Remembering the Holocaust explains why the Holocaust has come to be considered the central event of the 20th century, and what this means. Presenting Jeffrey Alexander's controversial essay that, in the words of Geoffrey Hartman, has already become a classic in the Holocaust literature, and following up with challenging and equally provocative responses to it, this book offers a sweeping historical reconstruction of the Jewish mass murder as it evolved in the popular imagination of Western peoples, as well as an examination of its consequences.
Alexander's inquiry points to a broad cultural transition that took place in Western societies after World War II: from confidence in moving past the most terrible of Nazi wartime atrocities to pessimism about the possibility for overcoming violence, ethnic conflict, and war. The Holocaust has become the central tragedy of modern times, an event which can no longer be overcome, but one that offers possibilities to extend its moral lessons beyond Jews to victims of other types of secular and religious strife. Following Alexander's controversial thesis is a series of responses by distinguished scholars in the humanities and social sciences--Martin Jay, Bernhard Giesen, Michael Rothberg, Robert Manne, Nathan Glazer, and Elihu & Ruth Katz--considering the implications of the universal moral relevance of the Holocaust. A final response from Alexander in a postscript focusing on the repercussions of the Holocaust in Israel concludes this forthright and engaging discussion.
Remembering the Holocaust is an all-too-rare debate on our conception of the Holocaust, how it has evolved over the years, and the profound effects it will have on the way we envision the future.

Why should we be excluded from the history and literature of Judaism because the world of our fathers and mothers became a secularized one, Geoffrey Hartman asks, or because religious literacy, whatever our faith or community affiliation, has gone into relative decline? And why, he asks, do those who have no trouble finding pleasure and intellectual profit in the Greek and Roman classics or in the literary and artistic productions of two millennia of Western Christianity not easily find equal resonance and reward in the major texts in the Jewish tradition? For if Christianity and the classical inheritance stand as two pillars of Western civilization, surely the third pillar is the Jewish tradition.In "The Third Pillar" Hartman, one of the most influential scholars and teachers of English and comparative literature of recent decades, has brought together some of the most important and eloquent essays he has written since the 1980s on the major texts of the Jewish tradition. In three groupings, on Bible, Midrash, and education, Hartman clarifies the relevance of contemporary literary criticism to canonical texts in the tradition, while demonstrating what has been--and what still remains to be--learned from the Midrash to enrich the interpretation of commentary and art, sacred or secular. "The map of the discipline of Jewish studies] is still being drawn," Hartman writes. "Barely known areas tempt the explorer, and major reinterpretations remain possible. This third pillar of our civilization . . . is only now being fully excavated: we have discovered something but not everything about its structure and upholding function."

For more than fifty years, Geoffrey Hartman has been a pivotal figure in the humanities. In his first book, in 1954, he helped establish the study of Romanticism as key to the problems of modernity. Later, his writings were crucial to the explosive developments in literary theory in the late seventies, and he was a pioneer in Jewish studies, trauma studies, and studies of the Holocaust. At Yale, he was a founder of its Judaic Studies program, as well as of the first major video archive for Holocaust testimonies.Generations of students have benefited from Hartman's generosity, his penetrating and incisive questioning, the wizardry of his close reading, and his sense that the work of a literary scholar, no less than that of an artist, is a creative act. All these qualities shine forth in this intellectual memoir, which will stand as his autobiography. Hartman describes his early education, uncanny sense of vocation, and development as a literary scholar and cultural critic. He looks back at how his career was influenced by his experience, at the age of nine, of being a refugee from Nazi Germany in the Kindertransport. He spent the next six years at school in England, where he developed his love of English literature and the English countryside, before leaving to join his mother in America.Hartman treats us to a biobibliographyof his engagements with the major trends in literary criticism. He covers the exciting period at Yale handled so controversially by the media and gives us vivid portraits, in particular, of Harold Bloom, Paul de Man, and Jacques Derrida.SEND GEOFFREY COVER COPY All this is set in the context of his gradual self-awareness of what scholarship implies and how his personal displacements strengthened his calling to mediate between European and American literary cultures. Anyone looking for a rich, intelligible account of the last half-century of combative literary studies will want to read Geoffrey Hartman's unapologetic scholar's tale.

The drama of consciousness and maturation in the growth of a poet's mind is traced from Wordsworth's earliest poems to The Excursion of 1814. Mr. Hartman follows Wordsworth's growth into self-consciousness, his realization of the autonomy of the spirit, and his turning back to nature. The apocalyptic bias is brought out, perhaps for the first time since Bradley's Oxford Lectures, and without slighting in any way his greatness as a nature poet. Rather, a dialectical relation is established between his visionary temper and the slow and vacillating growth of the humanized or sympathetic imagination. Mr. Hartman presents a phenomenology of the mind with important bearings on the Romantic movement as a whole and as confirmation of Wordsworth's crucial position in the history of English poetry. Mr. Hartman is professor of English and comparative literature at the University of Iowa. "A most distinguished book, subtle, penetrating, profound."—Rene Wellek. "If it is the purpose of criticism to illuminate, to evaluate, and to send the reader back to the text for a fresh reading, Hartman has succeeded in establishing the grounds for such a renewal of appreciation of Wordsworth."—Donald Weeks, Journal of Aesthetics and Art Criticism.

In this fascinating collection of essays, noted cultural critic Geoffrey Hartman raises the essential question of where we can find the real or authentic in today's world, and how this affects the way we can understand our human predicament. Hartman explores such issues as the fantasy of total and perfect information available on the Internet, the biographical excesses of tell-all daytime talk shows, and how we can understand what is "true" in biographical and testimonial writing. And, what, he asks, is the ethical point of all this personal testimony? What has it really taught us? Underlying the entire book is a question of how the Holocaust has shaped the possibilities for truth and for the writing of an authentic life story in today's world, and how we can approach the world in a meaningful way. Hartman produces a meditation on how an appreciation of the aesthetic qualities of art and writing may help us to answer these questions of meaning.

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.

How do we define culture? To what uses should our concept of culture be put? What costs and benefits do these uses entail? Adam Muller brings together a diverse group of emerging and established scholars to probe the nature of the concept of culture while shedding light on its many different applications and contexts of use. In particular, they examine the assumed unity of culture and with arguments being made for and against over discussions of popular culture, film, globalization, sport, aesthetics, and human values. This volume brings together a variety of perspectives to add much-needed substance to our understanding of the history and politics of culture. Rigorous and interdisciplinary, Concepts of Culture secures a place for analytic philosophy, humanism, and liberal political theory in the ongoing discussion of exactly what culture is and how culture works.