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The first sustained interrogation of travel in Sebald's literary
and essayistic work, employing multivalent and new critical
perspectives. W.G. Sebald (1944-2001) is the most prominent and
perhaps the most enigmatic German-language writer of recent
decades. His books have had a more profound impact outside the
German-speaking world than those of any other. His innovative
approach to writing brings to the fore concerns that are central to
contemporary culture: the relationship between memory, history, and
trauma; the experience of exile and our relation to place; and the
role of literature (and photography) in the remembrance of the
past. This collection of essays places travel at the center of
Sebald's poetics and shows how his appropriation of travel in its
myriad historical and cultural forms -- tourism, the pilgrimage,
the walking vacation, travel as escape -- works to craft
intertextual narratives in which the pursuit of individual life
stories is mapped onto a wider European cultural history of loss
and destruction. Following these cues,the contributors wander the
various modalities of travel in Sebald's writing in order to
discover how walking, flying, sojourning, and other kinds of
peregrination inform the relationship between writing, reading,
memory, and place in Sebald's work. At the same time, the essays
uncover in innovative ways the affinities between Sebald and
literary travelers like Bruce Chatwin, Franz Kafka, Adalbert
Stifter, Christoph Ransmayr, and Joseph Conrad. Contributors:
Christian Moser, J. J. Long, Carolin Duttlinger, Martin Klebes,
Alan Itkin, James Martin, Brad Prager, Neil Christian Pages,
Margaret Bruzelius, Barbara Hui, Dora Osborne, Peter Arnds. Markus
Zisselsbergeris Assistant Professor of German at the University of
Miami, Florida.
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.
Translated here into English for the first time, F. W. J.
Schelling's 1842 lectures on the Philosophy of Mythology are an
early example of interdisciplinary thinking. In seeking to show the
development of the concept of the divine Godhead in and through
various mythological systems (particularly of ancient Greece,
Egypt, and the Near East), Schelling develops the idea that many
philosophical concepts are born of religious-mythological notions.
In so doing, he brings together the essential relatedness of the
development of philosophical systems, human language, history,
ancient art forms, and religious thought. Along the way, he engages
in analyses of modern philosophical views about the origins of
philosophy's conceptual abstractions, as well as literary and
philological analyses of ancient literature and poetry.
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.
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