Search results

Open Access (free)
From content warning to censorship
Jack Halberstam

gives it a sexist tag when we use the standard of audible and visual insult. And this is the problem, of course –​insults, damage and trauma are as likely to be triggered and inflicted by what is not said or shown as by what is loud and clear. To give one more example, in a class I taught on the Holocaust a few years ago, students were appalled and shocked on the first day of class when I showed clips from Alain Resnais’s classic 1955 film Night and Fog. The now all-​too-​familiar imagery of bodies being shovelled into shallow graves, of mounds of rotting and

in The power of vulnerability
James Thompson

society’ (Tronto, 2013 : 2). Carelessness is a comment on the absurdity of cuts to social care in the local authorities in the UK that, in the name of ‘personalisation’, has led to one announcing that support will be offered at the level of ‘just enough’ (Salford City Council, 2012 : 30). However, this critique has a longer history. Another way of describing what I am calling here the careless society is through the notion of a ‘contract of mutual indifference’, outlined by political scientist Norman Geras in his work on ‘political philosophy after the holocaust

in Performing care
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

, and avoidance of, the hackneyed phrase and the clichéd response have served them well when approaching other violent events such as the extermination of the Jews under the Nazi regime. One poet in particular, Michael Longley, has been especially vocal in his desire to avoid treating the Holocaust as ‘a mere subject’: The German philosopher Adorno suggested that there could be no more poetry after Auschwitz. Perhaps he meant that after the holocaust poetry could not remain the same. In which case I agree with him. But I also believe that if poetry is incapable of

in Irish literature since 1990
Susan Manning

–62; quoted passage from p. 647. Dominick LaCapra, Representing the Holocaust: History, Theory, Trauma, Ithaca and London, Cornell University Press, 1994, p. 14. Walter Scott, ‘Essay on Romance’, in Prose Works, Vol. 6, p. 171. James Chandler, England in 1819: The Politics of Literary Culture and the Case of Romantic Historicism, Chicago and London, University of Chicago Press, 1998, p. 145. See also Scott, ‘Essay on Chivalry’, in Prose Works, Vol. 9, pp. 10–11; 39–40. Scott, Ivanhoe, p. 115. Scott, Ivanhoe, p. 134. Scott, Ivanhoe, p. 392. Nassau Senior, The Quarterly

in Special relationships
Open Access (free)
Memory and identity in Marie Redonnet’s fiction of the 1990s
Aine Smith

inventing here takes on a particularly sinister configuration, for, as the text progresses, it becomes clear that his parents died in a death camp which has now been erased. His text, and by extension, Redonnet’s œuvre, may thus be read as an allegory of the necessity for the creative act, and especially writing, as a means of resisting memory loss or collective amnesia. And Nevermore in particular – seeking to resist the deletion of the memory of the horrors of the past – might even be read as a contemporary commemoration of the victims of the Holocaust. Willy Bost is far

in Women’s writing in contemporary France
Sylvie Germain and the generic problems of the Christian novel
Margaret-Anne Hutton

().2 Since then she has produced a steady output of texts: novels (set principally in either the French provinces or Prague, where she taught philosophy at the Ecole française from , before returning to France in ); shorter fictional works; explorations of religious faith articulated around striking commentaries based on both mystical and literary texts; works on Vermeer and on Holocaust diarist Etty Hillesum; and a venture into children’s writing. Germain’s work is characterised by a combination of powerful lyricism and a lush proliferation of imagery, the

in Women’s writing in contemporary France
Open Access (free)
Trauma, dream and narrative
Victoria Best

, haunting revelation of irreconcilable difference within. Dreams can provide powerful recompense in the face of loss and clever encapsulations of psychic dilemmas. However, they are incomplete without their interpretation in narrative. This is possibly why dreams fascinate so: they demand explanation as their essential counterpart. Both narratives point to the limits of the mind’s creative power in the face of trauma. The events of the Holocaust, for instance, continue to prove resistant to any form of symbolisation. Yet, in the final analysis, creativity holds our best

in Women’s writing in contemporary France
Judie Newman

state’s killings of Jews. Discussing Ronald Reagan’s respectful tribute at the graves of SS soldiers at Bitburg in 1985, Geoffrey Hartman warned of a more subtle revisionism . . . all around us that mitigates the horrors of the camps, not by denying it but by using equalizing comparisons.11 In this way Vietnam becomes a Holocaust – or (a more vexed issue following Elkins) slavery a psychological equivalent of the camps. It is a problem that besets any comparative study, offering a fatal temptation to writers to indulge the rhetoric of blame with rival calculators

in Special relationships
Open Access (free)
Street and theatre at the end of Fordism
David Calder

transformation of the documented experiences: the aging and natural death of Holocaust survivors, a shift in the immigrant experience from temporary working arrangement to permanent family resettlement, the deindustrialization of urban areas, and the industrialization of agriculture.9 Memorial work, the forging of a link between present and past, kept the recent past present before it could slip away. The figure of the saltimbanque, so prominent in the name of the 1973 Aix-en-Provence festival and in the discourse of street theatre throughout the 1970s, operates somewhat

in Street theatre and the production of postindustrial space
Open Access (free)
Gill Rye and Michael Worton

‘witnessing’ texts, by both men and women, bringing into the literary domain, for example, the accounts of Holocaust survivors and AIDS victims.32 ‘Traumatic experience’ can be understood more widely, however, to include the loss – the death – of loved ones, abuse (physical, mental or sexual), terminal illness, exile and experience of collective tragedies: wars, terrorist attacks, major accidents, natural disasters.33 Indeed, the currency of the term has led Hal Foster to identify a general tendency in contemporary culture ‘to redefine experience, individual and historical

in Women’s writing in contemporary France