Romanticism After AuschwitzStanford University Press, 2007 - Всего страниц: 364 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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Стр. 87
... appears too powerful , the magistrate appears not to believe the story , and Vic- tor appears mad . But this encounter also demonstrates that the monster remains invisible before the law , and Victor's narrative therefore indicates a ...
... appears too powerful , the magistrate appears not to believe the story , and Vic- tor appears mad . But this encounter also demonstrates that the monster remains invisible before the law , and Victor's narrative therefore indicates a ...
Стр. 114
... appear like dogs , and whose stomachs are filled with indigestible dog biscuits , the only food they've found to eat ) are deprived . The scene ... appears with absolute ary clarity : namely , that there are not several human 114 Chapter 4.
... appear like dogs , and whose stomachs are filled with indigestible dog biscuits , the only food they've found to eat ) are deprived . The scene ... appears with absolute ary clarity : namely , that there are not several human 114 Chapter 4.
Стр. 313
... appears to float down the aisle between the crowded rows of empty bunks in one of the camp's dormitories , the narrator tells us about the sleepless nights in these dor- mitories , the sudden intrusions by S.S. officers . . . . There is ...
... appears to float down the aisle between the crowded rows of empty bunks in one of the camp's dormitories , the narrator tells us about the sleepless nights in these dor- mitories , the sudden intrusions by S.S. officers . . . . There is ...
Содержание
Romanticism Testimony Prosopopoeia | 25 |
Testimony and Trope in Frankenstein | 71 |
Anthropomorphizing the Human | 104 |
Авторские права | |
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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