How to approach the Holocaust and its relationship to late twentieth-century society? While some stress the impossibility of comprehending this event, others attempt representations in forms as different as the nonfiction novel (and Hollywood blockbuster) Schindler's List, the documentary Shoah, and the comic book Maus. This problem is at the center of Michael Rothberg's book, a focused account of the psychic, intellectual, and cultural aftermath of the Holocaust. Drawing on a wide range of texts, Michael Rothberg puts forth an overarching framework for understanding representations of the Holocaust. Through close readings of such writers and thinkers as Theodor Adorno, Maurice Blanchot, Ruth Klüger, Charlotte Delbo, Art Spiegelman, and Philip Roth and an examination of films by Steven Spielberg and Claude Lanzmann, Rothberg demonstrates how the Holocaust as a traumatic event makes three fundamental demands on representation: a demand for documentation, a demand for reflection on the limits of representation, and a demand for engagement with the public sphere and commodity culture. As it establishes new grounding for Holocaust studies, his book provides a new understanding of realism, modernism, and postmodernism as responses to the demands of history.
Drawing on a wide range of texts, Michael Rothberg puts forth an overarching framework for understanding representations of the Holocaust. Through close readings of such writers and thinkers as Theodor Adorno, Maurice Blanchot, Ruth Klüger, Charlotte Delbo, Art Spiegelman, and Philip Roth and an examination of films by Steven Spielberg and Claude Lanzmann, Rothberg demonstrates how the Holocaust as a traumatic event makes three fundamental demands on representation: a demand for documentation, a demand for reflection on the limits of representation, and a demand for engagement with the public.
A major contribution to Holocaust studies, the book examines the capacity of supernatural elements to dramatize the ethical and representational difficulties of Holocaust fiction. Exploring texts by such writers as D.M. Thomas and Markus Zusak it will appeal to scholars and students of Holocaust literature, magic realism, and contemporary fiction.
This work examines novels from Caribbean, North American, and European literatures of the second half of the twentieth century, both Anglophone and in translation, with focus on the chronotopes of slavery, colonialism, the Holocaust, and war. Historical traumata have found their reconstruction in literary works written by either traumatized or vicariously traumatized authors, such as Jean Rhys, Alejo Carpentier, Maryse Conde??, Salman Rushdie, Gabriel Garci??a Ma??rquez, Bernard Malamud, Joseph Skibell, Gu??nter Grass, and Tim O'Brien. The traumatic imagination accounts for the relative prevalence of magical realist writing in postmodernist fiction. As a singular phenomenon of postmodern aporia, magical realist texts write the silence imposed by trauma, and convert it into history.--publisher.
Trauma does not just happen to a few unlucky people; it is the bedrock of our psychology. Death and illness touch us all, but even the everyday sufferings of loneliness and fear are traumatic. In The Trauma of Everyday Life renowned psychiatrist and author of Thoughts Without a Thinker Mark Epstein uncovers the transformational potential of trauma, revealing how it can be used for the mind's own development. Epstein finds throughout that trauma, if it doesn't destroy us, wakes us up to both our minds' own capacity and to the suffering of others. It makes us more human, caring and wise. It can be our greatest teacher, our freedom itself, and it is available to all of us. Western psychology teaches that if we understand the cause of trauma, we might move past it while many drawn to Eastern practices see meditation as a means of rising above, or distancing themselves from, their most difficult emotions. Both, Epstein argues, fail to recognize that trauma is an indivisible part of life and can be used as a tool for growth and an ever deeper understanding of change. When we regard trauma with this perspective, understanding that suffering is universal and without logic, our pain connects us to the world on a more fundamental level. Guided by the Buddha's life as a profound example of the power of trauma, Epstein's also closely examines his own experience and that of his psychiatric patients to help us all understand that the way out of pain is through it.
Presents a post-Holocaust view of contemporary culture. Examines, in particular, the question of realism as one of the central problematics that the Holocaust forces back into view. Pt. 1 (p. 17-96), "Modernism 'After Auschwitz', " discusses the philosophers Theodor Adorno and Maurice Blanchot. Pt. 2 (p. 97-177), "Realism in 'the Concentrationary Universe', " deals with the literary works of Ruth Klueger and Charlotte Delbo. Pt. 3 (p. 179-273), "Postmodernism, or 'the Year of the Holocaust', " deals with Philip Roth, Art Spiegelman, and Americanizing the Holocaust. Derives from Holocaust testimonies the concept of traumatic realism as a way of superseding the realist vs. anti-realist dichotomy. Stresses the relation between present and past, and a shift from events to their transmission, including in mass culture, via such forms as comic books, feature films, and museum exhibits.
