Palabras claves: sobreviviente, autobiografía, memoria, Dios, judíos, holocausto Abstract The Holocaust has generated a vast literary corpus and as Elie Wiesel said, it has generated a new type of ...literature: the "Testimonial". More than seventy years has passed since the end of Second World War and today, the repercussions of the Holocaust are still widely felt. Survivor, God, autobiography, jews, Holocaust "Estoy en paz conmigo mismo porque he testimoniado" Primo Levi (1998:219) La memoria intenta preservar el pasado sólo para que le sea útil al presente y a los tiempos venideros. Lo que hace la solución final un suceso límite es el hecho de ser la forma más radical del genocidio que encontramos en la historia: el invento voluntario, sistemático, industrialmente organizado y ampliamente exitoso de exterminar por completo un grupo humano en el marco de la sociedad occidental del siglo XX.
The publication of Laura Marcus's Auto/biographical Discourses: Criticism, Theory, Practice (1994) coincided with a conference that I co-organised with her called 'Modernity, Culture and "the Jew"' ...(1994). We both expected the conference to be a modest event, but it turned out to be over-subscribed with many hundreds in attendance. In the light of our conference, my essay explores some of the reasons why the 1990s was thought of as an 'age of testimony' which is addressed in Auto/biographical Discourses and subsequent essays by Laura. The essay will then compare the playfulness of the autobiographical genre with the ethical seriousness of Holocaust testimonies and slave narratives. At the heart of the essay is Laura's conceptualisation of autobiography and its connections with those who write testimonial memoirs in extremis.
The article presents the various rhetorical strategies used by Elie Wiesel in arguing his own position in a double dialogue: first with the audience, and indirectly with decision-making forces ...worldwide, secondly, with history. With discretion, but at the same time with argumentative force, he brings before the public the image of the suffering he experienced directly in the concentration camps and, constantly returning to the theme of people’s indifference towards it, he expresses his hope that the said experience will not be repeated in the future. He succeeds in persuading the audience and at the same time impressing them deeply both through various types of discernible arguments and through rhetorical strategies conducted with sophistication, discretion and detachment. His inclusion in Simon Sebag Montefiore’s anthology to which I have constantly referred to (Speeches that changed the world) is fully justified: the well-articulated, balanced argumentation, through the visible exploitation of ethical and affective resources, cannot, and it should not be left without echo in front of the two types of public to which it was addressed (contemporary and timeless).
In October 1952, a mysterious man boarded a ship sailing from Marseille to Haifa. In the previous several years he had been living in France, where he was known as "Monsieur Chouchani" and taught ...Talmud to Elie Wiesel and Emmanuel Levinas, among others. Once in Israel, he went by the name "Ben Shoushan." In neither country did anyone know his true identity, but all who met him were astounded: Chouchani/Ben Shoushan appeared practically omniscient, he spoke an astonishing number of languages, and he gave the impression of someone who had come from a different time in history. In this article, I reconstruct Monsieur Chouchani/Ben Shoushan's time in Israel between 1952-56. I claim that in order to understand his story fully, one needs to read it against three contexts: Israeli history ofthe early 1950s, the biographies of the people Chouchani/Ben Shoushan attracted, and the ancient legend of Ahasuerus, the Wandering Jew.
Introduction Hicks, Jim; the editors
The Massachusetts review,
04/2018, Volume:
59, Issue:
1
Journal Article
Peer reviewed
The calendar of their life, whatever their future holds, dates from that single moment, that crossroads experience where they "lost the path that does not stray." In this issue, we have the honor of ...offering our readers a one-act play by Charlotte Delbo (previously untranslated into English), precisely forty-five years after this magazine published her "Phantoms, My Companions," translated by the inimitable Rosette Lamont. Or Jacinto Lucas Pires's "Gardener in a Swimsuit," translated with meticulous clarity by Dean Thomas Ellis, where another protagonist finds his crossroads on an actual road, in hitting an animal on the highway. For the Italian activist and storyteller, Orwell was that "writer … whose pages got mixed up with nascent feelings about social justice and formed the character of a young citizen."
Editor's Notes Lynn, David H
The Kenyon review,
10/2012, Volume:
34, Issue:
4
Journal Article
Another aspect of the complexity of ownership arises from decadesold efforts to restore looted art to original owners or heirs of those from whom it was looted. ...the scale of the Holocaust, along ...with the scorching lights that have exposed its dimensions (after much initial shadow), have helped change the way we understand other genocides as well. Native Americans, African Americans, and other peoples around the world have seen their art belittled, treated as primitive, destroyed, and expropriated.
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