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Griffiths, Claire. "The Lagermuseum (creative manuscript), and, Encountering Auschwitz : touring the Auschwitz-Birkenau State Museum." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59210/.
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The Lagermuseum - my creative manuscript (an extract of a longer novel) - seeks to illuminate a little known aspect of the history of the Auschwitz concentration and death camp complex, namely the trade and display of prisoner artworks. However, it is also concerned with exposing the governing paradigms inherent to contemporary encounters with the Holocaust, calling attention to the curatorial processes present in all interrogations of this most contentious historical subject. Questions relating to ownership, display and representational hierarchies permeate the text, characterised by a shape-shifting curator figure and artworks which refuse to adhere to the canon he creates for them. The Lagermuseum is thus in constant dialogue with my critical thesis, examining the fictional devices which often remain unacknowledged within established modes of historical discourse, specifically museums and tours. What emerges, I hope, is an ethically-sensitive work, which interrogates two key questions: Who is in charge of history? How do the ways in which history is curated affect our interpretations of it? ‘Encountering Auschwitz: Touring the Auschwitz-Birkenau State Museum’ In the mid-1990s, as the Auschwitz-Birkenau State Museum cemented its status as one of Europe’s most popular memorial destinations, critical conversation revolved around the potential implications and ramifications of Holocaust tourism. My thesis, however, aims to address an apparent gap within this still-evolving field of research. Thus I examine not visitor motivations for going to such sites, but the types of historical encounters available to those who seek them. Taking a personal, theoretical and strongly narrative approach, I critique the guided group tours provided by the museum, evaluating them in terms of both form and content. Particular emphasis is placed on representative tropes which can be connected to ethical concerns regarding the ‘museumification’ of Auschwitz, as well as wider issues within contemporary trauma theory and dark tourism research.
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Grunebaum-Ralph, Heidi Peta. "Tracing memory : representation and the Auschwitz experience in Charlotte Delbo's Auschwitz et après." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18703.
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This study aims to examine the ways in which memory is represented in Auschwitz survivor, Charlotte Delbo's literary trilogy, Auschwitz et Apres, (Auschwitz and After) (1970a;1970b;1971). Its examination of memory is premised on the understanding of survivor narrative as testimonial narrative and testimony as the telling of the memory of historical events which strain or exceed conventional frameworks of representation. As such, the aim of this study is to demonstrate the way that representations of memory of a limit-experience problematise the certainty of its own testimonial transmission. By attempting to theorise the dynamics of narrating personal memory and then by analysing key extracts in each volume of the trilogy, this examination attempts to demonstrate how the event of the Holocaust, the difficulty of being a survivor and an unwilling reception of the survivor's story are collectively implicated in the way that memory contests its own representation. By examining the discontinuities of memory, this study intends to show how, in very different ways, the silences and ruptures of memory which are produced in these readings are a remembering of a different form.
Bibliography: pages 138-150.
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Wandres, Thomas. "Die Strafbarkeit des Auschwitz-Leugnens /." Berlin : Duncker & Humblot, 2000. http://www.gbv.de/dms/spk/sbb/recht/toc/31209843X.pdf.
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Wüstefeld, Katharina. "Erziehung nach oder über Auschwitz?" Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-124068.
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Die vorliegende Arbeit geht der Frage nach, inwieweit in Veröffentlichungen der (grundschul)pädagogischen Diskussion um die Vermittlung der Geschichte des Holocaust und Nationalsozialismus seit Ende der 1980er Jahre auf Adornos berühmte Radioansprache "Erziehung nach Auschwitz" von 1966 zugegriffen wird und in welcher Weise bzw. zu welchem Zweck dies geschieht. Anhand von vier typischen Bezugnahmen auf Adornos Vortrag wird gezeigt, dass ein solcher Zugriff nicht immer dem Inhalt des Vortrages gerecht wird, und dieser zum einen sehr unterschiedlich und zum zweiten häufig auf fragwürdige Weise ausgelegt und für die eigene Argumentation herangezogen wird.
