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"The Afterlife of the Shoah in Central and Eastern European Cultures is a collection of essays by literary scholars from Germany and Central Eastern Europe offering insight into the specific ways of representing the Shoah and its aftereffects as well as its entanglement with other catastrophic events in the region. Introducing the conceptual frame of postcatastrophe, the collected essays explore the discursive and artistic space the Shoah occupies in the countries between Moscow and Berlin. Postcatastrophe is informed by the knowledge of other concepts of "post" and shares their insight into forms of transmission and latency; in contrast to them, explores the after-effects of extreme events on a collective, aesthetic, and political rather than a personal level. The articles use the concept of postcatastrophe as a key to understanding the entangled and conflicted cultures of remembrance in postsocialist literatures and the arts dealing with events, phenomena and developments that refuse to remain in the past and still continue to shape perceptions of today's societies in Eastern Europe. As a contribution to memory studies as well as to literary criticism with a special focus on Shoah remembrance after socialism, this book is of great interest to students and scholars of European history, and those interested in historical memory more broadly".

Holocaust, Jewish (1939-1945), in literature

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The study examines Jorge Semprun´s literary reflections on his experiences made in the concentration camp of Buchenwald in "Le grand voyage" (1963), "Quel beau dimanche!" (1980), "L´écriture ou la vie" (1994) and "Le mort qu´il faut" (2001) with the aim to show the development in his retrospective treatment of the past. Therefore the texts are not considered as a unified "ecriture" but as a progressing approximation to his experiences in Buchenwald. The study deals in narratological and poetological terms with Semprun´s growing awareness of what Buchenwald means to him: While "Le grand voyage" is deeply influenced by the authors communistic view. "Quel beau dimanche!" reflects Sempruns disconcertion caused by his awareness of the parallel existence of concentration camps in Nazi-Germany and in the Soviet Union. "L´ecriture ou la vie" and "Le mort qu´il faut", for their part, are written by an author who considers himself as survivor and witness. This process is accompanied by Semprun´s shift to literature as a universe implying sense and creating identity. This becomes vitally important after his dissociation from communism and enables him to speak extensively about his experiences with death. Therefore Semprun´s conception of "witnessship" can be described as diametrically opposed to factual documentation. It is rather intended to function within a literary field: Only the intensive use of intertextuality allowes Semprun to comprehend Buchenwald finally as the centre of his life and as the origin of his own identity as well as to communicate his "truth" to the reader. Die Studie untersucht Jorge Sempruns literarische Gestaltung seiner Erfahrungen des Konzentrationslagers Buchenwald in "Le grand voyage (1963), "Quel beau dimanche!" (1980), "L´ecriture ou la vie" (1994) und "Le mort qu´il faut (2001). Ziel der Arbeit ist es, Entwicklungslinien und Tendenzen in der retrospektiven Auseinandersetzung und literarischen Bearbeitung des persönlich Erlebten aufzuzeigen. Demzufolge werden die Texte nicht als einheitliches Sprechen, sondern als fortschreitende erzählerische Annäherung an den miterlebten Tod von Buchenwald betrachtet. Die narratologisch und poetologisch ausgerichtete Studie fokussiert den Bewusstwerdungsprozess, der in den Texten zum Ausdruck gelangt: Während "Le grand voyage" noch deutlich vom kommunistischen Weltbild des Autors geprägt ist, spiegelt sich in "Quel beau dimanche!" - geschrieben im Bewusstsein über die gleichzeitige Existenz nationalsozialistischer und stalinistischer Lager - die existentielle Verunsicherung Sempruns, wohingegen in "L´ecriture ou la vie" und "Le mort qu´il faut" die Selbstdefinierung als Überlebender und Zeuge dominiert. Paralell zu dieser Entwicklung vollzieht sich Sempruns Hinwendung zur Literatur als identitäts- und sinnstiftendem Universum, das, insbesondere nach der Lossage vom Kommunismus, verstärkt in den Vordergrund rückt und erst die umfassende Sagbarkeit der Erfahrung ermöglicht. Sempruns Konzeption von Zeugenschaft steht folglich in direkter Opposition zu einem dokumentarischen Bezeugen und bewegt sich stattdessen innerhalb eines genuin literarischen Feldes. Nur durch den intensiven Einsatz intertextueller Bezugnahmen gelingt es dem Autor, die Erfahrung von Buchenwald als Zentrum seines Lebens sowie als Ursprung seines Ichs zu begreifen und diese "Wahrheit" dem Leser mitzuteilen.

