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In analysing the symbolic language of Holocaust memorials, the author uses the concept of lieux de mémoire, elaborated by the French historian Pierre Nora. Nora highlights the essential differences, even rupture, between history and memory and the growing importance of lieux de mémoire, places of memory that lie between memory and history. The task of these places is to return the event to the present, reviving it in both the individual memory and the memory of society. Therefore, a memorial can also be considered a lieu de memoire. Moreover, the memorial is a more complicated case with material, symbolic and functional significance, a lieu de mémoire and a historical text with changing relations between them. The paper will briefly describe the basic principles of Holocaust iconography and the history of the development of Holocaust memorials as a new genre of commemorative art. The author will look at the development of this genre in Latvia using the example of memorials dedicated to victims of Nazism in Vidzeme. The monument’s symbolic language and whether it has been influenced by the specific place and events or whether artists have followed a specific iconographic canon will be explained. The examples will also be considered from the point of view of the dialectics between a place of memory and a historical text, mentioned above.

The publication of Bernhard Schlink’s novel The Reader (1995) sparked conversation and controversy about sexuality, female perpetrators and the complexity of guilt regarding the Holocaust. The screen adaptation of the book (Daldry 2008) amplified these discussions on an international scale. Fictional Holocaust films have a history of being met with skepticism or even reject on the one hand and great acclaim on the other hand. As this paper will outline, the focus has often been on male perpetrators and female victims. The portrayal of female perpetration reveals dichotomous stereotypes, often neglecting the complexity of the subject matter. This paper focuses on the ways in which sexualization is used specifically to portray female perpetrators in The Reader, as a fictional Holocaust film. An assessment of Hanna’s relationship to Michael and her autonomous sexuality and her later inferior, victimized portrayal as an ambiguous perpetrator is the focus of my paper. Hanna’s sexuality is structurally separated from her role as a perpetrator. Hanna’s perpetration is, through the dichotomous motif of sexuality throughout the film, characterized by a feminization. However, this feminization entails a relativization of Hanna’s culpability, revealing a pejorative of her depiction as a perpetrator. Consequently, I argue that Hanna’s sexualized female body is constructed as a central part of the revelation of her perpetration.