From 1941 to 1944, the Nazis murdered perhaps 80,000 people, mostly Jews, in a small concentration camp in the suburbs of Lviv, Ukraine called Janowska. The camp also served as an indispensable accomplice in deporting and exterminating the bulk of the 160,000 Jews in the city as well as tens of thousands from the surrounding countryside. Very little remains of the site today and little archaeology is possible as the area is still largely part of a Ukrainian prison. Commemoration and public history around the former camp is limited, even for the inhabitants of Lviv. A methodology incorporating the spatial turn-an analysis of space and place in the camp, as well at multiple scales-is therefore especially suited to investigating the built environment of this camp. Relying on the archival research for a completed scholarly book manuscript, this project aims to build the first Historical Building Information Model (HBIM) of a Nazi concentration camp. This pathbreaking digital humanities (DH) project will add to several critical scholarly discussions: 1) the use of DH tools in modeling and scholarly analysis, 2) the pedagogical utility of HBIM in public history, 3) the ethical considerations raised by the application of this methodology to sensitive topics like sites of suffering and genocide as well as its prospective suitability in the heritage sector. In addition, it will offer me as a digital humanist to hone my skills in the doing of DH and in leading an interdisciplinary team. HBIMs are rapidly becoming a cutting-edge tool for both the preservation and analysis of historical spaces. Once built, the model will enable a variety of research exploring issues such as visibility, perspective, even the modelling of sound. Such inquiries can both answer and ask important questions about the lived experience of the camp that other methodologies cannot. The process of creation raises important theoretical and methodological questions of great interest to the larger historical community. Historical sources are by nature imperfect and will lend varying degrees of accuracy to the HBIM. In reconciling these sources, this project operates at the forefront of DH work by grappling with mapping ambiguity and qualitative mapping. For example, what choices do we make in modelling when we have less than perfect information about the built environment and how do we visualize that ambiguity and indicate it to the user? Equally important, this project will encounter critical ethical questions that bear investigating. How do we visualize these spaces? What choices must be made with regards to realism and representation? Only through the process of modelling can these practices be explored. One of the outputs of this project will be at least one but potentially more scholarly journal articles reflecting on the theoretical, methodological, and ethical questions and lessons learned from this digital reconstruction. Finally, the web-based educational platform (which will incorporate the model) will link archival information such as testimony and images spatially within the model, providing a rigorously curated introduction to the important history of the camp and the Holocaust in Lviv/Galizien. This additional project element performs two critical roles. First, as it will be translated into Ukrainian, the model will be used to educate the local population of Lviv and Ukraine. Secondly, both the project and the accompanying educational environment will model one approach to the preservation and interpretation of heritage sites. This is especially important given the fact that the majority of the Janowska site is both inaccessible to the public and mostly physically destroyed. The recent war in Ukraine has made this even more pressing as Russian forces have destroyed Holocaust sites and archives.

In 1915, during the Armenian genocide, thousands of women were 'absorbed' into Turkish, Kurdish and Arab households. Afterwards, some escaped or were rescued by aid organisations, and rejoined the Armenian community. Almost a century later in 2014, in neighbouring Iraq, thousands of Yezidi women were abducted by ISIS and held in sexual slavery. Some managed to escape, helped by rescue networks, and joined other Yezidi survivors in refugee camps. Reintegration was a fraught and often exclusionary process. With taboos over sexual and religious purity broken, those who returned from captivity were sometimes viewed as unable to truly return. The women's stories remained largely untold and unheard: instead they were converted into symbols of a martyred, victimised community, and a site for humanitarian intervention. Often, wittingly or unwittingly, NGOs reproduce these exclusionary frameworks, in both fundraising materials and aid practices. Scholarship, too, has struggled to depict the experience of such violence. I will collaborate with three Project Partners who are already challenging these problematic frameworks to address three key unanswered questions: 1) What were these women's experiences of captivity and reintegration, in all their uncomfortable complexity? 2) How can academics, NGOs, and artists write and visualise these stories differently, to problematise and subvert our current understandings of and responses to this violence? 3) How can NGOs learn from past experiences to better support reintegration and recovery after mass gendered violence? I will first travel to Iraq to interview Yezidi survivors, working with the charity Free Yezidi Foundation. In the US and Canada I will complete archival research on Armenian women and give talks to Armenian diaspora communities to assist me in gathering family stories of genocidal captivity. I will then focus on a comparative book. Extending and reorienting my previous work on Armenian women survivors, I take up a key challenge from the cognate field of Holocaust Studies: how to write violence? How to evoke the women's disorienting, jarring experiences of genocide, captivity, and reintegration? In the absence of testimony from the Armenian women themselves, I will read state, humanitarian, and other sources against the grain, and incorporate the family stories I have gathered. My interviews with Yezidi women will inform my thinking about Armenian women's experiences, and provide key primary material. I will develop my ideas on 'writing violence' further via two academic workshops with early-career peers, in which we collaboratively explore solutions to the difficulties of writing violence. The rest of the Fellowship is devoted to reimagining the public representation of these women's experiences, and influencing policy and scholarship. An exhibition at the Wiener Holocaust Library, developed in conjunction with Free Yezidi Foundation and the Armenian Institute, will tell the diverse captivity stories of ten Armenian and ten Yezidi women, exploring questions of voice, documentation, and representation. Accompanying the exhibition are two further interventions: a series of events enabling audiences to engage with these issues, and a NGO policy briefing, outlining the problems with current practices and offering alternatives. A journal article on 'genocidal captivity' will offer a new direction for studies of gender and genocide. This project dovetails with and develops the missions of each Project Partner. It will reshape the public understanding of genocide, and NGO practices. It will increase public and policymaker recognition of ISIS violence against the Yezidi, and will provide a proper historical articulation of hidden family stories for Armenian communities. The Fellowship will establish me as an emerging research leader in Genocide Studies, and will enable significant impact and knowledge exchange activities to reimagine the telling of genocidal captivity.

