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This book is a detailed critical study of Libeskind's Berlin Jewish
Museum in its historical, architectural and philosophical context.
Emphasizing how the Holocaust changed our perception of history,
memory, witnessing and representation, it develops the notion of
'memorial ethics' to explore the Museum's difference from more
conventional post-World War Two commemorative sites. The main focus
is on the Museum as an experience of the materiality of trauma
which engages the visitor in a performative duty to remember.
Arleen Ionescu builds on Levinas's idea of 'ethics as optics' to
show how Libeskind's Museum becomes a testimony to the
unpresentable Other. Ionescu also extends the Museum's experiential
dimension by proposing her own subjective walk through Libeskind's
space reimagined as a 'literary museum'. Featuring reflections on
texts by Beckett, Celan, Derrida, Kafka, Blanchot, Wiesel and Selma
Meerbaum-Eisinger (Celan's cousin), this virtual tour concludes
with a brief account of Libeskind's analogous 'healing project' for
Ground Zero.
This book occurs at the intersection of philosophy, critical
theory, psychoanalysis and the visual arts. Each chapter looks at
art produced in various traumatogenic cultures: detention centres,
post-Holocaust film, autobiography and many more.Other chapters
look at the Juarez femicides, the production of collective memory,
of makeshift memorials, acts of forgiveness and contemporary forms
of trauma. The book proposes new ways of 'thinking trauma',
foregrounding the possibility of healing and the task that the
critical humanities has to play in this healing. Where is its place
in an increasingly terror-haunted world, where personal and
collective trauma is as much of an everyday occurrence as it is
incomprehensible? What has become known as the 'classical model of
trauma' has foregrounded the unrepresentability of the traumatic
event. New, revisionist approaches seek to move beyond an aporetic
understanding of trauma, investigating both intersubjective and
intrasubjective psychic processes of healing. Traumatic memory is
not always verbal and 'iconic' forms of communication are part of
the arts of healing.
This book occurs at the intersection of philosophy, critical
theory, psychoanalysis and the visual arts. Each chapter looks at
art produced in various traumatogenic cultures: detention centres,
post-Holocaust film, autobiography and many more.Other chapters
look at the Juarez femicides, the production of collective memory,
of makeshift memorials, acts of forgiveness and contemporary forms
of trauma. The book proposes new ways of 'thinking trauma',
foregrounding the possibility of healing and the task that the
critical humanities has to play in this healing. Where is its place
in an increasingly terror-haunted world, where personal and
collective trauma is as much of an everyday occurrence as it is
incomprehensible? What has become known as the 'classical model of
trauma' has foregrounded the unrepresentability of the traumatic
event. New, revisionist approaches seek to move beyond an aporetic
understanding of trauma, investigating both intersubjective and
intrasubjective psychic processes of healing. Traumatic memory is
not always verbal and 'iconic' forms of communication are part of
the arts of healing.
This study makes Romania's largely unknown Joycean heritage visible
to an international readership. Reviewing Joyce's critical
reception and translations, as well as the writer's influence on
Romanian prose, it brings Derrida's notion of "hostipitality" to
comparative literary and translation studies in order to theorize
the impact of politics and ideology on fiction. After an original
survey of the links between Romanian modernism/postmodernism and
Western literature, it focuses on alternate trends of hostility and
hospitality towards Joyce, especially his techniques and style. It
examines how translations dealt with themes prone to communist
censorship (politics, sexuality, religion, food), before discussing
Joyce's impact on Romanian writers such as Eliade, Biberi, Balaita
and Otoiu.
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