style. The presence of women in Holocaust resistance roles which survivor authors sometimes magnify in their narratives is a factor which a general theory such as Jelinek's and many others need to take into account.
Furthermore, the distinction which Jelinek draws between seeking affirmation and understanding and the projecting of self-idealizing images may not hold for women's Holocaust memoirs. Internal evidence often refers to the use of small resistance gestures, magnified in order to deny one's compliance in the oppression. The need to assert resistance actions by self- dramatizing memoirists often stems from the need to replace the victim or collaborator image of Holocaust Jews with a stronger image. Fénelon alludes to this need when she refers to the negative image of the Birkenau orchestra in other memoirs, and when she describes her self disgust at singing for the SS. Dribben alludes only a few times to troubled feelings when faced with Jewish victims, but her self portrait is so uniformly militant and tough that it demands admiration at the expense of believability. One assumes that Dribben is also fighting the "like sheep to the slaughter" charge that weighs on many Holocaust survivors. Given this motive, the self-aggrandizing image appears to be linked in these texts to a justification of self.