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, fairly inside literature.

As specialists within the examine of literature and tradition, the students during this assortment research the transferring cultural contexts for Holocaust illustration and display how writers--whether they write as witnesses to the Holocaust or at an creative distance from the Nazi genocide--articulate the shadowy borderline among truth and fiction, among occasion and expression, and among the of existence persisted in atrocity and the wish of a significant life. What resourceful 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 resources for After Representation?: The Holocaust, Literature, and Culture

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The line that is supposed to distinguish between factual and fictive versions of truth becomes a 25 GEOFFREY HARTMAN 26 battleground precisely because a distinction that must be made is often difficult to make. Even the sober accounts of modern historians do not deny that mankind has been decisively affected by visionary representations.  Efforts to subtract imagination from reality in order to discover an untransformed factual content have always led to frustrating disputes. There cannot be one accepted method of decoding, given the freedom and ingenuity of the literary-artistic mind.

Periodization magnifies narratives focused on these sanctified yet often all too human events. By such a rhetoric of temporality a period denominated as sacred is carved out from the temporal flow and has the effect of highlighting details within it and endowing them with prophetic structure (after the event) as well as virtually unlimited future meanings. A whole new mode of “figural” symbolism, for instance, comes into play, which, as Erich Auerbach has shown, inspired Dante’s Divine Comedy as well as Patristic literature.

Harvard University Press, ). . For one of the most thorough and even-handed accounts of Adorno’s controversial statement, its place within his thought and its importance for the suspicion of representational regimes in Holocaust literature, and also for Adorno’s several refinements of his position over the course of his career, see Michael Rothberg, Traumatic Realism: The Demands of Holocaust Representation (Minneapolis: University of Minnesota Press, ), –. . See, for example, Norman Finkelstein, The Holocaust Industry: Reflections on the Exploitation of Jewish Suffering (New York: Verso Books, ).

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