Traumatic Realism


Book Description

Drawing on a wide range of texts, Michael Rothberg puts forth an overarching framework for understanding representations of the Holocaust. Through close readings of such writers and thinkers as Theodor Adorno, Maurice Blanchot, Ruth Klüger, Charlotte Delbo, Art Spiegelman, and Philip Roth and an examination of films by Steven Spielberg and Claude Lanzmann, Rothberg demonstrates how the Holocaust as a traumatic event makes three fundamental demands on representation: a demand for documentation, a demand for reflection on the limits of representation, and a demand for engagement with the public.




Traumatic Realism


Book Description

Presents a post-Holocaust view of contemporary culture. Examines, in particular, the question of realism as one of the central problematics that the Holocaust forces back into view. Pt. 1 (p. 17-96), "Modernism 'After Auschwitz', " discusses the philosophers Theodor Adorno and Maurice Blanchot. Pt. 2 (p. 97-177), "Realism in 'the Concentrationary Universe', " deals with the literary works of Ruth Klueger and Charlotte Delbo. Pt. 3 (p. 179-273), "Postmodernism, or 'the Year of the Holocaust', " deals with Philip Roth, Art Spiegelman, and Americanizing the Holocaust. Derives from Holocaust testimonies the concept of traumatic realism as a way of superseding the realist vs. anti-realist dichotomy. Stresses the relation between present and past, and a shift from events to their transmission, including in mass culture, via such forms as comic books, feature films, and museum exhibits.




The Traumatic Imagination


Book Description

This work examines novels from Caribbean, North American, and European literatures of the second half of the twentieth century, both Anglophone and in translation, with focus on the chronotopes of slavery, colonialism, the Holocaust, and war. Historical traumata have found their reconstruction in literary works written by either traumatized or vicariously traumatized authors, such as Jean Rhys, Alejo Carpentier, Maryse Conde??, Salman Rushdie, Gabriel Garci??a Ma??rquez, Bernard Malamud, Joseph Skibell, Gu??nter Grass, and Tim O'Brien. The traumatic imagination accounts for the relative prevalence of magical realist writing in postmodernist fiction. As a singular phenomenon of postmodern aporia, magical realist texts write the silence imposed by trauma, and convert it into history.--publisher.




Magic Realism in Holocaust Literature


Book Description

A major contribution to Holocaust studies, the book examines the capacity of supernatural elements to dramatize the ethical and representational difficulties of Holocaust fiction. Exploring texts by such writers as D.M. Thomas and Markus Zusak it will appeal to scholars and students of Holocaust literature, magic realism, and contemporary fiction.




Traumatic Experience and Repressed Memory in Magical Realist Novels


Book Description

This book explores the close association between the literary representation of historical trauma and the alternative narrative form of magical realism, underscoring the role of memory, empathy and imagination. It discusses the potential of magical realism to give a literary representation to individual and collective trauma arising from the Holocaust, slavery, and apartheid, and to turn those unspoken memories into narratives. It also analyses the role of magical realism in depicting trauma suffered by female victims during and following those events. Again, by dealing with the above-mentioned events, their specific historical context and universal meaning for humankind, this book highlights a universal experience of trauma.




The Implicated Subject


Book Description

“A pathbreaking meditation . . . shifts the discussion . . . from . . . notions of guilt and innocence to the complexities of responsibility and accountability.” —Amir Eshel, Stanford University When it comes to historical violence and contemporary inequality, none of us are completely innocent. We may not be direct agents of harm, but we may still contribute to, inhabit, or benefit from regimes of domination that we neither set up nor control. Arguing that the familiar categories of victim, perpetrator, and bystander do not adequately account for our connection to injustices past and present, Michael Rothberg offers a new theory of political responsibility through the figure of the implicated subject. The Implicated Subject builds on the comparative, transnational framework of Rothberg's influential work on memory to engage in reflection and analysis of cultural texts, archives, and activist movements from such contested zones as transitional South Africa, contemporary Israel/Palestine, post-Holocaust Europe, and a transatlantic realm marked by the afterlives of slavery. An array of globally prominent artists, writers, and thinkers—from William Kentridge, Hito Steyerl, and Jamaica Kincaid, to Hannah Arendt, Primo Levi, Judith Butler, and the Combahee River Collective—speak show how confronting our own implication in difficult histories can lead to new forms of internationalism and long-distance solidarity. “A significant work by a major scholar . . . .While drawing on a global range of histories and texts, the book never loses focus on the contemporary moment.” —Robert Eaglestone, Royal Holloway, University of London “Offer[s] a fresh vocabulary to confront our personal and collective responsibility in the face of massive political violence, past and present.” —Marianne Hirsch, Columbia University




