Literarische Subjektivität und die Figur des Transgenerationellen in Marcel Beyers Spione und Rachel Seifferts The Dark Room

Horstkotte, Silke

doi:10.1515/9783110903713.275

“…For the relationship of visuality to trauma, see especially Hüppauf 1997;Zelizer 1998;Baer 2002;Hornstein and Jacobowitz 2002;Bennett 2005;and van Alphen 2005. 13. See Horstkotte 2003 for a discussion of this aspect of photography and postmemory. discussion here aims to bring out some of the elements implicit in these conversations-the continuing power of the familial and the indexical and, at the same time, a less literal, much more fluid conception of both that characterizes our turn-of-the-century remembrance and is illustrated by Sebald.…”

Section: Why Sebald?mentioning

confidence: 99%

The Generation of Postmemory

Hirsch¹

2008

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Postmemory describes the relationship of the second generation to powerful, often traumatic, experiences that preceded their births but that were nevertheless transmitted to them so deeply as to seem to constitute memories in their own right. Focusing on the remembrance of the Holocaust, this essay elucidates the generation of postmemory and its reliance on photography as a primary medium of transgenerational transmission of trauma. Identifying tropes that most potently mobilize the work of postmemory, it examines the role of the family as a space of transmission and the function of gender as an idiom of remembrance. The guardianship of the Holocaust is being passed on to us. The second generation is the hinge generation in which received, transferred knowledge of events is being transmuted into history, or into myth. It is also the generation in which we can think about certain questions arising from the Shoah with a sense of living connection.

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“…13. See Horstkotte 2003 for a discussion of this aspect of photography and postmemory. discussion here aims to bring out some of the elements implicit in these conversations-the continuing power of the familial and the indexical and, at the same time, a less literal, much more uid conception of both that characterizes our turn-of-the-century remembrance and is illustrated by Sebald.…”

Section: Why Sebald?mentioning

confidence: 99%

Bibliografia

Pignatelli¹

2022

Cadernos De Orações Cripto-Judaicas E Notas Etnográficas Dos Judeus E Cristãos-Novos De Bragança

0

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Postmemory describes the relationship of the second generation to powerful, often traumatic, experiences that preceded their births but that were nevertheless transmitted to them so deeply as to seem to constitute memories in their own right. Focusing on the remembrance of the Holocaust, this essay elucidates the generation of postmemory and its reliance on photography as a primary medium of transgenerational transmission of trauma. Identifying tropes that most potently mobilize the work of postmemory, it examines the role of the family as a space of transmission and the function of gender as an idiom of remembrance.

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