la posa delle “pietre di inciampo” nelle città italiane ed europee, che ricordano le singole vittime nei luoghi del loro arresto. Fioriscono inoltre narrazioni, che intrecciano storia e letteratura, prodotte da una terza generazione anche non ebraica. Ma la memoria degli eventi della Shoah, per essere “autentica”, deve continuare a nutrirsi sia di racconto che di storia.
Abstract: The notion of “Holocaust restitution” most often evokes associations with the process of financial repatriation, reversing the confiscation of priceless artworks from Jewish families, or amending the seizure of property or furniture from non-Jewish neighbours. Whilst each respective country sets their own rules or guidance of how to address this, the rules are much less clear for the returning of property robbed from the victims and later unearthed from the ground, and more specifically as a result of archaeological excavations. As such, there has been almost no scholarly research into the many ethical issues that this raises for relevant stakeholders (institutions, archaeologists, and relatives) involved in the discovery of biographical objects of murdered Holocaust victims. My ongoing research, therefore, seeks to address the deeply sensitive issue of memory ownership and material culture in such instances. My work introduces the term “forensic restitution” as a potential solution to this issue, whereby cultural objects uncovered through excavations are returned to an individual or community, rather than belonging to a nation state (Wilson 2024, p. 97).
Abstract: Holocaust heritage across Europe is held to high standards of conservation, management, interpretation, and use, due to the belief that all such sites should be retained as or turned into places of memorialization as their primary function. This paper proposes that a pragmatic approach instead be taken towards Holocaust heritage in the twenty-first century and beyond. In acknowledgement that heritage practitioners today are not safeguarding this as a “found” heritage resource in 1945, but in the present day, it is argued that it is inevitable and perhaps unavoidable to make pragmatic decisions which take into account changes to such sites over the last 80 years. Site managers and other stakeholders are not in a position to make decisions based on a clean slate, devoid of post-war events and uses. Drawing on case studies from Serbia and Czechia, and adopting a three-pronged model of “heritage pragmatics,” this paper argues that our choices today should reflect and acknowledge past uses and aim towards more pragmatic solutions, letting go of idealistic aspirations more suitable for sites without a long history of reuse.
Abstract: ‘Het was prachtig zoals de wielen van de wagons in het begin in Nederland rolden …’ aldus een trotse Adolf Eichmann, het organisatorische meesterbrein achter de deportaties van de joden uit de door nazi-Duitsland bezette gebieden naar de vernietigingskampen, enkele jaren na de oorlog. Hij had alle reden tevreden te zijn. In geen enkel ander West-Europees land werd zo’n groot deel van de joodse bevolking weggevoerd en vermoord, en dat had ook te maken met de medewerking van veel Nederlandse instanties. Een harde en pijnlijke waarheid, die velen in Nederland aanvankelijk niet onder ogen wilden zien. In dit boek worden geschetst hoe Nederland met de herinnering aan de Jodenvervolging is omgegaan, vanaf de eerste jaren na de bevrijding tot aan de opening van het Nationaal Holocaust Museum in 2024. Opvallend daarbij is dat de nazistische vervolging in Nederland al in de jaren zestig een belangrijke plaats kreeg in de nationale herinneringscultuur, vooral dankzij het Eichmann-proces en het werk van Jacques Presser. Het nationalistische beeld van de oorlog als een periode van ‘onderdrukking en verzet’, waarin de Jodenvervolging in de eerste plaats werd gezien als een illustratie van de Duitse terreur tegen het Nederlandse volk, bleek niet langer houdbaar. Vanaf de jaren negentig zou Nederland steeds meer onder invloed raken van de internationale herinneringscultuur die zich vormde rond het begrip ‘Holocaust’, een term die aanvankelijk buiten de VS geheel onbekend was. Dat proces laat zich goed aflezen aan het taalgebruik en de herdenkingsrituelen, maar ook aan monumenten, musea, media, film en literatuur. Rond de Holocaust ontstond een soort ‘burgerlijke religie’, die niet alleen politiek wordt beleden, in Europa, de VS en andere delen van de wereld, maar ook diep geworteld is in de cultuur en samenleving, te beginnen in Nederland. Nederland en de herinnering aan de Jodenvervolging biedt een diepgravend overzicht van de omgang met de herinneringen aan de meest pijnlijke en ingrijpende episode uit de moderne Nederlandse geschiedenis. Frank van Vree is em. hoogleraar Geschiedenis van Oorlog, Geweld en Herinnering aan de Universiteit van Amsterdam. Eerder was hij directeur van het NIOD en decaan van de Faculteit Geesteswetenschappen van de UvA. Hij publiceerde een groot aantal studies op het terrein van de moderne geschiedenis en historische cultuur.
