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This book offers the first full-length study of W. G. Sebald and
Christoph Ransmayr and their complicated relation to the traumatic
traces of National Socialism. It examines the different ways in
which the traces of a traumatic past mark their narratives.
Examines the heightened role of politics in contemporary German and
Austrian cultural productions and institutions and what it means
for German Studies. As debates about Europe, migration, resurgent
nationalism, and neoliberalism intensify in Germany and Austria,
politics has gained particular prominence in cultural production
and cultural institutions. How does this development affect German
Studies as a discipline and a practice? Volume 14 of Edinburgh
German Yearbook examines political or politicized aspects of
contemporary life that have become increasingly significant for
culture today. The contributions gathered here offer engaging
readings of contemporary literary texts (including work by Sasa
Stanisic, Anke Stelling, and Timur Vermes), films (by Fatih Akin,
Ruth Beckermann, and Andreas Dresen), and other forms of cultural
intervention (the polemics of Max Czollek and Oliver Polak, and the
activism of the left-feminist group Burschenschaft Hysteria). These
encourage us to consider how communities are being (re)shaped by
current political and social crises, antagonisms around memory
cultures, questions of European identity, as well as challenges to
the status of an assumed Leitkultur and the discourse of
integration.
A study of the archival turn in contemporary German memory culture,
drawing on recent memorials, documentaries, and prose narratives
that engage with the material legacy of National Socialism and the
Holocaust. With the passing of those who witnessed National
Socialism and the Holocaust, the archive matters as never before.
However, the material that remains for the work of remembering and
commemorating this period of history is determined by both the
bureaucratic excesses of the Nazi regime and the attempt to
eradicate its victims without trace. This book argues that memory
culture in the Berlin Republic is marked by an archival turn that
reflects this shift from embodied to externalized, material memory
and responds to the particular status of the archive "after
Auschwitz." What remains in this late phase of memory culture is
the post-Holocaust archive, which at once ensures and hauntsthe
future of Holocaust memory. Drawing on the thinking of Freud,
Derrida, and Georges Didi-Huberman, this book traces the political,
ethical, and aesthetic implications of the archival turn in
contemporary German memory culture across different media and
genres. In its discussion of recent memorials, documentary film and
theater, as well as prose narratives, all of which engage with the
material legacy of the Nazi past, it argues that the performanceof
"archive work" is not only crucial to contemporary memory work but
also fundamentally challenges it. Dora Osborne is Senior Lecturer
in German at the University of St Andrews.
Explores the changing relationship between memory and the archive
in German-language literature and culture since 1945. In recent
years, the discourse of memory - and of German memory culture in
particular - has become increasingly concerned with questions of
the archive. An archive can refer to a physical place, the material
found there, or the system that orders this material; in its
broadest sense, it might refer to something public (records housed
in a municipal building), or something private (photographs in a
family album). The material and documentary qualities of the
archive confer on it an authenticating function attributed only
cautiously to memory, but theories of the archive have questioned
the status of material, documentary vestiges of the past. Memory
and the archive are inextricablylinked, but how does this affect
the mediation of the past? This volume explores the changing
relationship between memory and the archive in German-language
literature and culture since 1945. Contributions approach this
topic froma range of perspectives (film, visual culture, urban
culture, digital technology, as well as literature) and offer
illuminating studies of Harun Farocki, Anselm Kiefer, Thomas
Demand, Bernd and Hilla Becher, Jurgen Fuchs, StefanWolter, and
Sasa Stanisic. Contributors: Priyanka Basu, Carol Anne
Costabile-Heming, Regine Criser, Tobias Ebbrecht-Hartmann, Diana
Hitzke and Charlton Payne, Caitriona Leahy, Dora Osborne, Annie
Ring, Lizzie Stewart, Simon Ward. Dora Osborne is Lecturer in
German at Durham University.
Both W. G. Sebald (1944-2001) and the Austrian author Christoph
Ransmayr (1954-) were born too late to know directly the violence
of the Second World War and the Holocaust, but these traumatic
events are a persistent presence in their work. In a series of
close readings of key prose texts, Dora Osborne examines the
different ways in which the traces of a traumatic past mark their
narratives. By focusing on the authors use of visual and
topographical tropes, she shows how blind spots and inhospitable
places configure signs of past violence, but, ultimately, resist
our understanding. Whilst links between the two authors are
well-documented, this book offers the first full-length study of
Sebald and Ransmayr and their complicated relation to the traumatic
traces of National Socialism. Dora Osborne is Lecturer in German at
the University of Nottingham.
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