While a number of recent works have linked magical realism to postcolonial trauma, this book expands the trauma-theory-based analysis of magical realism. Borrowing from the Russian Formalist Mikhail Bakhtin, the study adapts his concept of chronotope to that of shock chronotope in order to describe unstable time-spaces marked by extreme events. Besides trauma theory, contemporary theories of representation formulated by Guy Debord, Jean Baudrillard, and Slavoj i ek, among others, corroborate specific literary analyses of magical realist novels by Caribbean, North American, and European authors. The study discusses a series of concepts, such as "spectacle" and "hyperreality," in order to create an analogy between the hyperreal, a spectacle without origins, and magical realism, a representation of events without a history, or a recreation of an absence that first needs to be acknowledged before it can be assigned any meaning. Magical realist hyperreality is meant to be a reconstruction of events that were "missed" in the first place because of their traumatic nature. While the magical realist hyperreal might not explain the unspeakable event, if only to avoid the risk of an amoral rationalization, it makes the ineffable be vicariously felt and re-experienced.This study establishes a somewhat unorthodox nexus between magical realist writing (viewed primarily as a postmodern literary phenomenon) and trauma (understood both as an individual and as an often invisible cultural dominant), and proposes the concept of "traumatic imagination" as an analytical tool to be applied to literary texts struggling to represent the unpresentable and to reconstruct extreme events whose forgetting has proven just as unbearable as their remembering. The traumatic imagination defines the empathy-driven consciousness that enables authors and readers to act out and/or work through trauma by means of magical realist images. Corroborated by elements of trauma theory, postcolonial studies, narrative theory, and contemporary theories of representation, the work posits that the traumatic imagination is an essential part of the creative process that turns traumatic memories into narratives. Magical realism lends traumatic events an expression that traditional realism could not, seemingly because the magical realist writing mode and the traumatized subject share the same ontological ground: being part of a reality that is constantly escaping witnessing through telling. Over more than half a century now, magical realism has demonstrated its versatility by affecting literary productions belonging to various cultural spaces and representing different histories of violence. This book examines novels by traumatized and vicariously traumatized authors who make extensive use of fantastic/magical elements in order to represent slavery, postcolonialism, the Holocaust, and war.The Traumatic Imagination: Histories of Violence in Magical Realist Fiction is an important book for magical realism- and trauma theory-based critical collections.
In this book Jeffrey C. Alexander develops an original social theory of trauma and uses it to carry out a series of empirical investigations into social suffering around the globe. Alexander argues that traumas are not merely psychological but collective experiences, and that trauma work plays a key role in defining the origins and outcomes of critical social conflicts. He outlines a model of trauma work that relates interests of carrier groups, competing narrative identifications of victim and perpetrator, utopian and dystopian proposals for trauma resolution, the performative power of constructed events, and the distribution of organizational resources. Alexander explores these processes in richly textured case studies of cultural-trauma origins and effects, from the universalism of the Holocaust to the particularism of the Israeli right, from postcolonial battles over the Partition of India and Pakistan to the invisibility of the Rape of Nanjing in Maoist China. In a particularly controversial chapter, Alexander describes the idealizing discourse of globalization as a trauma-response to the Cold War. Contemporary societies have often been described as more concerned with the past than the future, more with tragedy than progress. In Trauma: A Social Theory, Alexander explains why.
This book explores the close association between the literary representation of historical trauma and the alternative narrative form of magical realism, underscoring the role of memory, empathy and imagination. It discusses the potential of magical realism to give a literary representation to individual and collective trauma arising from the Holocaust, slavery, and apartheid, and to turn those unspoken memories into narratives. It also analyses the role of magical realism in depicting trauma suffered by female victims during and following those events. Again, by dealing with the above-mentioned events, their specific historical context and universal meaning for humankind, this book highlights a universal experience of trauma.
Over the past decades, the memory of the Holocaust has not only become a common cultural consciousness but also a cultural property shared by people all over the world. This collection brings together academics, critics and creative practitioners from the fields of Holocaust Studies, Literature, History, Media Studies, Creative Writing and German Studies to discuss contemporary trends in Holocaust commemoration and representation in literature, film, TV, the entertainment industry and social media. The essays in this trans-disciplinary collection debate how contemporary culture engages with the legacy of the Holocaust now that, 75 years on from the end of the Second World War, the number of actual survivors is dwindling. It engages with ongoing cultural debates in Holocaust Studies that have seen a development from, largely, testimonial presentations of the Holocaust to more fictional narratives both in literature and film. In addition to a number of chapters focusing in particular on literary trends in Holocaust representation, the collection also assesses other forms of cultural production surrounding the Holocaust, ranging from recent official memorialisation in Germany to Holocaust presentation in film, computer games and social media. The collection also highlights the contributions by creative practitioners such as writers and performers who use drama and the traditional art of storytelling in order to keep memories alive and pass them on to new generations. The chapters in this book were originally published as a special issue of Holocaust Studies: A Journal of Culture and History.
