narrative and aesthetic strategies in the representation of the Holocaust /
First Statement of Responsibility
Lea Wernick Fridman.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
Albany :
Name of Publisher, Distributor, etc.
State University of New York Press,
Date of Publication, Distribution, etc.
c2000.
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
xiii, 177 p. ;
Dimensions
24 cm.
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references (p. 151-164) and index.
CONTENTS NOTE
Text of Note
1 History, Fantasy, and Horror 5 -- 2 Silence of Historical Traumatic Experience: Aharon Appelfeld's Badenheim 1939 33 -- 3 Silence in Language and in History 53 -- 4 Historical Horror and the Literary Act of Witness: An Examination of Elie Wiesel's Night 87 -- 5 Literary Act of Witness: Narrative, Voice, and the Problematic of the Real 99 -- 6 Concluding Thoughts and Promptings 127.
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SUMMARY OR ABSTRACT
Text of Note
"Narratives of large-scale historical horror and trauma cross a terrible boundary in representation. What forms are adequate to such experience? What are the forms that such narratives actually take? Fridman is fascinated by the boundary that separates the representable from the unrepresentable and by the sense that literary works on either side of this boundary are governed by a different dynamic and set of rules from one another. Close readings of works by Aharon Appelfeld, Tadeusz Borowski, Paul Celan, Chrlotte Delbo, Jerzy Kosinski, Claude Lanzmann, Dan Pagis, Piotr Rawicz, Andre Schwarz-Bart, and Elie Wiesel explore the inventive means by which these Holocaust writers wrestle with experiences that, in a very real sense, cannot be put into words.
Text of Note
A new reading of Joseph Conrad's Heart of Darkness sets the stage for comparative and far-reaching literary insights into the notion and conception of traumatic narrative."--BOOK JACKET.