Holocaust, Jewish (1939-1945), in literature. --- Semprún, Jorge, --- Crítica e interpretación --- Buchenwald (Concentration camp)

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The book deals with the issue of the Holocaust in the Polish literature for children and adolescents. Drawing upon some of the leading Polish authors of the twentieth and the twentieth-first centuries, the author reveals the historical, ideological, and cultural entanglement of their works. The main focus of the book is to search for reasons behind the outpouring of interest in the Holocaust noticed in the most recent Polish literature for younger readers. Among these reasons, the author lists the Polish local and historical context, the new approach to issues traditionally seen as taboo, the development of memory and postmemory narratives, and the postmodern shift from a discursive totality and universalist explanations.

Holocaust, Jewish (1939-1945), in literature. --- Adults --- Children --- Contemporary literature --- Dudek --- Holocaust --- Literature --- memory --- Polish --- Polish literature for children and adolescents --- Post --- Postmemory --- Post-memory --- Pract --- Practices --- Reading --- Wojcik --- World War II --- Young

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Victoria Aarons and Alan L. Berger show that Holocaust literary representation has continued to flourishâ€"gaining increased momentum even as its perspective shifts, as a third generation adds its voice to the chorus of post-Holocaust writers. In negotiating the complex thematic imperatives and narrative conceits of the literature of these writers, this bold new work examines those structures, ironies, disjunctions, and tensions that produce a literature lamenting loss for a generation removed spatially and temporally from the extended trauma of the Holocaust. Aarons and Berger address evolving notions of “postmemoryâ€?; the intergenerational transmission of trauma; inherited memory; the psychological tensions of post-Holocaust Jewish identity; tropes of memory and the personalized narrative voice; generational dislocation and anxiety; the recurrent antagonisms of assimilation and alienation; the imaginative reconstruction of the past; and the future of Holocaust memory and representation.

Literature, Modern --- Memory in literature. --- Psychic trauma in literature. --- Holocaust, Jewish (1939-1945) --- Grandchildren of Holocaust survivors. --- Holocaust, Jewish (1939-1945), in literature. --- Holocaust survivors' grandchildren --- Holocaust survivors --- Memory as a theme in literature --- History and criticism. --- Influence. --- Literature --- Jews --- Judaism --- Nazism --- The Holocaust

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Prendre l'Histoire à rebrousse-poil pour faire entendre les voix de ses victimes ; exposer la barbarie que cachent la culture et le progrès technique ; montrer que la mémoire n'est pas l'affaire du passé, mais du présent et que l'écriture peut et doit faire justice. Telle est l'entreprise d'Esther Cohen, qui s'inscrit entre autres dans le sillage de Walter Benjamin et Jacques Derrida. Son livre se veut, comme les œuvres qui le nourrissent, un acte de résistance contre le silence et l'indifférence qui ont été les complices de la Shoah comme des nombreux massacres qui ont continué de dévaster le monde contemporain. Primo Levi, Jean Améry, Jorge Semprun, Imre Kertész, mais encore Hannah Arendt, Albert Camus ou même Franz Kafka : les auteurs rassemblés dans cet ouvrage ont vécu les camps, en ont été les témoins historiques, ou en ont eu le sombre pressentiment. En les réunissant, Esther Cohen fait entrer en résonance quelques-unes des œuvres capitales du XXe siècle.

Holocauste, 1939-1945, dans la littérature --- Littérature juive --- Ecrits de détenus de camp de concentration --- Histoire et critique --- Auschwitz (Pologne : Camp de concentration) dans la littérature --- Holocauste, 1939-1945, dans la littérature. --- Littérature juive --- Écrits de détenus de camp de concentration --- Holocaust, Jewish (1939-1945), in literature. --- Jewish literature --- Concentration camp inmates' writings --- Histoire et critique. --- History and criticism. --- Auschwitz (Pologne : Camp de concentration) dans la littérature. --- Auschwitz (Concentration camp) --- In literature. --- Writings of concentration camp inmates --- Literature --- KL Auschwitz --- Oświęcim (Concentration camp) --- Konzentrationslager Auschwitz --- Oshṿits (Concentration camp) --- Aušvic (Concentration camp) --- KZ Auschwitz --- Auschwitz I (Concentration camp) --- Concentration camp "Auschwitz" --- CC Auschwitz --- אוישוויץ --- אושוויץ --- אושוויץ (מחנה-ריכוז) --- מחנה אושווינצ׳ים --- Osvent︠s︡im (Concentration camp) --- Aushvit︠s︡ (Concentration camp) --- Nazi concentration camp inmates' writings --- Writings of Nazi concentration inmates --- Освенцим (Concentration camp) --- Aousvits (Concentration camp) --- Аушвіц (Concentration camp) --- Littérature juive - 20e siècle - Histoire et critique --- Ecrits de détenus de camp de concentration - Histoire et critique --- littérature juive --- camp de concentration --- Shoah --- littérature --- Auschwitz