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  Volume 14, Number 1, Spring 2001

Table of Contents

From: The Yale Journal of Criticism

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pp. 1-3 | DOI: 10.1353/yale.2001.0011


pp. 315-317 | DOI: 10.1353/yale.2001.0004


Surviving Images: Holocaust Photographs and the Work of Postmemory

pp. 5-37 | DOI: 10.1353/yale.2001.0008


pp. 39-66 | DOI: 10.1353/yale.2001.0016

Memorizing Memory

pp. 67-92 | DOI: 10.1353/yale.2001.0009

Suicide After Auschwitz

pp. 93-114 | DOI: 10.1353/yale.2001.0014

The Testimony of Fantasy in Georges Perec's W ou le souvenir d'enfance

pp. 115-154 | DOI: 10.1353/yale.2001.0013

Trauma Inherited, Trauma Reclaimed: Chamberet: Recollections from an Ordinary Childhood

pp. 155-167 | DOI: 10.1353/yale.2001.0003

W.E.B. DuBois in Warsaw: Holocaust Memory and the Color Line, 1949-1952

pp. 169-189 | DOI: 10.1353/yale.2001.0012

Prosopopoeia and Holocaust Poetry in English: Sylvia Plath and Her Contemporaries

pp. 191-215 | DOI: 10.1353/yale.2001.0007

Witnessing Video Testimony: An Interview with Geoffrey Hartman

pp. 217-232 | DOI: 10.1353/yale.2001.0001

Jewish Assimilation in Hungary, the Holocaust, and Epic Film: Reflections on Istvan Szabo's Sunshine

pp. 233-252 | DOI: 10.1353/yale.2001.0015

The Secret Histories of Roberto Benigni's Life is Beautiful

pp. 253-266 | DOI: 10.1353/yale.2001.0002

Who Owns Auschwitz?

pp. 267-272 | DOI: 10.1353/yale.2001.0010

"But Wasn't it Terrific?": A Defense of Liking Life is Beautiful

pp. 273-286 | DOI: 10.1353/yale.2001.0006

After Such Knowledge, What Laughter?

pp. 287-313 | DOI: 10.1353/yale.2001.0005

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