The Ethics and Aesthetics of Holocaust Narrative for the Future
Publication Year: 2012
Published by: The Ohio State University Press
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Title Page, Copyright
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C O n T e n T S
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Introduction “After” Testimony: Holocaust Representation and Narrative Theory2. Challenges for the Successor Generations of German–Jewish Authors 4. Performing a Perpetrator as Witness: Jonathan Littell’s Les Bienveillantes5. The Ethics and Aesthetics of Backward Narration in Martin Amis’s 7. Knowing Little, Adding Nothing: The Ethics and Aesthetics of ...
i l l U S T r a T i O n S
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Figure 2 Bracha Lichtenberg-Ettinger, “Mamalangue—Borderline ...
a C k n O w l e d g m e n T S
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The editors and contributors owe their collaboration on this volume to the Centre for Advanced Study (CAS) at the Norwegian Academy of Science and Letters in Oslo. The editors and many of the contributors were members of an international research project on narrative theory and analysis, pro-posed and led by Jakob and hosted and funded by CAS during the 2005–6 ...
“After” Testimonyi n T r O d U C T i O nHolocaust Representation and Narrative Theory
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In a few years, there will be no living survivors of the Holocaust. Although many commentators have acknowledged this fact, few have made sustained efforts to draw out its full implications. Will the disappearance of the last witness affect the way public discourse deals with the Holocaust? Will the Holocaust become, perhaps for the first time, truly “past history”? How will ...
P A R T IThe Powers and Limits of Fiction
Imre Kertész’s FatelessnessC h a P T e r
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.... . . the survivors bore witness to something it is impossible to bear wit-A novel about Auschwitz is not a novel—or else it is not about Auschwitz.we read books on auschwitz. The wish of all, in the camps, the last wish: know what has happened, do not forget, and at the same time never will Imre Kertész is a Hungarian Jew who was born in Budapest on November ...
Challenges for theSuccessor Generations ofGerman–Jewish Authors in Germany
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In the course of the last twenty years the situation for writers who deal with the consequences of National Socialism in general, and the Shoah specifi-cally, has changed considerably. In what follows I shall examine some narra-tives by three writers from the “successor generation” who, in spite of the fate of their families, have chosen to live their lives in Germany as Jewish–Ger-...
Recent Literature Confronting the Past
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First, a few words about my title. I have chosen to speak of “recent” literature in order to avoid the word “contemporary.” The notion of the contempo-rary, of sharing the same time (whether the present time or the time of the event), remains open to question, and we shall in fact question it later via the opposition between the “news value” (actualité) of memory and “memo-...
Performing a Perpetrator as Witness
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How convenient it would be if the Third Reich’s citizens had been some-how evil by nature, demons in somebody’s album of the damned—in other words, unlike us. The actual case, of course, is far more terrible.In an essay published two decades ago, before he had embarked on his authoritative two-volume study Nazi Germany and the Jews, the historian ...
The Ethics and Aesthetics ofBackward Narration in Martin Amis’sTime’s Arrow
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As Susan Rubin Suleiman notes in her essay in this volume, historians and artists working on the Holocaust have recently been giving more attention to the difficult task of comprehending the psychology of the perpetrators. When undertaken by novelists, as Suleiman shows in her insightful analysis of Jonathan Littell’s Les Bienveillantes, this effort inevitably raises significant ...
P A R T I IIntersections/Border Crossings
The Face-to-Face Encounter inHolocaust Narrative
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In Tolstoy’s novel War and Peace the captured Pierre is brought in to be interrogated by the French General Davoust. The General is aggressive, accuses his captive of being a spy, and when Pierre gives his name asks: “Monseigneur!” exclaimed Pierre in a t one that betrayed not of_fence but Davoust lifted his eyes and gazed searchingly at him. For some seconds ...
Knowing Little, Adding Nothing
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Can the story of the victims who perished in the Holocaust be adequately told? Clearly, those who perished cannot tell their own stories. But accord-ing to Primo Levi, the question has a particular significance in connection with the Muselmänner, those victims of the Holocaust who were destroyed as human beings before they died biologically. “Even if they had paper and ...