Memory Effects


Book Description

Dora Apel analyzes the ways in which artists born after the Holocaust-whom she calls secondary witnesses-represent a history they did not experience first hand. She demonstrates that contemporary artists confront these atrocities in order to bear witness not to the Holocaust directly, but to its "memory effects" and to the implications of those effects for the present and future. Drawing on projects that employ a variety of unorthodox artistic strategies, the author provides a unique understanding of contemporary representations of the Holocaust. She demonstrates how these artists frame the past within the conditions of the present, the subversive use of documentary and the archive, the effects of the Jewish genocide on issues of difference and identity, and the use of representation as a form of resistance to historical closure.




Ethics and Trauma in Contemporary British Fiction


Book Description

Preliminary material /Editors Ethics and Trauma in Contemporary British Fiction -- INTRODUCTION /JEAN-MICHEL GANTEAU and SUSANA ONEGA -- READING TRAUMA IN PAT BARKER'S REGENERATION TRILOGY /LENA STEVEKER -- THE ETHICAL CLOCK OF TRAUMA IN EVA FIGES' WINTER JOURNEY /SILVIA PELLICER-ORTÍN -- “NOBODY'SMEAT”: REVISITING RAPE AND SEXUAL TRAUMA THROUGH ANGELA CARTER /CHARLEY BAKER -- “A NEW ALGEBRA”: THE POETICS AND ETHICS OF TRAUMA IN J.G. BALLARD'S THE ATROCITY EXHIBITION /JAKOB WINNBERG -- TRAUMA AS THE NEGATION OF AUTONOMY: MICHAEL MOORCOCK'S MOTHER LONDON /JEAN-MICHEL GANTEAU -- WHERE MADNESS LIES: HOLOCAUST REPRESENTATION AND THE ETHICS OF FORM IN MARTIN AMIS' TIME'S ARROW /MARÍA JESÚS MARTÍNEZ-ALFARO -- WORLDWAR II FICTION AND THE ETHICS OF TRAUMA /GERD BAYER -- A TERRIBLE BEAUTY: ETHICS, AESTHETICS AND THE TRAUMA OF GAYNESS IN ALAN HOLLINGHURST'S THE LINE OF BEAUTY /JOSÉ M. YEBRA -- “THE ETERNAL LOOP OF SELF-TORTURE”: ETHICS AND TRAUMA IN IANMCEWAN'S ATONEMENT /GEORGES LETISSIER -- CONJUNCTURES OF UNEASINESS: TRAUMA IN FAY WELDON'S THE HEART OF THE COUNTRY AND IN IAN MCEWAN'S ON CHESIL BEACH /ANGELA LOCATELLI -- REPRESENTING THE CHILD SOLDIER: TRAUMA, POSTCOLONIALISM AND ETHICS IN DELIA JARRETTMACAULEY'SMOSES, CITIZEN AND ME /ANNE WHITEHEAD -- THE TRAUMA PARADIGM AND THE ETHICS OF AFFECT IN JEANETTE WINTERSON'S THE STONE GODS /SUSANA ONEGA -- NOTES ON CONTRIBUTORS /Editors Ethics and Trauma in Contemporary British Fiction -- INDEX /Editors Ethics and Trauma in Contemporary British Fiction.




Traumatism Realism


Book Description

How to approach the Holocaust and its relationship to late twentieth-century society? While some stress the impossibility of comprehending this event, others attempt representations in forms as different as the nonfiction novel (and Hollywood blockbuster) Schindler's List, the documentary Shoah, and the comic book Maus. This problem is at the center of Michael Rothberg's book, a focused account of the psychic, intellectual, and cultural aftermath of the Holocaust. Drawing on a wide range of texts, Michael Rothberg puts forth an overarching framework for understanding representations of the Holocaust. Through close readings of such writers and thinkers as Theodor Adorno, Maurice Blanchot, Ruth Klüger, Charlotte Delbo, Art Spiegelman, and Philip Roth and an examination of films by Steven Spielberg and Claude Lanzmann, Rothberg demonstrates how the Holocaust as a traumatic event makes three fundamental demands on representation: a demand for documentation, a demand for reflection on the limits of representation, and a demand for engagement with the public sphere and commodity culture. As it establishes new grounding for Holocaust studies, his book provides a new understanding of realism, modernism, and postmodernism as responses to the demands of history.




Multidirectional Memory


Book Description

Multidirectional Memory brings together Holocaust studies and postcolonial studies for the first time to put forward a new theory of cultural memory and uncover an unacknowledged tradition of exchange between the legacies of genocide and colonialism.