Um den Hintergrund für die pädagogische Rezeption von Adornos Ansprache zu erhellen, liefert die Arbeit einen historischen Überblick über die Entwicklung der grundschulpädagogischen Diskussion um die Frage, ob und wenn ja wie der Holocaust Gegenstand des Unterrichts in der Grundschule sein kann, und diskutiert dabei kritisch vier verschiedene Zielstellungen, die mit einer solchen Thematisierung verbunden werden: Demokratielernen, Gedenken, Fragen der Kinder bedienen sowie geschichtsdidaktische Absichten.
Die inhaltliche Analyse jener Interpretationen von Adornos "Erziehung nach Auschwitz", die innerhalb der pädagogische Diskussion um eine Vermittlung der Geschichte des Holocaust vorgenommen werden, zeigt, dass die Zielvorstellungen des historisch-politischen Lernens häufig Leitmotiv für das Verständnis von Adornos Rede sind und sich dieses Verständnis vom Gegenstand einer „Erziehung nach Auschwitz“ bei den allermeisten Autor_innen auf eine „Erziehung über Auschwitz“ beschränkt.
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Carter-White, Richard. "Outside Auschwitz: History, responsibility, witnessing." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506085.
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Duteil, Marylène. "Auschwitz : du témoignage à l'écriture." Paris 4, 1999. http://www.theses.fr/1998PA040160.
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Comment témoigner d’Auschwitz ? Comment témoigner d’Auschwitz par l'écriture ? Parmi la masse des témoignages écrits par des survivants des camps, seuls quelques-uns ont acquis une valeur littéraire. Leurs auteurs ont rencontré dans l'écriture un moyen de dire leur expérience qui semblait indicible et d'amener les non-témoins à l'écoute de leur récit inouï. Dès les premières formes de témoignages, l'écriture est apparue dans sa dimension littéraire, comme le tiers permettant au déporté devenu, dans le camp, étranger à lui-même, de témoigner. Notre thèse tente de comprendre le rapport complexe que le témoignage d’Auschwitz entretient avec l'écriture. Elle cherche ainsi à étudier d'autres formes de témoignages que les premiers récits des survivants : a ainsi été analysée la théorie du romanesque lazaréen de Jean Cayrol, l'un des premiers à avoir articulé l'expérience des camps à une réflexion profonde sur la littérature. Les derniers livres de Maurice Blanchot ont également été étudiés car ils proposent une réflexion sur une forme de témoignage comme l'écoute et l'accueil de la parole d'autrui, ce « sujet déporté » qui n'est plus sujet, réflexion qui rejoint l'éthique d’Emmanuel Levinas, et certains aspects de la poétique de Paul Celan, qui écrivait que « nul ne témoigne pour le témoin ». Au regard de ces nouveaux témoignages, l'écriture d'après Auschwitz apparait comme une écriture qui recherche l'impuissance ou plutôt l'abandon de toute forme de maitrise afin de s'ouvrir à la passivité d'une écoute de ce qui échappe à la langue. L'écriture s'ouvre à l'exigence fragmentaire, à la rature, qui ne cesse de dédire ce qui est dit, au paradoxe ; le sujet de l'écrivain s'efface dans un « il » impersonnel. . . De ces revendications d'impuissance aux premiers constats des témoins face à l'inimaginable, le témoignage d’Auschwitz s'est transmis dans le corps littéraire, non pas comme un défi à l'indicible mais comme l'acceptation et la prise de conscience d'un pouvoir à céder.
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Duteil, Marylène. "Auschwitz du témoignage à l'écriture /." Lille : A.N.R.T, Université de Lille III, 1998. http://bibpurl.oclc.org/web/21091.
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Musolino, Adrian. "The bombing of Auschwitz : an examination /." Title page, table of contents and introduction only, 2004. http://web4.library.adelaide.edu.au/theses/09AR/09arm9879.pdf.
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Gaunt, Bethany Sarah Gaunt. "Poetry after Auschwitz : an Italian perspective." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10055775/.