“When facts are scarce”
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Basic premises of this volume are that soon there will be no eyewitnesses alive who can testify to the complicated and tragic series of events we group under the single words “Holocaust” or “Shoah” and, further, that something will be different because all eyewitnesses will be gone. A group of individuals who have been concerned about this issue for a long time are the offspring ...
Objects of Return
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Edek resumed his digging. He dug and he dug. Half of the outhouse’s foun-dation now seemed to be exposed. Edek got down on his knees, and dug a He reached under the foundation and dug around with his fingers. He “i got it,” edek said breathlessly. he pulled out a small object, and began removing the dirt from its surface. The old man and woman tried get ...
Narrative, Memory, and Visual Image
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One essential reason why the German–British author W.uni00A0G. Sebald’s prose works are not only peculiarly unclassifiable but also unusually compelling is the way in which their textual surface is interrupted by uncaptioned black-and-white photographs and other visual images. This essay will explore how Sebald responds to the historical events of the Second World War and the ...
Which Narrative of Auschwitz?
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The documentary Auschwitz: The Nazis and ‘the Final Solution’ was aired on the occasion of the sixtieth anniversary of the end of the Second World War. The main topics of the series are, first, the planning and building of the con-centration and extermination camp Auschwitz and, second, the perpetrators’ motives; the latter is part of an attempt to explain why Auschwitz was built ...
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...[T]he lived body is coterminous with place because it is by bodily movement An older Jewish émigré was asked why he had joined a tour to Auschwitz, Majdanek, the Warsaw ghetto, and the Polish village whence he came. Why would he travel years later from his adoptive home in the United States to these Eastern European sites of killing, sickness, and survival? “‘The same ...
P A R T I I IThe Holocaust and Others
From Auschwitz to the Temple Mount
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John Coetzee’s most memorable novel taught us that we are always Waiting for the Barbarians: identifying who and where they are is the best way of defining who we are. Aren’t we what is left over after the barbarian is sub-tracted or banished from our social order? But if we succeed, as C.uni00A0P. Cavafy warns us, “what’s going to happen to us without barbarians? / They were, ...
The Melancholy Generation
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The state of Israel rose from the ashes of the Jewish people of Europe in the most literal and blood-chilling sense, out of a desperate need for communal survival, under the motto “never again.” But the first fifteen years which fol-lowed the establishment of the state were marked by a “pact of silence” that sealed off the present from the immediate past: the silence of those who ...
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In the concluding lines of André Schwarz-Bart’s novel A Woman Named Solitude (La mulâtresse Solitude, 1972), the narrator recalls the “humiliated ruins of the Warsaw Ghetto” while describing the site of a failed Caribbean slave revolt (Woman 150). Schwarz-Bart, who died on September 30, 2006, was a French Jew of Polish origin who lost his family in the Nazi genocide ...
Hiroshima and the Holocaust
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All narratives need to address the issue of beginnings and endings. Dur-ing her adventures in Wonderland, Alice is given the advice “begin at the beginning, continue until you reach the end, then stop.” This seems simple enough, but what is a beginning? Where does a story really start? At what point can one become aware of the fact that an event constituted a begin-...
C O n T r i b U T O r S
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DAPHNA ERDINAST-VULCAN is Professor of English at the University of Haifa, Is-rael, and Editor-in-Chief of the Haifa University Press. She is the author of Graham Greene’s Childless Fathers (1988); Joseph Conrad and the Modern Temper (1991); and The Strange Short Fiction of Joseph Conrad (1999), and has recently completed an in-terdisciplinary study, provisionally titled Between Philosophy and Literature: Bakhtin ...
I N D E X
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James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series EditorsBecause the series editors believe that the most signifi ant work in narrative studies today contributes both to our knowledge of specific narratives and to our understanding of narrative in general, studies in the series typically of_fer interpretations of individual narratives and address signifi ant theoreti-...
Page Count: 408
Illustrations: 5 images
Publication Year: 2012
Series Title: Theory and Interpretation of Narrative
Series Editor Byline: James Phelan, Peter J. Rabinowitz, and Robyn Warhol