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Features a new section on the institutional settings of German
Jewish Studies, a Film Forum on Shahar Rozen's 1998 documentary
Liebe Perla, and interviews with Paul Mendes-Flohr and Barbara
Honigmann, among other contributions. Nexus is the official
publication of the biennial German Jewish Studies Workshop at the
University of Notre Dame. Together, Nexus and the Workshop
constitute the first ongoing German Jewish Studies forum in North
America. Because the locus of scholarship is never incidental,
Nexus 6 introduces a new section, "Contexts," to examine, in this
case, what it means to pursue German Jewish Studies at a Catholic
university, Notre Dame. And because research is never static, it
inaugurates a series in which scholars revisit their own prior
scholarly publications. Robert Smith launches this initiative by
revising his view of Dietrich Bonhoeffer as a source for
post-Holocaust Christian-Jewish dialogue. The volume also offers
conversations with the legendary Paul Mendes-Flohr on his
understanding of the German Jewish "legacy" and with Barbara
Honigmann on her distinctive prose style and what it means to her
to practice Judaism. The popular Film Forum section returns, this
time focusing on Shahar Rozen's 1998 documentary Liebe Perla. Nexus
6 also presents new scholarship on Babi Yar Holocaust memorials,
Freud's famous Moses essay, Primo Levi's translation of Kafka, and
an introduction to and first English translation of the
18th-century philosopher Salomon Maimon's understudied essay
History of His Philosophical Authorship in Dialogues.
New essays by prominent scholars in German and Holocaust Studies
exploring the boundaries and confluences between the fields and
examining new transnational approaches to the Holocaust. In studies
of Holocaust representation and memory, scholars of literature and
culture traditionally have focused on particular national contexts.
At the same time, recent work has brought the Holocaust into the
arena of the transnational, leading to a crossroads between
localized and global understandings of Holocaust memory. Further
complicating the issue are generational shifts that occur with the
passage of time, and which render memory and representations of the
Holocaust ever more mediated, commodified, and departicularized.
Nowhere is the inquiry into Holocaust memory more fraught or
potentially more productive than in German Studies, where scholars
have struggled to addressGerman guilt and responsibility while
doing justice to the global impact of the Holocaust, and are
increasingly facing the challenge of engaging with the broader,
interdisciplinary, transnational field. Persistent Legacy connects
the present, critical scholarly moment with this long disciplinary
tradition, probing the relationship between German Studies and
Holocaust Studies today. Fifteen prominent scholars explore how
German Studies engages with Holocaust memory and representation,
pursuing critical questions concerning the borders between the two
fields and how they are impacted by emerging scholarly methods, new
areas of inquiry, and the changing place of Holocaust memory in
contemporary Germany. Contributors: David Bathrick, Stephan Braese,
William Collins Donahue, Tobias Ebbrecht-Hartmann, Katja Garloff,
Andreas Huyssen, Irene Kacandes, Jennifer M. Kapczynski, Sven
Kramer,Erin McGlothlin, Leslie Morris, Brad Prager, Karen Remmler,
Michael D. Richardson, Liliane Weissberg. Erin McGlothlin and
Jennifer M. Kapczynski are both Associate Professors in the
Department of Germanic Languages andLiteratures at Washington
University in St. Louis.
New essays providing innovative ways of understanding the altered
position of media in Germany and beyond. The term "new media" is a
current buzzword among scholars and in the media industry,
referring to the ever-multiplying digitized modes of film/image and
sound production and distribution. Yet how new, in fact, are these
new media,and how does their rise affect the role of older media?
What new theories allow us to examine our culture of ubiquitous
electronic screens and networked pleasures? Is a completely new set
of perspectives, concepts, and paradigmsrequired, or are older
modes of discussion about the relationship between technology and
art still adequate? This book reconsiders the seminal work of
German media theorists such as Adorno, Benjamin, and Kracauer in
order to explore today's rapidly changing mediascape, questioning
the naive progressivism that informs much of today's discourse
about media technologies. The contributions, by
internationally-recognized critics from a variety of academic
fields, encourage a view of the history of media as structured by
difference, complexity, and multiplicity. Together, they offer
intriguing ways of understanding the changed position of media in
today's Germany and beyond. Contributors: Nora M. Alter, Michel
Chaouli, Diedrich Diederichsen, Sabine Eckmann, Margit Grieb, Boris
Groys, Juliet Koss, Richard Langston, Lev Manovich, Todd Presner,
Juliane Rebentisch, Carsten Strathausen. Lutz Koepnick is Professor
of German, Film and Media Studies, and Erin McGlothlin is Associate
Professor of German and Jewish Studies, both at Washington
University in St. Louis.
