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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 literature.

As specialists within the research of literature and tradition, the students during this assortment study 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 of lifestyles persisted in atrocity and the wish of a significant life. What imaginitive 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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Extra resources for After Representation?: The Holocaust, Literature, and Culture

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The phrase embraces two meanings, apparently distinct, each pointing to a relation between fiction and the (historiographical) attempt to make time intelligible by punctuating it. In its most general connotation, “once upon a time” evokes a world that is no more, no less realistic than fairy tales. The “once” suggests uniqueness as well as what happened long ago, though there must be some path from there to here, some meaningful shadow thrown on the present day by stories that continue to intrigue.

It may be useful, also, to recall that at the end of the s and well into the s, despite mounting evidence that Soviet concentration camps existed—revealed by David Rousset (and others) in his defamation trial against a French communist publication—a large portion of the French intelligentsia refused to believe the evidence. . Paul Ricoeur, Time and Narrative, trans. Kathleen Blamey et al. (Chicago: University of Chicago Press, ), : .

It would be condescending, however, to see them only as figments of the imagination, archaic expressions of wonder, ambition, and fear. It is possible that specific historical events are echoed by stories about a Great Flood, the parting of the Red Sea, the Exodus, and the deeds of the patriarchs and matriarchs. Even as imaginary expressions these stories have created their own reality. The belief in an anointed shepherd-king, from whose lineage a savior, a Messiah, would emerge, has raised and ravaged the hope of individuals and nations for over two millennia.

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