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The Belated Witness stakes out an original place within the field
of recent work on the theory and practice of literary writing after
the Holocaust. Drawing in productive and unsettling ways from
converging work in history, philosophy, psychoanalysis, and
literature, the book asks how the events of the Holocaust force us
to alter traditional conceptions about human experience, as well as
the way we can now talk and write about such experiences. Rather
than providing a mere account of an outside or inside reality,
literature after the Holocaust sets itself a more radical task: it
testifies to unspeakable experiences in a specific mode of address,
a call or summons to another in whose sole power resides the
possibility of a future response to such testimonies of
world-historical trauma.
New essays providing an up-to-date picture of the engagement of
artists, philosophers, and critics with Kafka's work. The topic of
"Kafka after Kafka" is a fascinating one: the engagement of
artists, philosophers, and critics in dialogical exchange with
Kafka's works. The present collection of new essays highlights the
engagement of lesser knownartists and commentators with Kafka, and
represents those who are well known, such as Arendt, Blanchot,
Nabokov, and Coetzee, from new perspectives. The eleven essays
contained here represent the most recent scholarly engagements with
this topic. An essay on major trends in current Kafka criticism
provides background for several essays on novelists, philosophers,
and critics whose relationship to Kafka is not very well known. A
section devoted to Kafka from an Israeli perspective includes
artists not commonly known in the US or Europe (Ya'acov Shteinberg,
Hezi Leskly, Sayed Kashua), as well as an essay on the recent trial
in Israel regarding the fate of Kafka's literary legacy. A final
section addresses important contemporary approaches to Kafka in
film studies, animal studies, the graphic novel, and in postmodern
culture and counterculture. Contributors: Iris Bruce, Stanley
Corngold, AmirEngel, Mark H. Gelber, Sander L. Gilman, Caroline
Jessen, Tali Latowicki, Michael G. Levine, Ido Lewit, Vivian Liska,
Alana Sobelman. Iris Bruce is Associate Professor of German at
McMaster University. Mark H. Gelber is Senior Professor and
Director of the Center for Austrian and German Studies at
Ben-Gurion University.
In his famous theses on the philosophy of history, Benjamin writes:
"We have been endowed with a weak messianic power to which the past
has a claim." This claim addresses us not just from the past but
from what will have belonged to it only as a missed possibility and
unrealized potential. For Benajmin, as for Celan and Derrida, what
has never been actualized remains with us, not as a lingering echo
but as a secretly insistent appeal. Because such appeals do not
pass through normal channels of communication, they require a
special attunement, perhaps even a mode of unconscious receptivity.
Levine examines the ways in which this attunement is cultivated in
Benjamin's philosophical, autobiographical, and photohistorical
writings; Celan's poetry and poetological addresses; and Derrida's
writings on Celan.
In his famous theses on the philosophy of history, Benjamin writes:
"We have been endowed with a weak messianic power to which the past
has a claim." This claim addresses us not just from the past but
from what will have belonged to it only as a missed possibility and
unrealized potential. For Benajmin, as for Celan and Derrida, what
has never been actualized remains with us, not as a lingering echo
but as a secretly insistent appeal. Because such appeals do not
pass through normal channels of communication, they require a
special attunement, perhaps even a mode of unconscious receptivity.
Levine examines the ways in which this attunement is cultivated in
Benjamin's philosophical, autobiographical, and photohistorical
writings; Celan's poetry and poetological addresses; and Derrida's
writings on Celan.
The Belated Witness stakes out an original place within the field
of recent work on the theory and practice of literary writing after
the Holocaust. Drawing in productive and unsettling ways from
converging work in history, philosophy, psychoanalysis, and
literature, the book asks how the events of the Holocaust force us
to alter traditional conceptions about human experience, as well as
the way we can now talk and write about such experiences. Rather
than providing a mere account of an outside or inside reality,
literature after the Holocaust sets itself a more radical task: it
testifies to unspeakable experiences in a specific mode of address,
a call or summons to another in whose sole power resides the
possibility of a future response to such testimonies of
world-historical trauma.
The 141st volume of Yale French Studies examines the life and work
of Claude Lanzmann following his masterpiece, Shoah  This
volume of Yale French Studies charts the different paths the
filmmaker Claude Lanzmann (1925–2018) took after the release of
Shoah in 1985. These paths are explored through a consideration of
his late films—Tsahal (1994), A Visitor from the Living (1997),
Sobibor, October 14, 1943, 4 p.m. (2001), Light and Shadows (2008),
The Karski Report (2010), The Last of the Unjust (2013), Napalm
(2017), and Four Sisters (2018)—and of his memoir, The Patagonian
Hare. The volume also includes an English translation of his last
major interview, “Self-Portrait at Ninety.” The original essays
collected here show that Lanzmann’s late films and writing stand
as something more than mere footnotes to his 1985 masterpiece.
Continuing to wrestle with questions of cinematic transmission and
the relationship among film, history, and testimony, they confront
anew and in a variety of approaches the challenge of representing
the Holocaust, and of living in its aftermath.
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