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This thesis offers a critical engagement with poetry about Auschwitz in all its various permutations, addressing issues such as why poetry is a particularly valuable form of Holocaust expression, and why different social groups have historically chosen to, and continue to, write poetry about Auschwitz. Adopting an analytical approach, this work foregrounds the poetical works themselves, in order to demonstrate how poetry facilitates an engagement with the past, for both the writer and reader (or indeed, singer and listener). Beginning with the work of those who experienced the Nazi camps first-hand, chapter one discusses the poetry of two survivors, Edith Bruck (b. 1932) and Primo Levi (1919-1987), identifying three driving motivations behind survivor-writing: to memorialise, to inform and to assist in the writer’s cathartic rehabilitation after Auschwitz. The second chapter offers a comparative analysis of two poems by Salvatore Quasimodo (1901-1968) and two of Francesco Guccini's (b. 1940) canzoni d'autore, exploring how these two artists introduced Auschwitz into their respective genres, and how they interpreted and enacted what they perceived as art's post-Holocaust imperative: to rebuild mankind. Chapter three engages with Italian translations of Paul Celan's (1920-1970) famous 'Todesfuge', exploring the significance of translators in the dissemination of Holocaust writing, and their role as expert intermediate readers. The chapter champions reading multiple translations in parallel, and demonstrates the ways in which different translators foreground different elements of the original work. Finally, chapter four offers an assessment of online poetry about Auschwitz. By focusing on Italian poetry website “Scrivere” and the work of Giorgia Spurio (b. 1986), this chapter discusses the democratisation of art online, the extra-textual possibilities the internet offers, and how these contemporary poems build upon previous Holocaust poems, perpetuating the poetical discussion of the Holocaust for a new generation of readers.
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Simons, J. T. W. "Another route to Auschwitz : memory, writing, fiction." Thesis, University of East Anglia, 2011. https://ueaeprints.uea.ac.uk/25918/.
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Steinbacher, Sybille. ""Musterstadt" Auschwitz : Germanisierung und Judenmord in Ostoberschlesien /." München : K.G. Saur, 2000. http://catalogue.bnf.fr/ark:/12148/cb37632344x.
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Landwehrkamp, Laura. "Male Rape in Auschwitz? : An Exploration of the Dynamics of Kapo-PiepelSexual Violence in KL Auschwitz during the Holocaust." Thesis, Uppsala universitet, Hugo Valentin-centrum, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385777.
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Male-male sexual violence during the Holocaust is under-researched. Despite being a widespread occurrence in the Nazi concentration camps, very few accounts from primary sources are available of the sexual violence perpetrated against the Piepel: male Jewish children, adolescents, and young adults, by male Kapos or senior prisoner functionaries. Until now this phenomenon has been understood to be an exchange of sexual favours for food and protection, but little else was known. This study therefore aims to examine the dynamics of Kapo-Piepelsexual violence in the Auschwitz concentration camp through the perceptions of victims of, and witnesses, to this violence, within a framework of feminist theory, gender and masculinity theory, and group dynamics. Based on written accounts in the form of memoirs and oral testimony from audio-visual archives, this study finds that the Piepelwere forced into sexual relationships to survive; that the Kapos used them as sexual substitutes for women; and that survivors’ attitudes towards the Piepelhave become more sympathetic in more recently published ego-documents. This study therefore calls for a wider examination of this phenomenon, and of male-male sexual violence during the Holocaust, given the resultant improvement in attitudes towards these victims who for too long have not been heard due to the shame and stigma attached to being a male victim of rape.
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Dirks, Christian. "Die Verbrechen der anderen : Auschwitz und der Auschwitz-Prozess der DDR: das Verfahren gegen den KZ-Arzt Dr. Horst Fischer /." Paderborn : Schöningh, 2006. http://www.loc.gov/catdir/toc/fy0604/2006374091.html.
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Dirks, Christian. "Die Verbrechen der anderen Auschwitz und der Auschwitz-Prozess der DDR: das Verfahren gegen den KZ-Arzt Dr. Horst Fischer." Paderborn München Wien Zürich Schöningh, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2640608&prov=M&dok_var=1&dok_ext=htm.
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DANZIGER, LEILA MARIA BRASIL. "ABSENT BODIES: BERLIN AND THE MONUMENTS OF AUSCHWITZ." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4270@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORO trabalho expõe os novos desafios das práticas do monumento, reativadas pela tarefa - aporética, por definição, - da memória de Auschwitz. A partir do contexto mais amplo da arte moderna e contemporânea, os monumentos ao Holocausto são vistos como imprescindíveis na construção da República de Berlim. No infindável debate sobre o colossal Monumento aos judeus assassinados da Europa, a construir-se no centro da capital da Alemanha reunificada, espelham-se, exaustivamente, ampla gama de questões historiográficas, memoriais e identitárias. Por outro lado, uma rede de obras dispersas propiciam diferentes inscrições da insanável ausência dos judeus na cidade. Nestes (anti) monumentos, percebemos Berlim como oficina da história e a arte contemporânea face ao imperativo ético do testemunho.
