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, fairly inside literature.
As specialists within the examine of literature and tradition, the students during this assortment learn the transferring cultural contexts for Holocaust illustration and show how writers--whether they write as witnesses to the Holocaust or at an ingenious distance from the Nazi genocide--articulate the shadowy borderline among truth and fiction, among occasion and expression, and among the situation of existence persisted in atrocity and the desire of a significant life. What ingenious 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 that means of the Holocaust for various generations, audiences, and contexts.
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Additional info for After Representation?: The Holocaust, Literature, and Culture
Langer notes, derives principally from the expressive strength rather than GEOFFREY HARTMAN 32 impotence of the original eyewitness accounts, and should not be attributed to technical or even epistemological problems of portrayal. Before we get to the question, then, of a later literature’s justness, the issue arises of how to receive that prior moment: receive it in the sense of becoming a witness to the witness. How may a mode of remembrance be found that would allow the event to pass from those potent testimonies into the collective consciousness of humanity?
See also for this pattern, and the relevance of religious categories to literary forms of closure and narration, Frank Kermode, The Sense of an Ending (New York: Oxford University Press, ). . For an overview of this story, see Gregory L. Vistica, The Education of Lieutenant Kerrey (New York: Thomas Dunne Books, ), and J. Robert Kerrey, When I Was a Young Man: A Memoir (New York: Harcourt Books, ). . Benjamin’s famous aphorism that “Truth is the death of intention” also suggests a problematic intelligibility when truth is posited as the ultimate aim of human endeavors.
Overexposure, psychic numbing, even boredom set in. In trying, that is, to impose rules on representation we forget that art itself, vulnerable as a public medium to censorship, has long been aware of certain limits closely linked to the problem of reception. Historically, art developed its own decorum, its own restraints, early on. Concerning the origin of Greek drama in religion, Aristotle hints in the Poetics at what the Cambridge anthropologists call the dromenon, a sacred drama still reﬂected in the structure of Greek tragedy.
After Representation?: The Holocaust, Literature, and Culture by R. Clifton Spargo, R. Clifton Spargo, Robert M. Ehrenreich