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

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, relatively inside literature.

As specialists within the research of literature and tradition, the students during this assortment learn the moving cultural contexts for Holocaust illustration and demonstrate how writers--whether they write as witnesses to the Holocaust or at an imaginitive distance from the Nazi genocide--articulate the shadowy borderline among truth and fiction, among occasion and expression, and among the of existence persevered in atrocity and the desire of a significant life. What imaginitive literature brings to the learn 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.

Show description

Read or Download After Representation?: The Holocaust, Literature, and Culture PDF

Similar jewish books

Norman Mailer's Later Fictions: Ancient Evenings through Castle in the Forest (American Literature Readings in the 21st Century)

Norman Mailer’s Later Fiction considers 5 works—Ancient Evenings (1983), tricky men Don’t Dance (1984), Harlot's Ghost (1991), The Gospel in accordance with the Son (1997), The citadel within the wooded area (2007)—to study, for the 1st time in a whole quantity, Mailer’s literary adulthood. Essays from esteemed students, Mailer's spouse, and editor, speak about Mailer’s modes of cultural critique, connecting his political, theological, sexual, and aesthetic insights.

Three Thousand Years of Hebrew Versification: Essays in Comparative Prosody

During this unheard of learn of the sorts of Hebrew poetry, preeminent authority Benjamin Harshav examines Hebrew verse in the course of 3 millennia of fixing old and cultural contexts. he's taking us worldwide of the Jewish Diaspora, evaluating the alterations in Hebrew verse because it got here into touch with the Canaanite, Greek, Arabic, Italian, German, Russian, Yiddish, and English poetic types.

Ideology and Jewish Identity in Israeli and American Literature

By means of making a discussion among Israeli and American Jewish authors, students, and intellectuals, this publication examines how those literatures, which usually don't deal with each other at once, however percentage a few commonalities and affinities. The disinclination of Israeli and American Jewish fictional narratives to gravitate towards each other tells us a lot concerning the strategies of Jewish self-definition as expressed in literary texts during the last fifty years.

Additional info for After Representation?: The Holocaust, Literature, and Culture

Sample text

Book , lines –. . This is in keeping with a tension I discern between literary continuity and any revisionary or anti-elegiac poetics in my study of anti-consolatory grief, in which context I also discuss the figure of Niobe as depicted in Homer and Ovid. See Spargo, The Ethics of Mourning: Grief and Responsibility in Elegiac Literature (Baltimore: Johns Hopkins University Press, ), –, –. . My supposition here traces a debt to Geoffrey Hartman’s exploration of the renewal of culture after the Holocaust and his somewhat more idealistic placement of literature as the necessary center for the preservation of culture’s true and best destiny.

Produced by the narrative genius of a personal or collective filtering strengthens that offstage command. 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.

Necessities of a “narrative order,” or establishing a rapport between “vrai” and “vraisemblable,” determine certain changes in things as they factually happened. While retaining, for example, the names of some fellow inmates, Semprun renames others to whom he has given invented thoughts and words; a similar consideration, but for his readers rather than companions, motivates changes necessary to induce belief in a true yet unbelievable situation. “ONCE UPON A TIME” —the venerable formula I started with, or its biblical equivalent, “in those days”—suggests a further complexity from the side of history writing.

Download PDF sample

Rated 4.95 of 5 – based on 15 votes