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 matters in Holocaust studies--the intersection of reminiscence and ethics in inventive expression, relatively inside literature.

As specialists within the research of literature and tradition, the students during this assortment study the moving cultural contexts for Holocaust illustration and display how writers--whether they write as witnesses to the Holocaust or at an resourceful distance from the Nazi genocide--articulate the shadowy borderline among truth and fiction, among occasion and expression, and among the situation of lifestyles persevered in atrocity and the wish of a significant lifestyles. What innovative literature brings to the examine of the Holocaust is a capability to check the bounds 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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Extra info for After Representation?: The Holocaust, Literature, and Culture

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In an era of information glut fueled by continuing disclosures about present and past, is any story or interpretive presentation secure enough to retain binding power? THIS QUESTION, APPLIED TO THE SHOAH , indicates that two aspects, though connected, should be distinguished: the possibility of a picture complete enough so that the real might become the intelligible (this relates to the problematic of representation); and, then, even were it possible to gain a total view, its bearable transmission (this adds to the problematic of reception).

Yet while we are ready to accept universalizing statements on a provisional basis, should they seek to gain their authority from a particular place and date—Sinai and the time of Moses, Golgotha and the life-time of Jesus, indeed any strongly emphasized coordinates of this sort—a serious question arises. For testimonies of that here-and-now, reported by an eyewitness or other tradent in the chain of tradition, always depict something that, especially HISTORY WRITING AND THE ROLE OF FICTION 27 when communicated in writing, is already a there-and-then.

See, for example, Norman Finkelstein, The Holocaust Industry: Reflections on the Exploitation of Jewish Suffering (New York: Verso Books, ). 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, ), –.

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