The work presents the new challenges of monument practices, revived by the so-called paradoxical task of Auschwitz memory. From the broader context of modern and contemporary art, the monuments to Holocaust are seen as essential to the construction of the Berlin Republic. The endless debate on the colossal Monument to Jews slaughtered in Europe, to be built in the centre of the capital of the reunited Germany, reflects questions such as history, memory and identity to the fullest. On the other hand, a network of scattered works provide different accounts of the irremediable lack of Jews in the City. In such (anti) monuments, we see Berlin as a history workshop and the contemporary art in view of the ethical imperative of witnessing.
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Ashworth, Jaime. "Between evidence and symbol : the Auschwitz album in Yad Vashem, the Imperial War Museum (London) and the Auschwitz-Birkenau State Museum." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367399/.
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This project explores the representation of the Holocaust in three museums: Yad Vashem in Jerusalem; the Imperial War Museum in London; and the Auschwitz-Birkenau State Museum in Oswiecim, Poland. It uses the so-called Auschwitz Album, a collection of photographs taken in Birkenau in May 1944, as a case-study. Employing the concept of mythology in the Barthesian sense of a ‘language in which we speak’, it examines the ways in which the Holocaust is more and more a prism through which other things are viewed; a language in which other things are spoken of. Chapters 1 and 2 lay the groundwork for the results of fieldwork described in chapters 3-5. Chapter 1 is concerned with the photographs themselves. Describing the structure and content of the collection, it demonstrates the degree to which the interpretation of photographs is complicated by what the viewer brings to them. While photographs might appear to transmit information, this chapter suggests that they are better understood as reflective objects. Chapter 2 interrogates the assumptions of five “classic” accounts of the Holocaust by Raul Hilberg, Helmut Krausnick, Lucy Dawidowicz, Martin Gilbert and Saul Friedländer, in light of a proposed ‘Holocaust metanarrative’. Chapters 3, 4 and 5 engage with the particular museums on their own terms, posing questions about how they interact with the societies they are found in. Each museum, these chapters argue, raises a set of questions about the host nation’s relationship with the past. Chapter 6 looks at the specific display strategies employed by the museums to display the Auschwitz Album, considers how this relates to the broader institutional and national agendas as explored in Chapters 3-5. An epilogue takes the basic conclusion of this section – that all memory is local, and that debate about meaning is likely to be the continuing legacy – and asks if there is an alternative language in which to speak of the Holocaust.
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Kalfa, Ariane. "Philosopher après Auschwitz : penser la morale au XXe siècle." Paris 1, 1992. http://www.theses.fr/1992PA010513.
