scholarly journals ‘Humorous Is the Only Truthful Way to Tell a Sad Story’: Jonathan Safran Foer and Third Generation Holocaust Representation

Genealogy ◽  
2019 ◽  
Vol 3 (4) ◽  
pp. 55
Author(s):  
Sarah Coakley
Keyword(s):  
Specific Form ◽  
Historical Narrative ◽  
Film Adaptation ◽  
Specific Reference ◽  
Third Generation ◽  
Transgenerational Transmission ◽  
The Third ◽  
The Holocaust ◽  
Historical Accuracy ◽  
The Subject

Jonathan Safran Foer’s representation of the Holocaust in his first novel, Everything is Illuminated, has been the subject of much controversy and critical debate. Several critics and Holocaust survivors have objected to the work for the lack of historical accuracy in its mythological narrative and the irreverence of its humour. However, such responses fail to take into account its specific form of generational representation: The Holocaust of Everything is Illuminated is always perceived through a third-generation lens, and its provocative elements instead highlight aspects of the experiences of the grandchildren of survivors. With this in mind, this paper examines Foer’s approach to the Holocaust in Everything is Illuminated and Liev Schreiber’s film adaptation (2005), making specific reference to the challenges faced by the third generation. Drawing upon theories of the transgenerational transmission of trauma and postmemory, it will explore the roles of creativity and humour in resilience, in addition to the reconstruction of a historical narrative under threat of erasure. Ultimately, by offsetting the tendencies to reduce the complexity of the Holocaust into unequivocal moralities (as exhibited in the film adaptation) with the idiosyncrasies of the third-generation experience, an alternative contextual perspective on the Holocaust is propounded, containing its own discrete set of ethical questions and concerns.

Holocaust Film before the Holocaust: DEFA, Antifascism and the Camps

2008 ◽  
Vol 18 (1) ◽  
pp. 109-134
Author(s):  
David Bathrick
Keyword(s):  
Subject Matter ◽  
Cultural Landscape ◽  
Third Reich ◽  
The Third ◽  
Feature Films ◽  
The Holocaust ◽  
The Subject ◽  
The Third Reich ◽  
Holocaust Film ◽  
Diary Of Anne Frank

AbstractThe period prior to the 1970s has frequently been portrayed internationally as one of public disavowal of the Jewish catastrophe politically and cinematically and as one in which there was a dearth of filmic representations of the Holocaust. In addition to the Hollywood productionsThe Diary of Anne Frank(1960), Stanley Kramer’sJudgment at Nuremberg(1961) and Sidney Lumet’sThe Pawnbroker(1965), one often spoke of just a few East and West European films emerging within a political and cultural landscape that was viewed by many as unable or unwilling to address the subject. This article takes issue with these assumptions by focusing on feature films made by DEFA between 1946 and 1963 in East Berlin’s Soviet Zone and in East Germany which had as their subject matter the persecution of Jews during the Third Reich.

scholarly journals THE IMPORTANCE OF GRANDPARENTS FOR THE THIRD GENERATION IN A MULTIGENERATIONAL FAMILY

Osvitolohiya ◽  
2021 ◽  
pp. 66-72
Author(s):  
Katarzyna Olewniczak
Keyword(s):  
Cognitive Behavioral ◽  
Third Generation ◽  
Mutual Benefit ◽  
The Third ◽  
Extended Families ◽  
Multigenerational Family ◽  
Modern Family ◽  
The Subject

Despite the changes in the model of a modern family, extended families are still functioning. Their role and functions are significant due to intergenerational contacts, based on interaction. The subject of the considerations undertaken in this study is the importance of the third generation in the life of the first one in the cognitive, behavioral, emotional and socio-economic spheres of a family. The grandparents’ importance for their grandchildren is related to the mutual benefit and pleasure from the presence of the closest people in life.

