Browse by author
Lookup NU author(s): Dr Teresa Ludden
Full text for this publication is not currently held within this repository. Alternative links are provided below where available.
This article uses Theodor Adorno’s ideas on the role of the artwork and Walter Benjamin’s philosophy of history and his concept of ‘Eingedenken’ to examine the types of memory and the modes of remembering the Holocaust in Anne Duden’s novel, Das Judasschaf (1985). It focuses on the complex re-figuring of quotations, images, Renaissance paintings and documentary materials in order to assess the politics of montage and the presenting of documents which interrupt the flow of the narrative. I argue that the text has a highly complex mode of alluding to silences of postwar German culture while acknowledging the inability of a German writer of the second generation after National Socialism to represent the Holocaust. Analysis of the use of some contemporary historiographical concepts such as identification, empathy and ‘the gap’ feeds into the reading of Duden’s text. The argument centres on non-empathetic remembrance rather than identification with the victims as a more useful way of understanding the types of memory in the text.
Author(s): Ludden T
Publication type: Article
Publication status: Published
Journal: German Life and Letters (special issue on Memory and Contemporary Germany, eds. Mary Cosgrove and Anne Fuchs)
Year: 2006
Volume: 59
Issue: 2
Pages: 249-265
ISSN (print): 0016-8777
ISSN (electronic): 1468-0483
Publisher: Wiley-Blackwell Publishing Ltd.
URL: http://dx.doi.org/10.1111/j.0016-8777.2006.00348.x
DOI: 10.1111/j.0016-8777.2006.00348.x
Altmetrics provided by Altmetric