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Le XXème siècle a connu une catastrophe historique qui remet en cause l'objet de la philosophie. En effet, Auschwitz marque une "césure" entre un "avant" et un "après". Jamais auparavant, l'humanité n'a connu un tel échec. Cet échec devant lequel la philosophie abdique en un premier temps, jetant le concept dans le silence, ôtant au dire son sens, nous enjoint l'urgence du retour et de la critique il semblerait que ce soit la fin de la philosophie, et pourtant, jamais plus qu'aujourd'hui, elle ne s'est confrontée à l'exigence de sa survie. Alors, comment élaborer un discours qui fait sens après Auschwitz? Le retour à l'évènement Auschwitz impose le détour. Détour en passant par la question de l'altérité et de la barbarie. Afin de penser ce qu'est la tache de la philosophie. Pour ce faire, il a fallu analyser les principales dimensions de la question antisémite (du discours à l'action). Puis, cette question étant pour nous la métonymie de la problématique du mal comme méchanceté humaine. Il a fallu montrer que la méchanceté n'est rien d'autre qu'une absence de pensée aussi bien à l'échelle individuelle qu'à l'échelle collective au sein d'un système totalitaire. Cependant, le fondement de la méchanceté demeure une question d'ordre moral, question grâce à laquelle l'homme doit se penser en cette fin de siècleThe xx century has known an historical disaster which raises serious questions for the subject of philosophical inquiry. Actually, Auschwitz is a "caesura" between a "past" and a "future". Never before today has mankind known such a defeate. Given this defeat, it seemed at the begining that philosophy had abdicated its role because philosophical concepts were thrown back from the silence, removing from a philosophical discourse all its meaning. It is therefore incumbent upon us to return to a new philosophical critique but also to return to a philosophy of moral consciousness. It seems that it is the end of philosophy; however, never more than today it has been confronted with the exisgency of its survival. Then, how to construct a philosophical discourse which has a meaning after Auschwitz? First, we must analyse the meaning of otherness and barbarism to understand the task of philosophy. In order, to begin to reconstruct a new discourse of philosophy, we must first analyse the principal dimensions of the question of antisemitism. Then, we have discovered that the entisemitism is the metonymy of the problematic of harm as human spitefulness. It is a moral question in which humanity must think
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Knapp, Gabriele. "Das Frauenorchester in Auschwitz : musikalische Zwangsarbeit und ihre Bewältigung /." Hamburg : Von Bockel, 1996. http://catalogue.bnf.fr/ark:/12148/cb39267807h.
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Horn, Sabine. "Erinnerungsbilder Auschwitz Prozess und Majdanek Prozess im westdeutschen Fernsehen." Essen Klartext, 2007. http://d-nb.info/992155118/04.
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Crabtree, David. "The Image of the Enemy: To Auschwitz with Righteousness." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/8.
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This thesis is a study and analysis of Nazi propaganda, specifically focusing on the medium of film. Throughout Hitler’s Third Reich, propaganda played a vital role in maintaining popular support for the party platform in addition to fueling the convictions of the Nazi elite. There are three main divisions to this study. First, an overview of the structure and organization of Nazi Germany and particularly The Ministry of Public Enlightenment and Propaganda will be given, followed by an exploration of the origins and evolution of anti-Semitism in the Third Reich. Last, two Nazi anti-Semitic propaganda films will be analyzed to exemplify the whole of Nazi propaganda. Specifically, an emphasis will be made that these films played a significant role in solidifying and sustaining the mentalities and actions desired by the Nazi regime. Consequently, these films can be correlated to historical events which occurred before and after 1940.
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Ventura, Frederico Tell de Lima. "Notas sobre o conceito de educação política em ensaios de intervenção pública de Theodor W. Adorno." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-24112009-151141/.
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Esta dissertação versa sobre o conceito de educação na obra de Theodor W. Adorno (1903- 1969), tendo como principal material de análise dois ensaios do autor sobre o tema, O que significa elaborar o passado e Educação após Auschwitz. Nosso principal argumento é que Adorno pensa a educação contemporânea como um momento privilegiado da Aufklärung para intervir politicamente na relação entre indivíduo e sociedade; ou melhor, na forma em que esta relação encontra-se configurada histórica e socialmente sob o capitalismo tardio. Para que uma tal intervenção seja possível, Adorno assevera que a educação deve ter em conta, como seu ponto de partida, o diagnóstico histórico de que o progresso do esclarecimento reverteu-se no seu contrário, na barbárie que irrompeu no seio da cultura na metade do século XX e que tem no acontecimento Auschwitz seu signo histórico. É a partir deste diagnóstico que o autor tenta fundamentar que o principal fim da educação no presente consiste em evitar a repetição deste acontecimento. O argumento-chave de Adorno, segundo nossa interpretação, é que, tendo em vista esta finalidade negativa, a educação deve realizar uma inflexão em direção ao sujeito que vise esclarecer para os próprios sujeitos as condições objetivas e subjetivas que permitiram a regressão à barbárie que culminou em Auschwitz. Desta maneira, a educação é pensada como um processo de esclarecimento subjetivo, através de uma intervenção pública no presente reificado, enquanto uma forma de fortalecimento da capacidade de resistência do indivíduo frente à pressão de uma totalidade social que o impele a uma adaptação ao existente.This dissertation traverses on the concept of education in Theodor W. Adorno\'s piece, having as its main analysis base two essay from the author on the theme, The meaning of working through the past and Education after Auschwitz. Our main argument is that Adorno conceives the contemporary education as a privileged moment of Aufklärung as means to politically intervene in the individual and society relation; or rather in the shape that this relation is found historically and socially configured under the late capitalism. So that such an intervention is possible, Adorno assures that education must be taken into account, as its starting point, the historical diagnosis that the progress of Enlightenment has been reversed on its contrary, on the barbarism that erupted in the heart of culture during the middle of the 20th Century, and has in the Auschwitz event its historical sign. Based on this diagnosis the author tries to argument that the main objective of the present education consists in avoiding the repetition of this event. Adorno\'s key argument, according to our interpretation, is that having this negative objective in mind, education must make an inflexion towards the subject that focuses on clarifying to the very subjects the objective and subjective conditions that allowed the regression to the barbarity that took place in Auschwitz. That being so, education is thought as a subjective enlightenment process, through public intervention in the reified present, whereas a strengthened form of the individual\'s resistance capacity against the pressure of a social totality that impels to adapting to the existent.
