Abstract:

How has "privilege" been represented and incorporated in the study and understanding of the Holocaust, especially through accounts of those who survived? The prolific Dutch Jewish painter and ceramicist, Sieg Maandag, was among the few surviving orphaned children of Amsterdam's so-called Diamond group of prisoners. For a time, they and their families formed part of a "privileged" group of prisoners held in Bergen-Belsen. This essay will consider Maandag's oeuvre as a vehicle for the development of a language of self-expression related to his own trauma and sense of his "privilege", demonstrating how former "privileged" persecutees endured periods of alternating or simultaneous expectation, uncertainty, waiting, hope, and fear connected specifically to the capricious status of exemption that they shared, and how knowledge of their "privileged" status was later assimilated into narratives of survival. Maandag's allusive work demonstrates recurring expressions of the psychological terrain of "privilege" and trauma, which are inextricably bound together due to the trajectory and fate of his family during the Holocaust.

摘要：

在对大屠杀的研究和理解中，特别是通过对幸存者的描述，“特权”是如何体现和融入的？多产的荷兰犹太画家和陶艺家 Sieg Maandag 是阿姆斯特丹所谓的钻石囚犯群中为数不多幸存的孤儿之一。有一段时间，他们和他们的家人成为被关押在卑尔根-贝尔森的“特权”囚犯群体的一部分。这篇文章将 Maandag 的作品视为发展与他自己的创伤和他的“特权”感相关的自我表达语言的载体，展示了前“特权”受迫害者如何忍受交替或同时的期待、不确定、等待的时期， 希望，恐惧特别与他们共同享有的反复无常的豁免地位有关，以及他们的“特权”地位的知识后来如何被吸收到生存的叙述中。Maandag 的暗示性作品展示了“特权”和创伤心理领域的反复表达，由于他的家人在大屠杀期间的轨迹和命运，它们密不可分地联系在一起。