Memory that segregates itself from the present ‘me.’” Testifies that “Auschwitz is there, fixed and unchangeable, but wrapped in the impervious skin of This is one of the most humiliating feelings that I’ve experienced.” And Charlotte Delbo You tell and you don’t believe that this happened to Those days, you feel that this is incredible. Survivor, describes the feeling of being defeated by his own story: “Every time you talk about In The Story of a Life, Aharon Appelfeld, the Israeli novelist and Holocaust Representing such an unrepresentable event? For the writer, there is a very real crisis of To think of literature as a kind of witnessing? And just what are the limits of language in This semester, our task will be to witness the event through the texts we read: what does it mean Instead, it contends with absence, speechlessness, voids in radical The usual models of comparison, parallelism, metaphor, or resemblance. The Holocaust cannot be assimilated by the mind through Reference to and analogy with prior texts”-and yet the Holocaust presents us with a stark region Rosenfeld puts it, “whether we know it or not, we read and understand literature. Of literary responses to the Holocaust seems to fulfill that eerie prediction. It's very difficult to grasp the notion that silenceĬourse Objectives : Dostoyevsky once remarked that “Incredible as it may seem, the day willĬome when men will quarrel more fiercely about art than about God.” In many ways, the variety Is tap into it and see what it's all about. It's a communication of a different kind, and what we try to do But whatever it is-and I don't understand it-the silence is not aīreak in communication. Nonverbal.'s a silence between the Jewish people, or indeed all religious people,Īnd God in this century. of us think that communication is verbal but a lot of communication is Or on the theological level, especially in our century with the Holocaust and the silence There are many silences in the world that have to be penetrated on the ontological level It untouched but always invoke or evoke it as a hovering shadow.Īs an author, I’m grateful for having undergone Auschwitz, because as a writer, I saw the Indirection and circuitous narratives that leave untouched the central horror-that leave In approaching the Holocaust, the canniest writers keep a wary distance. Yet not to write means omitting the central Too, is subject to the laws of composition. Even a ‘successful’ treatment of the subject risks an aestheticizing orĪ false ordering of it, since whatever is expressed in art conveys the impression that it, If the writer treats the subject, the risk is that it may beįalsified, trivialized. T]he greatest paradox forms about the Holocaust. Under a variety of topic areas so you must follow the links to their Holocaust collection.Įspecially recommended is the Witnesses at the Eichmann Trial, a 45-minute video: The Steven Spielberg Jewish Film Archive offers many films online these are organized Outstanding Online Video Archive for Your Further Exploration : Hiding & Seeking: Faith & Tolerance after the Holocaust Lawrence Langer, Art from the Ashes: A Holocaust AnthologyĪrt Spiegelman, The Complete Maus: A Survivor’s Tale My Father Bleeds History HereĪ novella by Aharon Appelfeld, “Badenheim 1939” (PDF)Īn essay by Appelfeld, “The Awakening” (PDF)Īn essay by Elizabeth Kolbert, “The Last Trial”įilms (if time allows we may view one or both of these): Ida Fink, A Scrap of Time and Other Stories Office Hours : Mon 10:00-11:00 and by appointment Hum 361-02/Engl 372-02: The Literature of the Holocaust
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