Franklin Roosevelt is often viewed as the first modern media 
president; he modernized the radio address and the press conference, 
made use of modern public opinion polls, and was the first president to 
leave a presidential library and museum. Roosevelt was also a modern 
media politician in the sense that he carefully -- and very successfully
 -- managed his future image. This research looks at Roosevelt's methods
 for doing this and their long-term effects. On the other hand, it 
studies post-2000 representations of Roosevelt, in order to assess 
deviations between the public image Roosevelt projected and the public 
image exists today.

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"This is Roosevelt's World" - FDR as a Cultural Icon in American Memory

memorials rise in memory of their loved ones: “we were not killed in the abstract.” Adorno wrote that there can be no poetry after the Shoah, because he thought that the artistic rendering of the “naked physical pain of those who were beaten down with riffle butts, contain, however instantly the possibility that beauty can be squeezed from it.” Museums that represent the Shoah, as well as other traumatic historical events, share a fear of the image. Many Holocaust museums use grotesque pictures to show the horror that occurred. Vera Schwarcz explored how many Israelis were repulsed by images used at Yad Va Shem. One woman described the depiction of Babi Yar as allowing the “degradation go on and on” for they are depicted as “forever frightened, forever on the verge of being shot.” A similar fear of the grotesque image finds it way to 9/11. There is a now famous picture of the “falling man,” jumping to his death right before the towers fell. Again, the image becomes aestheticized in a way that besmirches the memory of those who had to jump to their deaths. It is important to note that though the fear of aesthetics and of the image are similar the catalysts for these concerns remain different. This is exhibited through the different role of the image in Spiegelman’s two books, Maus, and In the Shadow of No Towers. While both books have a “tortured, ambivalent relationship to their own 10 David Dunlap, "Discord Over 9/11 Memorial's Symbolism," The New York Times (2006): 2. 11 Theodor W. Adorno, Can One Live after Auschwitz: A Philosophical Reader (Stanford: Stanford University Press, 2003), 252. 12 Vera Schwarcz, The Black Milk of Historical Consciousness (London, 2002), 197.

Stolpersteine: Challenges of Remembrance from Berlin to Ground Zero

This thesis explores representations of the Holocaust in fiction by American women writers who have no autobiographical involvement with the Holocaust. It demonstrates that their texts comprise fictional meditations on the meaning of testimony, and are concerned with the ways in which narrators and readers of testimonies remember and imagine the Holocaust. The introduction outlines the key thematic, formal and theoretical concerns of the thesis within their academic context. It proposes that a self-reflexive awareness of the subjectivity and constructedness of Holocaust representation in fiction provides insight into valuable and necessary processes of the imagination. Four chapters examine different approaches to the imagination. The first interprets Norma Rosen's Touching Evil through her notion of witness-through-the-imagination. Drawing on concepts such as empathy, identification, secondary trauma and the addressee, it explores the meaning of Holocaust testimony for the reader. The second considers the subjectivity of memory by comparing the testimonies and memories of the traumatised survivor protagonists in the historical novels of Susan Fromberg Schaeffer's Anya and Sherri Szeman's The Kommandant's Mistress. The third chapter analyses the imagination as an alternative reality for mourning the past in Cynthia Ozick's The Shawl. It also engages with the dialectic between personal and collective memory through notions of ethnic uprootedness and assimilation. The fourth addresses the fantastical imagination of the Holocaust in the fiction of Judy Budnitz through her use of various literary genres and complex narratological and metafictional devices that draw attention to the acts of storytelling and witnessing. In conclusion, the thesis shows that this body of Holocaust texts examines fiction as a meaningful tool to bridge and to draw attention to the gaps between experience and representation. It broadens the implications of bearing witness due to their discourses about the significant mediation of imaginary realities. Acknowledgements First and foremost, I genuinely want to thank Dr. Anne Whitehead for her expert supervision during all these years. Dr. John Beck has also been helpful with insightful discussions. Many members of staff in the School of English at the University of Newcastle have encouraged, supported and advised me. Without funding from the Arts and Humanities Research Council, and a scholarship from the Faculty of Arts at the University of Newcastle, this thesis would not have been written. Further conference grants from the Department of English and a travel award from the British Association for American Studies made a valuable trip to Pittsburgh and Ohio possible, where I was able to give a paper on the first chapter and interviewed Sherri Szeman, whom I thank for her generous hospitality. A research contract with the Stichting Auschwitz in Brussels allowed me to expand my research on the third chapter, which resulted in a publication in their journal. Academic support from the University of Ghent has been invaluable: Prof. Buelens, Prof. Versluys and Bart Lievens have constantly provided advice and criticism when it was most needed. S. Lillian Kremer kindly gave me feedback and research material for chapter two. Many friends at Newcastle deserve a special mention: thanks to Dr. Manta le VaulGrimwood for her constructive advice, Dr. Allyna Ward for her unconditional friendship, Katharine Griffiths for her motivation, Tracy Olverson for constantly challenging me, and Paul Crosthwaite for his inspiring remarks. Gwyneth Bodger livened up discussions at numerous conferences, and Chris Kiel shared humorous and critical observations. My parents, grandparents, brother Bert and Melina have encouraged me from the beginning, as have numerous friends: Cat, Nathalie, Christine, Petey, Louise, Stefanie, Jelske, and Cecilia. Finally, a huge thanks to Stefanie Van de Peer for her passion, proofreading and her creative craziness.

