Title Page, Copyright

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pp. i-vi

Contents

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pp. vii-viii

Illustrations

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pp. ix-x

Acknowledgments

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pp. xi-xii

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Introduction

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pp. 1-16

Political controversies surrounding Holocaust memorials and museums, and critical debates regarding Holocaust testimonies, films, and literature, rely on an often unarticulated assumption: the possibility of successful and unsuccessful Holocaust artworks. If that is the case...

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1. Mandelshtam’s Meridian: On Paul Celan’s Aesthetic-Historical Materialism

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pp. 17-73

The poetry of Paul Celan has played a salient role in the ongoing debate surrounding linguistic meaning and interpretation, even when the stakes of that debate extend beyond the experience or interpretation of artworks altogether. Thus both Jacques Derrida...

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2. Conflict and Commemoration: Two Berlin Memorials

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pp. 74-136

On the afternoon of November 14, 1993, the so-called People’s Day of Mourning (Volkstrauertag), the Central Commemorative Site of the Federal Republic of Germany (Zentrale Gedenkstätte der Bundesrepublik Deutschland) was unveiled in the modest, neoclassical...

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3. The Aesthetics of Historical Quotation: On Heimrad Bäcker’s “System nachschrift

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pp. 137-159

The editor and poet Heimrad Bäcker (1925–2003) earned his early fame and literary reputation as one of the most active adherents of the avant-garde tradition in Austria, as founded by the Vienna Group of writers.3 In the 1950s and 1960s they created individual and...

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4. The Aesthetic-Historical Imaginary: On Shoah and Maus

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pp. 160-203

In this final chapter I consider two works in two different media that have often occupied center stage in discussions of Holocaust art and historical understanding: Claude Lanzmann’s nine-hour film Shoah and Art Spiegelman’s two-volume graphic novel Maus. Although...

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Conclusion: The Morality of Holocaust Art

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pp. 204-210

The preceding chapters have offered philosophical analyses of specific Holocaust artworks as fulfilling, in different but exemplary ways, the dual desiderata of the normatively minimalist framework by maintaining both a historical and an aesthetic relation, the two...

Notes

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pp. 211-252

Bibliography

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pp. 253-272

Index

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pp. 273-280