Romanticism After AuschwitzStanford University Press, 2007 - 364 pagina's Romanticism After Auschwitz reveals how post-Holocaust testimony remains romantic, and shows why romanticism must therefore be rethought. The book argues that what literary historians have traditionally called "romanticism," and characterized as a literary movement stretching roughly between 1785 and 1832, should be redescribed in light of two circumstances. The first is the specific inadequacy of literary-historical models before "romantic" works. The second is the particular function that these unsettling aspects of "romantic" works have after Auschwitz. The book demonstrates that certain figures (of speech, writing, and argument) central to normative accounts of "romanticism," serve in their most radical--most genuinely "romantic"--form as vehicles for posing a conception of life (and death) revealed in the camps. In these pages, Agamben meets Wordsworth, Shakespeare meets Celan, film meets lyric poetry, survivors' accounts meet fiction, de Man encounters Nancy. The book offers new readings of highly canonical works--Mary Shelley's Frankenstein, Wordsworth and Coleridge's Lyrical Ballads, Alain Resnais's Night and Fog--and introduces unfamiliar texts. It elaborates a fascinating account of the rhetoric of ethical dispositions and gives its readers an attentive, moving way of understanding the condition of human survival after the Holocaust. |
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Pagina 114
... limit on what is possible and means that one can suffer every possible violence without exceeding this limit . One only suffers as a man . 34 And this also means that one only acts — even when one has preten- sions of divinity — as a ...
... limit on what is possible and means that one can suffer every possible violence without exceeding this limit . One only suffers as a man . 34 And this also means that one only acts — even when one has preten- sions of divinity — as a ...
Pagina 115
... limit . And they reach this limit in encountering the limitlessness of the human species , which endures despite every division generated to mask it . The Nazi proj- ect discloses the human : this is why it must fail . In Antelme's ...
... limit . And they reach this limit in encountering the limitlessness of the human species , which endures despite every division generated to mask it . The Nazi proj- ect discloses the human : this is why it must fail . In Antelme's ...
Pagina 188
... limit and to demonstrate the failure to see , to show that nothing is left for us to see and that we , as a result , can know nothing of Aus- chwitz , can know Auschwitz only as that of which we will know nothing , is not merely a ...
... limit and to demonstrate the failure to see , to show that nothing is left for us to see and that we , as a result , can know nothing of Aus- chwitz , can know Auschwitz only as that of which we will know nothing , is not merely a ...
Inhoudsopgave
Romanticism Testimony Prosopopoeia | 25 |
Testimony and Trope in Frankenstein | 71 |
Anthropomorphizing the Human | 104 |
Copyright | |
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Agamben allows already animal Antelme anthropomorphism apostrophe appears Auschwitz bears becomes Blanchot calls camp capacity Celan chapter claim critical dead death Derrida describes difference discussion effect emerges endurance essay ethical example existence experience explains face fact failure fiction figure film final flesh and blood German gives human Human Race impossibility interruption language leaves limit literature living lyric Man's marks means merely monster mourning nature never night novel offers once opens Oxford passage Paul person personification poem poet poetic poetry position possibility present prosopopoeia question reader reading recognize refers reflects relation remains response rhetoric romantic Romanticism seems sense Shakespeare's shows sleep sonnet speak speech Stanford suggests survivor takes testimony tion trans translation trope truth turn understands understood University Press Victor voice wakefulness witness Wordsworth writes York