Imagined witness :representing the Holocaust in American women's fiction

Standing in the Shadows is a collection of short-stories that showcases the inner workings of the modern American family. Each of these six stories examines families, in one capacity or another, dealing with ups and downs, love and hatred, sadness and happiness, and everything in between. At the heart of these stories are the relationships between people, some affected by sadness and tragedy, others torn apart by secrets, all trying to cope and exist in a world full of conflict and difficulties. The characters in this selection deal with shortcomings – shortcomings of others and of themselves – while forced to overcome obstacles in order to find truth, meaning, and understanding within their lives. "River Jumping" and "All the Wrong Ways to Say I Love You" involve protagonists trying to come to terms with their current situations in life while attempting to rectify the mistakes of their pasts. "Standing in the Shadows" discusses the secrets that father's keep, and the adverse affect it can have on their children. "Stolen Summer" examines how tragedy can affect the inner workings of family and also the relationship between two friends. The story is an example of how sadness is an all consuming organism that, if not faced head on, can forever alter the futures of those involved. "Pastime" deals with the relationship between fathers and sons and how the love and desire a father has for his son impacts their relationship in negative ways. Finally, "Glass Onion" completes the collection detailing the story of a woman who is so frustrated with her current disposition that she can no longer take it. As the years have passed and routines are formed, Tabby struggles to maintain her identity, her desire for life, and ultimately, her sanity. In each of these stories, families are forced to deal with issues that ultimately define the characters as individuals. Whether it's a lack of communication or they are haunted by the sins of the past, these characters struggle to overcome obstacles that in the end will provide insight into who they are and where they are going.

Standing In The Shadows

© Forum Philosophicum 21 (2016) no. 1, 73–93 Subm. 16 February 2016 Acc. 30 June 2016 Issn 1426-1898 e-Issn 2353-7043 Doi:10.5840/forphil20162115 ✍ Anthony L. Smyrnaios, University of Thessaly, Argonafton & Filellinon, 38221 Volos, Greece 📧 smirnaios@uth.gr Abstract This paper describes the implications of the transition from Ontology conceived as fundamental metaphysical logos to ontologies construed as postmodern historical applications of this, and then, finally, to Trans-Ontology as the ultimate, futuristic innovation of Transhumanism. If modernity counts as the key shift that has occurred in our living and understanding of the world since the dawn of history, postmodernism seems to be the record of a transition from the absolute Grand Narratives of modernity to a scenario consisting of polycentric, equally justified narratives. Thus, the historical failure of the old Ontology, in the form of monarchy, absolutism, monotheistic religions, Eurocentrism, and nationalism, entails the plurality of approaches and diversity of flexible transformations of ontologies. Yet such a purportedly liberating evolution is encountered en route to the likewise postmodern trans-humanist impulse that aims at a complete transformation of the traditional human essence by means of a theurgist, miraculous, Trans-Theological technology. The latter’s goal is to normalize the arrival of a paradoxically innovative universe, where transhuman beings will rebuild the world, and re-essentialize it. Ultimately, this universal integralism will be based on an ever-growing ludic character, coupled with a mathematically scheduled playfulness, aiming at a transformed, fully integrated and manageable entity.

明子坂野

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The Plot Against America に見る政治と家族

明子 坂野

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The Plot Against America に見る政治と家族

明子坂野