holocaust representation
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2022 ◽  
Author(s):  
Alina Marincean ◽  

Grounded on Giorgio Agamben's assertion that once the historical, technical and legal context of the Jewish genocide has been sufficiently clarified, we are facing a serious challenge when we really seek to understand it and becomes more thought-provoking when we try to represent it. The difference between what we know about the Holocaust and how this delicate issue should be represented is facing major challenges in the context of content abundance onboth Holocaust classical analyses or contemporary digital formats. Contemporary society is facing ethical and emotional limitation regarding Holocaust representation. What is the right way to represent the Holocaust after eight decades since the Holocaust took place is one of the relevant questions that arises in this context? How to live, what to do, and how do the consequences of my actions affect society after the Holocaust experience,are some of the questsof Elie Wiesel’s life.The paper will highlight how his storytelling provides some guidelines for shaping a possible good way of representing the Holocaust and what are its resources. It will also illustrate what are the ethical components of his storytellingthat constitute an example of ethical conduct and give some relevant suggestions on how to instrument them in order to place Holocaust representation on a progressive way of reflection.


Humanities ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 64
Author(s):  
Jeffrey E. Wolfson

Film adaptations invariably yield insights into their written source material, at least to the extent that they elect to translate or omit what may be deemed the literature’s essential components. This is certainly the case for director Agnieszka Holland’s 1990 film, Europa Europa, which adapts Solomon Perel’s account of surviving the Shoah. By drawing on discourse in Holocaust studies and adaptation studies, and by examining the film adaptation’s points of alignment with what Perel records in his memoir, I argue that Europa Europa resists the dominant trend of de-Judaizing the Shoah in artistic representation. Europa Europa privileges explicitly Jewish content and an unmistakably Jewish point of view by focusing on the theme of circumcision. In doing so, the film succeeds in highlighting how the Shoah was, at its core, a campaign to annihilate not just the Jewish people, but also the longstanding principle of the Jewish covenant with the Eternal, as embodied by circumcision. Through its cutting and reshaping of the memoir’s details, Holland’s film seeks to establish a covenant with the viewer to bear witness to the Jewish spirit of the survivor’s testimony. The film presents a model for representing the Holocaust in art, a model that masterfully defies the de-Judaization of society that the Nazis envisioned and tried to make real.


AJS Review ◽  
2020 ◽  
Vol 44 (2) ◽  
pp. 368-383
Author(s):  
Peter Morgan

During the mid-1990s the Australian literary scene was shaken by controversy over issues of antisemitism and Holocaust representation in Helen Demidenko's debut novel, The Hand That Signed the Paper. In 2017, Darville reissued the novel. At a time when debate is raging over the nature and limits of freedom of expression and the status of words and facts, this was a provocative move. This article revisits The Hand in order to resolve the issues of literary antisemitism and freedom of speech that it raised in 1994 and continues to raise today. I apply Avishai Margalit's notion of an “ethics of memory” to the autofictional text in order to develop a theory of an “ethics of narration” in literary fiction. This narrative ethics enables distinctions to be made in relation to truth claims and fictionality, which were opaque in Demidenko's original autofiction and remain unresolved in the reissued version.


2020 ◽  
Vol 6 (3) ◽  
pp. 319-336 ◽  
Author(s):  
Dominic Williams

Prompted by the Meads of Asphodel album Sonderkommando (2013), this article considers ways in which the Auschwitz Sonderkommando (SK) figure in extreme metal. While there are not many metal songs about the SK, they feature far more in metal lyrics than in almost all other music genres. Attracted by obscure and difficult parts of history, metal bands draw on their practices to ‘embody’ the SK: not simply representing them, but feeling and acting out their plight to excess. The article examines a number of these practices: difficult to decipher vocals, the use of global Englishes and a bookish attraction to the arcane and the bizarre. It argues that metal’s embrace of intense feeling in the lyrics and vocal and musical styles can be interpreted as an exploration of embodiment and materiality, allowing a consideration of mediation, the matter through which the SK might be felt and understood. Embodying the SK in metal, then, does not merely comprise an eccentric example of Holocaust memory at work, but takes on central issues of Holocaust representation.


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