To Bear Witness After the Era of the Witness

2018 ◽  
Vol 36 (3) ◽  
pp. 76-91
Author(s):  
Donald Reid
Keyword(s):  
Third Generation ◽  
The Third ◽  
Memory Culture ◽  
History Of ◽  
The Subject ◽  
Bear Witness

This essay examines how two French individuals in the third generation of Holocaust victims/survivors, Christophe Boltanski and Ivan Jablonka, research and present their grandparents and how they challenge contemporary memory culture. Their works differ in their ambitions and the strategies used to achieve them, but both Boltanski and Jablonka take the most disrespected of historical genres, the history of the author’s family, and reveal its potential in an arena where the duty to remember what was done to Jews as a group can obscure the complex individuals who were victims. These forgotten selves and what they reveal about the societies in which they lived are the subject of Boltanski’s and Jablonka’s work. Particular attention is devoted to the Communist parties in Poland and France and the relations of their grandparents to them.

The memory of Polish and Jewish past: The problem of space and vector (young Polish prose of the 2000–2010s)

2018 ◽  
pp. 432-448
Author(s):  
Irina Adelgejm
Keyword(s):  
Third Generation ◽  
The Third ◽  
The Holocaust ◽  
Spatial Aspect

The article sheds lide on the spatial aspect of the problem of Polish and Jewish past of Poland in the prose of the third generation after the Holocaust. It studies texts written by young authors who are connected by their origin both to Jewish (P. Paźiński) and Polish (S. Chutnik, I. Ostachowicz) parts of this past.

scholarly journals Transgenerational Transmission of Holocaust Trauma and Its Expressions in Literature

Genealogy ◽  
2018 ◽  
Vol 2 (4) ◽  
pp. 49 ◽  
Author(s):  
Bina Nir
Keyword(s):  
Second Generation ◽  
Jewish People ◽  
Growing Up ◽  
Central Concept ◽  
Transgenerational Transmission ◽  
The Past ◽  
The Holocaust ◽  
Transmission Of Trauma ◽  
The Subject ◽  
Shadow It

Trauma is a central concept in the historiography of the Holocaust. In both the historiographical and the psychoanalytical research on the subject, the Holocaust is perceived not as a finite event that took place in the past, but as one that continues to exist and to affect the families of survivors and the Jewish people. In the 1950s–1960s, evidence began emerging that Holocaust trauma was not limited to the survivors themselves, but was passed on to the next generation born after the Holocaust and raised in its shadow. It is possible to see the effects of growing up in the shadow of the Holocaust and transgenerational transmission of trauma in many aspects of the second-generation children’s lives. In this article, I examine the representations of these symptoms in David Grossman’s novel See Under: Love, which deals with the subject of the Holocaust through the perspective of Momik, a child of Holocaust survivors. Grossman teaches us that writing itself has the potential to heal. He also shows us that every one of us contains both victim and aggressor, and that, under certain circumstances, the “Nazi beast” may awaken within each of us.

Four generations of nuclear physicists

1972 ◽  
Vol 27 (1) ◽  
pp. 75-94 ◽  
Keyword(s):  
Nuclear Physics ◽  
First Generation ◽  
Second Generation ◽  
Fourth Generation ◽  
Third Generation ◽  
The Third ◽  
The Future ◽  
The Subject ◽  
Industrial Societies

TO review the course of nuclear physics over many decades of time in the space of an hour’s talk and yet leave time for predicting its future requires a rather impressionistic technique in the presentation. I have chosen as my time markers the human generations which, as I hope you will see, also mark distinct phases in the development of the subject. Conventionally, a generation spans twenty-five years; hence a hundred years covers four generations. The first generation was that of Rutherford and Bohr, followed in the second generation by Heisenberg, Pauli, Blackett, Fermi and their contemporaries, many of whom are here today. The third generation is represented by the nuclear physicists of my own age and finally the fourth generation are those young physicists, now about 25 years old, on whom the development of this subject will depend in the next twenty-five years. I will try to trace through these generations four main themes each of which, in different ways, affects the future of nuclear physics. Firstly, and most importantly, the progress of the research itself; secondly, the development of the research apparatus; thirdly, the evolution of the organization of the research and lastly, the relationships between nuclear physics and the industrial societies which support it.

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