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, quite inside of literature.
As specialists within the research of literature and tradition, the students during this assortment research the transferring cultural contexts for Holocaust illustration and show 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 situation of lifestyles persisted in atrocity and the wish of a significant lifestyles. What ingenious literature brings to the research 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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After illustration? explores one of many significant concerns in Holocaust studies--the intersection of reminiscence and ethics in creative expression, fairly inside of literature. As specialists within the research 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 imaginitive distance from the Nazi genocide--articulate the shadowy borderline among truth and fiction, among occasion and expression, and among the situation of lifestyles persisted in atrocity and the wish of a significant life.
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Additional resources for After Representation?: The Holocaust, Literature, and Culture
Example text
In the circumstance of extreme adversity, it may be too much, too far-flung or far-fetched, to envision a vast audience for one’s own report of injustice. The horrible intimacy with suffering yields to the supposition of a minimally ambitious testimony, and the hypothesis of culture endures perhaps only in the attentiveness of a single listener, say, a wedding guest who feels compelled to stop and hear the story. For Levi, any and every audience for his book is based in an anxiety about an intimate yet possibly inattentive listener.
Perhaps, then, the real sense of the expression is: once and always. The unique, in that case, points to a contradiction and a quintessence. The contradiction reflects a problem intrinsic to historical-sounding statements that seek to characterize, through date and place, a defined era. Specificity here is part of a rhetoric attributing significance to the fact that an event occurred at this particular moment. 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.
Poetry, Narrative, History (Oxford: Blackwell, ), . . Jacques Derrida, Demeure: Fiction and Testimony, trans. Elizabeth Rottenberg (Stanford: Stanford University Press, ), published together with Maurice Blanchot, The Instant of My Death. , abode, the capacity to dwell as borderers between the testimonial modes of history and fiction), or what Hegel characterizes as “Verweilen”: staying with, internalizing, instead of seeking to close off by appropriative interpretations, the historical moment, so that its role in the larger, necessary momentum of the “prodigious labor” of world history can be realized.
