By R. Clifton Spargo, R. Clifton Spargo, Robert M. Ehrenreich
After illustration? explores one of many significant matters in Holocaust studies--the intersection of reminiscence and ethics in creative expression, fairly inside of literature.
As specialists within the learn of literature and tradition, the students during this assortment research the transferring cultural contexts for Holocaust illustration and exhibit how writers--whether they write as witnesses to the Holocaust or at an inventive distance from the Nazi genocide--articulate the shadowy borderline among truth and fiction, among occasion and expression, and among the of lifestyles persisted in atrocity and the desire of a significant lifestyles. What creative literature brings to the research of the Holocaust is a capability to check the boundaries of language and its conventions. After illustration? strikes past the suspicion of illustration and explores the altering which means of the Holocaust for various generations, audiences, and contexts.
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Additional info for After Representation?: The Holocaust, Literature, and Culture
At the end of Levi’s second major memoir, The Reawakening (), in which he tells mostly of his experiences after liberation, living in displaced person camps and trekking across Europe back to Turin, he offers a bookend, as it were, to the nightmare he had dreamed in Auschwitz and about which he had told his readers in his previous memoir: It is a dream within a dream, varied in detail, one in substance. I am sitting at a table with my family, or with friends, or at work, or in the green countryside; in short, in a peaceful relaxed environment, apparently without tension or afﬂiction; yet I feel a deep and subtle anguish, the deﬁnite sensation of an impending threat.
Is the king’s at once arrogant and piteous cry that haunts Shakespeare’s play and reverberates as the human question. The play stays longer for an answer—one that does not come— than any other drama on the human condition. ” A FEW MORE WORDS about the tension between representation and remem- brance. Our nervousness about representability does not jibe with the information glut I have mentioned, which comes from a plethora of media competing to depict the Shoah. There is, if anything, too little reticence in facing this largest tragedy of the recent past.
Auschwitz persists. As Giorgio Agamben hypothesizes through his reading of Levi, Auschwitz alters the ontological condition or biopolitical reality of our very existence. The world of the camps is always with us, threatening to return. Ultimately, Agamben’s ontological descriptions are indebted to Levi’s own ethics of witness, to the sense he has always of speaking for the others who did not return from that other world of Auschwitz, those infamous R. CLIFTON SPARGO 18 Musselmänner of the camps.