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Making Sense of the Holocaust by Means of Backward Narration - Martin Amis's Time's Arrow (Paperback)
Loot Price: R442
Discovery Miles 4 420
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Making Sense of the Holocaust by Means of Backward Narration - Martin Amis's Time's Arrow (Paperback)
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Loot Price R442
Discovery Miles 4 420
Expected to ship within 10 - 15 working days
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Seminar paper from the year 2007 in the subject English Language
and Literature Studies - Literature, grade: 1,0, University of
Augsburg, course: Literature and the Holocaust, 12 entries in the
bibliography, language: English, abstract: The problem of finding
appropriate ways to represent the Holocaust has been haunting
Holocaust literature ever since Theodor Adorno's famous dictum that
there cannot be any poetry after Auschwitz. In fact, the uniqueness
of the Holocaust raises serious ethical questions whether there can
be any appropriate representation of these atrocious events at all.
As the horror of Auschwitz goes beyond human imagination, the
problem boils down to the one question: How can you imagine the
unimaginable? Martin Amis's novel Time's Arrow or the Nature of the
Offence (1991) has a rather bold answer to this question: by
narrating it backwards. In the novel, the story of the Nazi doctor
Odilo Unverdorben is narrated vice versa, following his life from
end to start through the eyes of a ghostlike narrator who emerges
at the point of his death. As the technique of backward narration
distinguishes Time's Arrow from almost any other Holocaust fiction,
in the following my focus will be on the novel's use of narrative
reversal to represent the Holocaust. I will argue that the
technique of backward narration offers a way to make sense of the
Holocaust and Nazism in general, thereby showing that the novel's
form and content are inseparably linked. In order to do this, I
will first go over some of the negative criticism that Time's Arrow
was exposed to, focusing on the problem of form and content. I will
then show how backward narration offers a solution to specific
problems in Holocaust literature and how it helps to avoid the
danger of aestheticising Auschwitz. After that, I will point out
that backward narration can help to understand the Holocaust,
exploring the connections between Nazism and the temporal and moral
reversal effected by narrative re
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