Romanticism After AuschwitzRomanticism 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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Page 32
... possible to witness ] but to the Muselmann , if he speaks only on the basis of the impossibility of speaking , then his testimony cannot be denied . Aus- chwitz - that to which it is not possible to bear witness - is absolutely and irre ...
... possible to witness ] but to the Muselmann , if he speaks only on the basis of the impossibility of speaking , then his testimony cannot be denied . Aus- chwitz - that to which it is not possible to bear witness - is absolutely and irre ...
Page 41
... possible ? How is history or memory possible if language remains the fundamental zone of violence and privation ? But it also leaves us with new questions : What possibility of testimony remains if the Muselmann is not the figure of the ...
... possible ? How is history or memory possible if language remains the fundamental zone of violence and privation ? But it also leaves us with new questions : What possibility of testimony remains if the Muselmann is not the figure of the ...
Page 269
... possible de la mort [ Dear Dionys , I will try to write several lines , that is , to carry out my first act of ' concrete ' living , for I already have carried out several living acts , notably , I have cried , and tears are the ...
... possible de la mort [ Dear Dionys , I will try to write several lines , that is , to carry out my first act of ' concrete ' living , for I already have carried out several living acts , notably , I have cried , and tears are the ...
Contents
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