curioussoul wrote: ↑Tue May 27, 2025 8:00 pm
Nessie wrote: ↑Mon May 12, 2025 7:42 amYou need evidence to prove the corpses taken to the Kremas were stored in the Leichenkellers and not just take straight for cremation.
That's what he's saying. Documentary evidence is no longer evidence, if it contradicts your theory?
No and you have no document that states corpses were stored in the Kremas, only documents that they were transported there.
I gave you evidence of how historians critically examine witness testimony and times witnesses have been debunked, or are considered too unreliable to be used.
You did not. You named Elie Wiesel, who was one of the most famous Holocaust witnesses ever. What you didn't do was show how Holocaust historians have actually assessed witnesses in a critical manner to determine the believability of their testimony.
https://www.tandfonline.com/doi/full/10 ... 014.951909
" 1 When does testimony become ‘testimony’? (i.e. should everything survivors say in connection with the Holocaust – on and off the record, incidental and considered, reflection as much as remembrance – be considered part of their ‘testimony’?) Another way of asking the question: Is ‘testimony’ best understood as one genre of survivors' retelling more generally, and, if so, what distinguishes it?
2 Relatedly, what are the advantages and disadvantages – for survivors and for the rest of us – of engaging survivors primarily as ‘bearers of testimony’ or ‘moral witnesses’?
3 In what ways do accounts composed during the war by those who did not survive (e.g. diaries, ghetto chronicles, buried records, and so on) inform, or conceivably mislead, the ways we understand survivor ‘testimony’?
4 How have concepts of trauma helped – and hindered – our understanding of survivors and of their retelling? Is ‘trauma’ also best viewed as one ‘genre’ of a wider spectrum of individual and/or collective suffering – or not?
5 How do you assess the impact of these concepts in contemporary discourse concerning survivors of catastrophe in general? Have these concepts illuminated, distorted, or some more complex combination our understanding of the current historical and cultural moment?"
The primary tests for witness evidence are, can they prove they were there and are their claims corroborated? The next tests are about how reliable and credible they are. Are they prone to exaggerate, are they giving hearsay evidence?
No. Historians have also not used Lali Sokolov.
Precisely, because he (along with the other novelists you mentioned) are not Holocaust witnesses who were ever utilized by any historian. I asked you to demonstrate how witnesses have been assessed and discarded and upon which criteria they were discarded. Real eyewitnesses used by historians to reconstruct the Holocaust, such as Filip Mueller, Miklos Nyiszly, Szlama Dragon and Henryk Tauber, not novelists who wrote books decades after the war.
The method is the same for both. Many have also been tested in court.
No, that's a English professor analysing three novels about the Holocaust written decades after the war. She's not a historian nor is she making critical historiographic analyses of witness testimony.
Get yourself together, man.
It is still an example of how false Holocaust testimony is identified, whether that is embellishment, or fabrication. Your allegation that all witnesses are accepted without any critical assessment is proven to be wrong.
"This chapter studies false and embellished Holocaust testimonies. In Binjamin Wilkomirski's Fragments and Bernard Holstein's Stolen Soul, the authors appear to be genuinely delusional about their childhood experiences and the historical context in which these took place. In relation to embellished testimonies, Deli Strummer attributes the inaccuracies in her recall in A Reflection of the Holocaust to the overwhelming nature of camp existence. Martin Gray's account in his For Those I Loved, which consists of his deportation to and taking part in the revolt in the death camp Treblinka, contains anomalies in his description of the camp. In his An Angel at the Fence, Herman Rosenblat added an invented element of romantic salvation to the real story of his survival from the concentration camp of Buchenwald as a teenager. While a Holocaust narrative serves as redemption for the loss of her parents during the war, only Misha Defonseca eventually confessed that her highly successful testimony in Surviving with Wolves was made up."