Expands the definition of second-generation literature to include
texts written from the point of view of the children of Nazi
perpetrators. Among historical events of the 20th century, the
Holocaust is unrivaled as the subject of both scholarly and
literary writing. Literary responses include not only thousands of
autobiographical and fictional texts written by survivors, but
also, more recently, works by writers who are not survivors but
nevertheless feel compelled to write about the Holocaust. Writers
from what is known as the second generation have produced texts
that express their feeling of being powerfully marked by events of
which they have had no direct experience. This book expands the
commonly-used definition of second-generation literature, which
refers to texts written from the perspective ofthe children of
survivors, to include texts written from the point of view of the
children of Nazi perpetrators. With its innovative focus on the
literary legacy of both groups, it investigates how
second-generation writers employsimilar tropes of stigmatization to
express their troubled relationships to their parents' histories.
Through readings of nine American, German, and French literary
texts, Erin McGlothlin demonstrates how an anxiety with
signification is manifested in the very structure of
second-generation literature, revealing the extent to which the
literary texts themselves are marked by the continuing aftershocks
of the Holocaust. Erin McGlothlin is Assistant Professor of German
at Washington University in St. Louis.
The Mind of the Holocaust Perpetrator in Fiction and Nonfiction
examines texts that portray the inner experience of Holocaust
perpetrators and thus transform them from archetypes of evil into
complex psychological and moral subjects. Employing relevant
methodological tools of narrative theory, Erin McGlothlin analyzes
these unsettling depictions, which manifest a certain tension
regarding the ethics of representation and identification. Such
works, she asserts, endeavor to make transparent the mindset of
their violent subjects, yet at the same time they also invariably
contrive to obfuscate in part its disquieting character. The Mind
of the Holocaust Perpetrator in Fiction and Nonfiction contains two
parts. The first focuses on portraits of real-life perpetrators in
nonfictional interviews and analyses from the 1960s and 1970s.
These works provide a nuanced perspective on the mentality of the
people who implemented the Holocaust via the interventional role of
the interviewer or interpreter in the perpetrators' performances of
self-disclosure. In part two, McGlothlin investigates more recent
fictional texts that imagine the perspective of their invented
perpetrator-narrators. Such works draw readers directly into the
perpetrator's experience and at the same time impede their access
to the perpetrator's consciousness by retarding their affective
connection. Demonstrating that recent fiction featuring
perpetrators as narrators employs strategies derived from earlier
nonfictional portrayals, McGlothlin establishes not only a
historical connection between these two groups of texts, whereby
nonfictional engagement with real-life perpetrators gradually gives
way to fictional exploration, but also a structural and aesthetic
one. The book bespeaks new modes of engagement with ethically
fraught questions raised by our increasing willingness to consider
the events of the Holocaust from the perspective of the
perpetrator. Students, scholars, and readers of Holocaust studies
and literary criticism will appreciate this closer look at a
historically taboo topic.
In The Construction of Testimony: Claude Lanzmann's Shoah and Its
Outtakes, editors Erin McGlothlin, Brad Prager, and Markus
Zisselsberger gather contributions on how Shoah (1985)
fundamentally changed the nature and use of filmed testimony and
laid the groundwork for how historians and documentarians regard
and understand the history of the Holocaust. Critics have taken
long note of Shoah's innovative style and its place in the history
of documentary film and in cultural memory, but few scholars have
touched on its extensive outtakes and the reams of documentation
archived at the United States Holocaust Memorial Museum and at Yad
Vashem, or the release of five feature-length documentaries based
on the material in those outtakes. The Construction of Testimony,
which contains thirteen essays by some of the most notable scholars
in Holocaust film studies, reexamines Lanzmann's body of work, his
film, and the impact of Shoah through this trove-over 220 hours-of
previously unavailable and unexplored footage. Responding to the
need for a sustained examination of Lanzmann's impact on historical
and filmic approaches to testimony, this volume inaugurates a new
era of scholarship, one that takes a critical position vis-a-vis
the filmmaker's posturing, stylization, and editorial
sleight-of-hand. The volume's contributors engage with a range of
dimensions central to Lanzmann's filmography and the outtakes,
including the dynamics of gender in his work, his representation of
Nazi perpetrators, and complex issues of language and translation.
