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Journal ArticleDOI

The Proustian ‘memory boom’ : how writing the self can be used to write the nation

04 Jun 2015-Romance Studies (Routledge)-Vol. 33, Iss: 2, pp 153-165
TL;DR: This article examined the influence of Proust's A la recherche du temps perdu on contemporary Spanish novelists' use of memory to recover Spain's traumatic twentieth-century history.
Abstract: Building on a recent study by Herbert Craig (2012), this article examines the influence of Marcel Proust’s A la recherche du temps perdu on contemporary Spanish novelists’ use of memory to recover Spain’s traumatic twentieth-century history. By reworking Proust’s use of literature to reconstruct the self, writers such as Jorge Semprun and Antonio Munoz Molina have used autobiographical narratives to rewrite the nation. Analysing how these writers harness Proust’s use of the past to explore the self, this article argues that Semprun and Munoz Molina posit a search for lost time as a means of serving the community.
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Journal Article
TL;DR: In Unwanted Beauty: Aesthetic Pleasure in Holocaust Representation, the authors, the import of aesthetic pleasure in shifting modes of Holocaust representation ranging from French and German literature and the visual arts to architectural sites in North America and Germany is explored.
Abstract: BRETT ASHLEY KAPLAN'S UNWANTED BEAUTY: AESTHETIC PLEASURE IN HOLOCAUST REPRESENTATION, URBANA: UNIVERSITY OF ILLINOIS PRESS, 2007 ERIC KLIGERMAN In her rich comparative study Unwanted Beauty: Aesthetic Pleasure in Holocaust Representation, Brett Ashley Kaplan probes the import of aesthetic pleasure in shifting modes of Holocaust representation ranging from French and German literature and the visual arts to architectural sites in North America and Germany Rather than contributing to an ethical rupture, Kaplan argues, "beautiful representations can enhance Holocaust remembrance" (2) Contrary to Hal Foster's demonization of beauty, Kaplan joins other scholars who see a resurgence of aesthetic pleasure in literature and art However, Kaplan goes one step further by reading beauty alongside Holocaust representations Unwanted Beauty complements other recent works that investigate various aesthetic strategies of witnessing the Shoah in relation to questions of affect But counter to Weissman's Fantasies of Witnessing and Landsberg's concept of prosthetic memory, where each scholar examines how the nonwitness desires to feel the horrors of the Holocaust, Kaplan asserts that art does not need to terrorize in order to deepen our understanding of trauma Instead, "'illicit' aesthetic pleasure of unwanted beauty" (3) helps in the construction of Holocaust memory and "deepenfs] [the] search for Holocaust understanding" (20) Kaplan tracks the development of aesthetic pleasure from its use as a survival tool in the literature of primary witnesses to a device that catalyzes memory of the nonwitness Following her theoretical discussion of the beautiful and sublime, she probes in chapter 1 how aesthetic pleasure in the works of Celan and Delbo assists in their survival; chapter 2 continues with an exploration of how the transformative powers of beauty in Semprun's novels help him come to terms with his traumatic memory; chapter 3 shows how Jabes's aesthetic allusions to the Holocaust shift the task of witnessing to the reader, who is compelled to uncover poetry's traumatic residue; chapter 4 examines the function of visual pleasure in Kiefer and Boltanski and the degrees to which they aestheticize mourning Unwanted Beauty concludes with an analysis of the tensions between aesthetic pleasure and architecture as Kaplan rejects critics' tendencies to read monumental aesthetics as fascistic Kaplan's introduction presents the ethical implications of rendering the Holocaust into beautiful forms, and she repudiates the three interdictions against beauty most often invoked by critics: Adorno's critique that poetry after Auschwitz is barbaric, the position that the uniqueness of the Holocaust requires a new mode of representation to confront its horrors, and the assumption that beauty is indicative of a particular fascist aesthetics While scholars such as Lyotard link the Holocaust to the crisis of representation by invoking Kant's sublime and exalting the disruption of the artwork, Kaplan denies the premise that beautiful art is a disservice to traumatic memory Although her theoretical model would benefit from a closer analysis of what in particular constitutes beauty and sensual pleasure, her incisive, close readings of literary and visual texts help illuminate some of these distinct features of aesthetic pleasure Chapter 1 begins by returning to the oft-discussed polemic between Adorno's critique of poetry after Auschwitz and Celan's signature poem, "Death Fugue" But what makes this chapter so compelling are Kaplan's provocative readings of Delbo and Proust Moving away from Freud's model of traumatic memory, Kaplan foregrounds instead the intricacies of Proust's figure of memory and its associations with sensual pleasure The invocation of how pleasure evokes memory in Remembrance of Things Past-the nostalgia induced by a madeleine soaked in tea-functions as the template to how unwanted beauty influences Holocaust memory …

28 citations

Journal ArticleDOI
01 Jan 2015

10 citations

01 Jan 1961
TL;DR: Huile sur toile datee de 1961 realisee par le peintre et poete Yves Elleouet, qui rencontra Aube et Andre Breton en 1955 as mentioned in this paper.
Abstract: Huile sur toile datee de 1961 realisee par le peintre et poete Yves Elleouet, qui rencontra Aube et Andre Breton en 1955. Une image, une notice descriptive.

8 citations

References
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Book
09 Nov 1993

388 citations

MonographDOI
01 Jan 2014

152 citations

Book
01 Jan 1994
TL;DR: Recit autobiographique a partir de l'experience concentrationnaire de L'auteur, deporte a Buchenwald en 1944-1945 as mentioned in this paper...
Abstract: Recit autobiographique a partir de l'experience concentrationnaire de l'auteur, deporte a Buchenwald en 1944-1945

91 citations

Journal ArticleDOI
TL;DR: Sefarad (Munoz Molina 2001) forms part of an emerging strand of what could be termed errant writing, together with one or two other narratives of a similar nature, such as Javier Marias's Negra esp...
Abstract: Sefarad (Munoz Molina 2001) forms part of an emerging strand of what could be termed errant writing, together with one or two other narratives of a similar nature, such as Javier Marias's Negra esp...

67 citations


"The Proustian ‘memory boom’ : how w..." refers background in this paper

  • ...This is a novel in which past and present are in constant communion, in which their ‘interconnectedness […] lead[s] to […] vertigo […] [as] the difference and distance between them collapses’ (Grohmann, 2006: 243)....

    [...]

Book
01 Jan 1979

56 citations