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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
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
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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
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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
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
Katariina Kyrölä

explicit representation, such as the exclusion of issues of race, gender or class altogether from philosophy or political science classes. Another example that Halberstam discusses is a course he taught on the Holocaust, where he showed the film Nuit et brouillard [Night and Fog] (1955, dir. Alain Resnais), with brutal imagery of dead, naked, piled-​up bodies, to the students’ shock,  41 Vulnerability in the trigger warning debates 41 while they were captivated by and wanted to see more of Triumph des Willens [The Triumph of the Will] (1935, dir. Leni Riefenstahl), a

in The power of vulnerability
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Corruption, community and duty in Family Matters
Peter Morey

, whether in realist novels of corpse-filled trains or in the magic realist midnight muddles’ (FM, 145). As with those Jews who have survived the Holocaust, there is often an urge to speak, to write, to remember: ‘What choice was there, except to speak about it again and again, and yet again’ (FM, 145). Something in the act of telling itself brings balm. In fact, religion may be simply another of those consoling fictions mitigating the loneliness and horror of life: Roxana tells the growing, and hence sceptical, Jehangir that Nariman has died and is now in heaven being

in Rohinton Mistry
Martine Pelletier

16/2/09 9:25 AM Page 108 Drama new home in a new country, though the ghosts of their past may still haunt them. Kuti’s play subtly conveys the horror of the Holocaust and its impact on the survivors. The play repeatedly makes use of the interconnected symbols of the ark and the treehouse. Both evoke sanctuaries, ways of hiding and/or escaping from threats/others. But as Anna McMullan rightly perceives, these interrelated symbols are highly ambiguous as Eva and Magda also use their respective treehouses to keep the others out, to exclude. This prompts her

in Irish literature since 1990