During the interwar years, fascist movements were active in every European country. Reflecting fascism as a transnational cycle of protest, this networking project brings together twenty scholars, each of whom have specialist knowledge of one European fascist movement. Through a series of structured meetings, the collaborators will seek to uncover common trends and themes between the movements. With an expanded knowledge of fascist movements, the participants in the network will produce a seminal collection of translated source material to be published by Routledge. Crucially, through a close collaboration with the Wiener Library London and the Centre for the Analysis of the Radical Right, the project will bring its findings into the public realm in the form of a public website, exhibition and digital app. Given the resurgence of right-wing parties and extremist movements across the world in recent years, this is a timely project. Indeed, it is crucial more than ever that we now understand how fascist movements functioned. Most scholars define fascism by thinking first of what was unique about fascist regimes, putting fascist movements a distant second. As a result we lose sight of countries where strong fascist movements never managed to take power. By placing movements rather than regimes at the centre, this project helps us to understand more fully what drove individuals to identify themselves with the label 'fascism', how fascists recruited, and how states and anti-fascist individuals dealt with the fascist threat. This project has serious consequences for the field of fascist studies more generally. First, instead of looking for an ideology that has been officially sanctioned by a regime, we explore the roots of these movements. In many cases the movement preceded the formulation of ideology. We thus need to study ideology as a product of fascist movements rather than as their cause. Second, the project suggests that 'successful' fascisms gained strength from the political systems they were challenging. Fascism should therefore be seen as a transnational cycle of protest that managed to take power in some countries but not others. Taking this approach necessitates an exploration of where fascists themselves looked for their inspiration and redrawing our conceptual maps appropriately. Finally, thinking of fascism in transnational terms challenges us to write a chronological history of this protest cycle as a whole rather than telling each story independently within the confines of various nation-states. At present scholars know too little about fascist movements in a comparative sense because too few of the sources have been translated. Our source collection will allow high school and university students to analyse sources themselves and provide specialists with the material they need for a deeper engagement with movements that they do not have the linguistic capabilities to research themselves. The project seeks to increase public knowledge about fascist movements through a series of interactive public events and an article in the journal History and Policy. Collaborations with the Centre for the Analysis of the Radical Right will facilitate conversations with experts on contemporary extremism and provide forums for outreach. Similarly, the project partnership with the Wiener Library will lead to a public symposium and exhibition of the source material in the Library's exhibition space.

With the passing of the final survivors, the Nazi genocide of European Jews is at last truly becoming historical. Yet antisemitic and other racial prejudice, hate speech, and violence are everywhere still present and indeed surging. In the context of ethnic and religious conflict, popularism, social and economic precariousness, and even pandemic, the Holocaust is variously invoked as a warning from history; a moral, legal, and political imperative to promote and even enforce universal human rights; and in social and cultural controversies from abortion, animal rights, and climate change to COVID-19 mask mandates and anti-vaccination misinformation. Literary responses to the Holocaust have significantly shaped global awareness of the genocide. Anne Frank, Elie Wiesel and Primo Levi are most often cited and their texts circulate widely. However, there is a vastly larger number of works that constitute Holocaust literature, composed across the decades, in a variety of languages, and around the world. As the canon has expanded, scholars have identified ever more exemplars of testimony, documentary, poetry, fiction, and other forms. Such works are often arranged within the conventional categories of nation, period, and genre that, in the context of the Holocaust, may be more or less artificial given the transnational and trans-epochal nature of the events and the literary response to them. In the analysis of individual texts the focus has largely remained on the author's own Holocaust experience, the authenticity of the representation, the moral response, the intergenerational transmission of trauma, or formal innovations. This project aims to theorise Holocaust Literature (HL) as a literary system defined by inequalities of power, resources, and privilege between different experiences, geographies, and languages. In Phase 1, the project's international, multi-lingual team will consolidate and critically assess recent developments in HL research, e.g. gender; minor languages; intersectionality; underrepresented sites and methods of mass killing; the role of translation and the publishing industry, etc. In Phase 2, we will build on new thinking in World Literatures, Postcolonial Studies, and Jewish Studies to explore how texts BECOME Holocaust Literature. Focussing on the key concepts of context, canons, and circulations, we will compare across geographies and languages: 1. the social, political, and cultural conditions under which HL texts are produced at different times and in diverse places; 2. the mechanisms by which HL texts become canonical; and 3. how HL texts circulate transnationally and globally and impact within ever-changing memory discourses. While pathbreaking work in each of these areas has appeared in the last decade, this project will be the first to approach HL as a literary system, comparatively and at scale, in order to provide compelling evidence for the interaction between contexts, canons, and circulations and for how this interaction can break down, produce unexpected results, or be subverted. The project promises new insights into the construction of HL, individual works, and the literary-theoretical debates that frame the project. The project will be co-created iteratively through online and face-to-face workshops and with an international Advisory Board. The primary outcome is a Cambridge History of Holocaust Literature, commissioned by CUP as an authoritative investigation of the volume, diversity, and constitution of HL since 1933. The book will be complemented, in Phase 3, by an edited volume of exemplary readings aimed at students, an international public engagement programme, and dissemination at the Association of Jewish Studies. Together, these outcomes will contribute to consolidating HL research, diversifying the HL canon, enriching theoretical debates, and decolonising the curriculum. Three PDRAs will be trained in editing, international collaboration, and project management.