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Laurén, Catarina, Grace Hung, and James Johansson. "Autenticitet : En studie som behandlar Auschwitz-Birkenau-museets och Livrustkammarens presentationer av autenticitet." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19747.
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Denna uppsats behandlar en jämförelse hur Auschwitz-Birkenau-museet samt Livrustkammaren arbetar med sina respektive artefakter rörande bevarandeperspektivet. Detta innebär att författarna kommer fokusera på hur respektive museum arbetar för att bevara autenticiteten i de artefakter som finns. Författarna valde att besöka Oswiecim, mer känt under namnet Auschwitz, som är en stad beläget i södra Polen. Ett besök till Livrustkammaren i Stockholm, Sverige, genomfördes även. Motiveringen för valet av Auschwitz-Birkenau museet samt Livrustkammaren är grundat i att de båda huserar utställningsartefakter vars unika egenskaper inte är påträffbar någon annanstans i världen.This thesis discusses the difference in choice of perspecitve of preservation between Auschwitz-Birkenau museum and The Royal Armoury. This results in that the authors therefore will focus on how each of the museums operate with the preservation of the authenticity within their exhibits. The authors chose to visit Oswiecim, more known as Auschwitz, a town in the southern parts of Poland and a visit to The Royal Armoury, in Stockholm, Sweden, took place as well.The reason for choosing Auschwitz-Birkenau museum as well as The Royal Armoury is based in that they’re both both housing unique exhibits, that are non-present in other parts of the world and also because the preservation of these exhibits needs for a more cautious approach.
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Sruk, Marija [Verfasser]. "Lachen nach Auschwitz? Herausforderungen der Filmkomödie zum Holocaust / Marija Sruk." Gießen : Universitätsbibliothek, 2017. http://d-nb.info/1130119912/34.
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Sayarer, Elvan. "Mémoire et écriture dans «Auschwitz et après» de Charlotte Delbo." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=94999.
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Research on women's testimonial accounts of the camps, which developed in the 1980s and 1990s in the UK and North America, following Joan Ringelheim's pioneer work, has yet to expand into France. The present MA thesis focuses on Charlotte Delbo's memoirs, entitled Auschwitz and After. Résistante and communist, Delbo (1913-1985) was sent to Auschwitz in January 1943 as a French political prisoner. She was freed by the Red Cross on 23rd April 1945 along with forty-eight other survivors from her convoy. Immediately upon her return, she began to write her memoirs, bearing the responsibility for carrying the word. Her testimony, which is composed from a distinctly feminine perspective, goes far beyond relating her own experience of the Lager and its aftermath. Indeed, Delbo re-counts and re-presents both the individual and collective experiences of women in the camp. Above all, the author wanted to make people see and feel, providing her readers with insight into trauma. Her trilogy, both poetic and strikingly beautiful, constitutes a reconstruction (or a re-creation) of memory and its fragments, and transcends boundaries of literary conventions, espousing a hybrid, a-chronological and fragmented form. In my MA thesis, I first address the ethical obligation binding survivors to remember and pass on their experiences. I then move on to analyse Delbo's portrayal of the camps and her treatment of language when faced with the unspeakable, thus highlighting the literary strategies used to counteract its limits and to convey her experience and trauma. Finally, I examine the subjective markers of a feminine perspective inscribed in her writing.Intitulés Auschwitz et après, les mémoires de Charlotte Delbo (1913-1985), s'inscrivent dans une lignée d'écrits au féminin. Marqués par une sensibilité et des préoccupations féminines, ses écrits concentrationnaires, longtemps négligés par la critique de langue française, témoignent du souhait de l'auteure de « donner à voir » l'expérience à la fois personnelle et collective des détenues du camp. Concevant la prise de parole et la perpétuation du souvenir comme une véritable responsabilité, Delbo s'évertue à re-présenter l'univers du Lager, autrement dit, à rendre présentes la réalité du camp et la déshumanisation des détenu(e)s. Par