| Abstract | Revisiting Grathoff's theory of symbolic type ( ST), we examine the personal evolution and commemorative work of Tsipi Kichler, a cultural entrepreneur and founder of an alternative Israeli Holocaust museum/geriatric center. As hybrid product of Israeli social cleavages, Kichler exteriorizes her paradoxical vision in the museum aiming to reform Holocaust-related discourse and practice. Early biographical positioning and resultant contradictions become translated into resistant commemorative performance where serious humor deconstructs the binaries of life/death and past/present. We consider the implications of the ST's self-referential closure to interaction, and the transformative potential of the alignment of cultural entrepreneurs' personal memory with collective memory.
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