Titlebook: Holocaust Fiction and the Question of Impiety; David John Dickson Book 2022 The Editor(s) (if applicable) and The Author(s), under exclusi

健談的人

暗語

現(xiàn)代

Subdue

Contemporary Fiction and Embodied Experience: Feeling the Holocaust,ks such as Donna Deitch’s made-for-television adaption of . (1999) and John Boyne’s . (2006) demonstrate, younger generations are increasingly being primed to access the Holocaust through embodied engagement with its central horrors. The fiction of Heather Morris, additionally—from . (2018) to . (20

彩色的蠟筆

Between Irreverence and Impiety: Laying the Foundations for a Rosean Approach to Holocaust Represent, it argues that current conceptions of impiety—defined by our temporal and emotional distance from the Holocaust—in fact argue for the essential ineffability of the Holocaust. This, the chapter outlines, starkly contradicts Gillian Rose’s original conception of impiety and, in fact, stands to fore

搬運(yùn)工

Conclusion,ting directions. As certain works have come to develop a preoccupation with creating inhabitable moments of Holocaust trauma—prosthetic memories based around fictional recreations of death in the gas chamber and sexualised victimisation—other works, those defined by Joost Krijnen as embodying modern

冬眠

Introduction,ose uses the example of Steven Spielberg’s . (1993), which she views as the archetypal example of Holocaust piety. Spielberg’s film does not provide depthful and complex portraits of its two principal characters, Oscar Schindler and Amon Goeth, but rather provides two abstract embodiments of good an

acheon

Ventricle

帳單