Berenstain Bears Get the Don't Haftas by Stan Berenstain, Jan Berenstain

By Stan Berenstain, Jan Berenstain

In advance of an important highway journey, there's something Sister undergo doesn't need to do

Before the Berenstain Bears pile into the automobile to go to Aunt Dorothy, there's something each undergo must do: visit the rest room. but if Mama undergo indicates a cease within the restroom to Sister endure, Sister will in simple terms say: "I don't hafta."

No subject what Mama indicates, Sister insists, "I don't hafta. I don't hafta. I don't hafta." because it will get nearer and in the direction of the time to depart, will Mama endure persuade Sister that perhaps she does hafta? Or will the family members be creating a pit cease earlier than they're even at the highway?

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Extra resources for Berenstain Bears Get the Don't Haftas

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Originally a photo-essay, the book was later augmented with a written narrative of Max’s memories, her mother’s testimony, and an interpretation of the stories. In the photos, the daughter showcases the one surviving picture that still exists of Raizel as a girl with her family, contemporary family pictures, and photo art, all with explanatory captions. The artwork included in the book combines images from the cultural archive of Holocaust memory with pictures of contemporary anti-Semitic graffiti from Max’s Australian surroundings, evoking vestiges of and links to family history.

Chapter 2 explores material objects as the most tangible of nodes, investigating how these physical mementos of the pre-Holocaust past are interpreted and analyzed, as well as the meanings – for instance, loss, or ‘authentic’ family memory – ascribed to them. Few objects might have survived, but when they function as nodes in Second Generation memory work, the micro histories of families become part of cultural memory. In this chapter, the differences between the families of refugees and camp survivors are conspicuous.

1 Symbolizing the loss of family, community, and culture – the lost world of upscale Jewish Vienna for de Waal, and the destroyed communities of Bratslav and Kishinev for Miller – family objects serve as the triggers and compasses of physical and metaphorical journeys into the past. Souvenirs, relics (primarily in the nonreligious sense), souvenirs, and other memorabilia are important themes in the study of memory; they represent the past and are, in metonymic form, embodiments of the past. In his seminal study on cultural memory, Jan Assmann defines several external dimensions of memory, such as societal and cultural structures, mimetic memory, and also the Gedächtnis der Dinge, ‘the memory of things’ (2011: 6).

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