In light of Lanzmann's invention of a radically new form of
witnessing and remembrance, Shoah laid the framework for the ways
in which subsequent filmmakers have represented the Holocaust
cinematically; at the same time, the outtakes complicate this
framework by revealing new details about the filmmaker's complex
editorial choices. Scholars and students of film studies and
Holocaust studies will value this close analysis.
The Mind of the Holocaust Perpetrator in Fiction and Nonfiction
examines texts that portray the inner experience of Holocaust
perpetrators and thus transform them from archetypes of evil into
complex psychological and moral subjects. Employing relevant
methodological tools of narrative theory, Erin McGlothlin analyzes
these unsettling depictions, which manifest a certain tension
regarding the ethics of representation and identification. Such
works, she asserts, endeavor to make transparent the mindset of
their violent subjects, yet at the same time they also invariably
contrive to obfuscate in part its disquieting character. The Mind
of the Holocaust Perpetrator in Fiction and Nonfiction contains two
parts. The first focuses on portraits of real-life perpetrators in
nonfictional interviews and analyses from the 1960s and 1970s.
These works provide a nuanced perspective on the mentality of the
people who implemented the Holocaust via the interventional role of
the interviewer or interpreter in the perpetrators' performances of
self-disclosure. In part two, McGlothlin investigates more recent
fictional texts that imagine the perspective of their invented
perpetrator-narrators. Such works draw readers directly into the
perpetrator's experience and at the same time impede their access
to the perpetrator's consciousness by retarding their affective
connection. Demonstrating that recent fiction featuring
perpetrators as narrators employs strategies derived from earlier
nonfictional portrayals, McGlothlin establishes not only a
historical connection between these two groups of texts, whereby
nonfictional engagement with real-life perpetrators gradually gives
way to fictional exploration, but also a structural and aesthetic
one. The book bespeaks new modes of engagement with ethically
fraught questions raised by our increasing willingness to consider
the events of the Holocaust from the perspective of the
perpetrator. Students, scholars, and readers of Holocaust studies
and literary criticism will appreciate this closer look at a
historically taboo topic.
In The Construction of Testimony: Claude Lanzmann's Shoah and Its
Outtakes, editors Erin McGlothlin, Brad Prager, and Markus
Zisselsberger gather contributions on how Shoah (1985)
fundamentally changed the nature and use of filmed testimony and
laid the groundwork for how historians and documentarians regard
and understand the history of the Holocaust. Critics have taken
long note of Shoah's innovative style and its place in the history
of documentary film and in cultural memory, but few scholars have
touched on its extensive outtakes and the reams of documentation
archived at the United States Holocaust Memorial Museum and at Yad
Vashem, or the release of five feature-length documentaries based
on the material in those outtakes. The Construction of Testimony,
which contains thirteen essays by some of the most notable scholars
in Holocaust film studies, reexamines Lanzmann's body of work, his
film, and the impact of Shoah through this trove-over 220 hours-of
previously unavailable and unexplored footage. Responding to the
need for a sustained examination of Lanzmann's impact on historical
and filmic approaches to testimony, this volume inaugurates a new
era of scholarship, one that takes a critical position vis-a-vis
the filmmaker's posturing, stylization, and editorial
sleight-of-hand. The volume's contributors engage with a range of
dimensions central to Lanzmann's filmography and the outtakes,
including the dynamics of gender in his work, his representation of
Nazi perpetrators, and complex issues of language and translation.
In light of Lanzmann's invention of a radically new form of
witnessing and remembrance, Shoah laid the framework for the ways
in which subsequent filmmakers have represented the Holocaust
cinematically; at the same time, the outtakes complicate this
framework by revealing new details about the filmmaker's complex
editorial choices. Scholars and students of film studies and
Holocaust studies will value this close analysis.
After Representation? explores one of the major issues in Holocaust
studiesùthe intersection of memory and ethics in artistic
expression, particularly within literature.As experts in the study
of literature and culture, the scholars in this collection examine
the shifting cultural contexts for Holocaust representation and
reveal how writersùwhether they write as witnesses to the
Holocaust or at an imaginative distance from the Nazi
genocideùarticulate the shadowy borderline between fact and
fiction, between event and expression, and between the condition of
life endured in atrocity and the hope of a meaningful existence.
What imaginative literature brings to the study of the Holocaust is
an ability to test the limits of language and its conventions.
After Representation? moves beyond the suspicion of representation
and explores the changing meaning of the Holocaust for different
generations, audiences, and contexts.
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