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After Representation?: The Holocaust, Literature, and by R. Clifton Spargo, R. Clifton Spargo, Robert M. Ehrenreich

By R. Clifton Spargo, R. Clifton Spargo, Robert M. Ehrenreich

After illustration? explores one of many significant concerns in Holocaust studies--the intersection of reminiscence and ethics in inventive expression, quite inside of literature.

As specialists within the examine of literature and tradition, the students during this assortment research the moving cultural contexts for Holocaust illustration and display how writers--whether they write as witnesses to the Holocaust or at an innovative distance from the Nazi genocide--articulate the shadowy borderline among truth and fiction, among occasion and expression, and among the situation of lifestyles continued in atrocity and the wish of a significant lifestyles. What inventive literature brings to the examine 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 that means of the Holocaust for various generations, audiences, and contexts.

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13. For the concept of “deep memory,” see Lawrence L. Langer, Holocaust Testimonies: The Ruins of Memory (New Haven: Yale University Press, ). . html. . ” See Feldman, Collected Poems – (New York: Schocken Books, ). For a critical reading largely in support of Feldman’s poetic take on the cultural attitude behind Strand’s remark and Brodsky’s use of it, see Susan Gubar, Poetry after Auschwitz: Remembering What One Never Knew (Bloomington: Indiana University Press, ), –.

It is when didactic or apodictic elements disturb the narrative least, when we can trust the tale rather than interpolations by nervous teller or clumsy editor, that biblical stories become memorable even to those outside the faith. This is what I mean by a faithful forgetfulness. The ellipses of inspired art derive from an absent-mindedness of that kind. ” I WANT TO COME BACK , in closing, to the history, fiction, and memory triad. To a great extent, modern historians have made their discipline a science—at least a field of rigorous knowledge—by methodically removing conscious or unconscious falsifications from how events are depicted.

This is what I mean by a faithful forgetfulness. The ellipses of inspired art derive from an absent-mindedness of that kind. ” I WANT TO COME BACK , in closing, to the history, fiction, and memory triad. To a great extent, modern historians have made their discipline a science—at least a field of rigorous knowledge—by methodically removing conscious or unconscious falsifications from how events are depicted. ” Levi considered memory so integral a part of our humanity that it is offended by what the Holocaust obliges it to remember.

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