l'entremise d'une écriture de la réminiscence poétique et intime, Delbo tente de réconcilier son passé de déportée avec sa vie d'après les camps et de reconstruire son identité à travers le temps et un passé qui « ne passe pas ». C'est ici que se rencontre dans son oeuvre une interrogation sur la nécessité d'un « devoir de mémoire », les limites du langage et les marques d'une présence féminine. La présente étude des écrits mémoriels de Delbo est constituée de trois volets. Dans un premier temps, nous abordons les enjeux relatifs à la mémoire et les conditions d'émergence de la figure sociale du témoin au sein de la société contemporaine française. Dans un deuxième temps, nous nous consacrons à l'étude des modalités de l'écriture delbotienne, tout particulièrement à la prégnance de l'indicible et du trauma. Enfin, nous examinons les traces d'une subjectivité féminine dans son écriture.
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Ben-Naftali, Michal. "The crying game : Lyotard, Derrida, Levinas and thought 'after Auschwitz'." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339796.
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Aloszko, Stefan Ludwik. "Auschwitz : art, commemoration and memorialisation : from 1940 to the present." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1194.
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This thesis explores chronologically the art, commemoration and memorialisation of the Nazi concentration and extermination camps at Auschwitz, from their establishment in 1940 to the present day. Following a review of the literature in Chapter 1, Chapter 2 examines the production of works of art by the inmates of the camp. That art should have been produced at all in Auschwitz may conflict with our expectations, given the conditions of life within the camp. Nevertheless, art was as necessary in Auschwitz as it is elsewhere. The present account of the making of art under such difficult circumstances attempts to make a significant addition to the established narratives of Auschwitz. The post-war development of Auschwitz as a site-specific museum, established to commemorate the victims of the camp almost as soon as the site was liberated in 1945, permits analysis of techniques utilized by the museum authorities to display artefacts in order to narrate the story of Auschwitz. This is the subject of Chapter 3. For a period, the site was used by successive Polish political administrations to construct and bind Polish national identity to Russian political demands. The act of memorialisation has been shaped by political requirements almost throughout Auschwitz’s post-war history. The determinant of recognition for memorial purposes was national identity. The use of overtly religious iconography, whether Christian or Jewish, was severely limited. Communist governments defined all victims as political, and specifically as victims of the struggle against Nazism. These political considerations affected the inconclusive 1957 memorial competition. This competition, and its political contexts, is described in Chapters 4 and 5. In 1968 the Polish government began an anti-Semitic campaign that provoked international condemnation. Chapter 6 surveys these events, and describes one significant outcome, the establishment at the site of what was known locally as the Jewish pavilion. Finally, in Chapter 7, I draw together the three overriding concepts of art, commemoration and memorialisation – the predominant themes of this discussion – in order to show how the conception of Auschwitz has moved beyond the physical boundaries of the historical site. The question of what the site itself means, or should mean, remains a matter of continuing debate. The narrative of memorialisation at Auschwitz becomes increasingly marked by single events such as the establishment of the Jewish Pavilion, each embodying the turn towards the recognition that what should be remembered lies beyond nationality, and is separate from the contingent politics of the post-war settlement. Behind this, however, lies a further and more important narrative: that at every point in its history Auschwitz was intrinsically and inescapably a Jewish experience. This subsumes the particularities of the slow realization that this is what the site should celebrate. This thesis is committed to embodying this overarching narrative, and aspects of it can be found throughout, in every chapter.
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Bernard, Paul. "Corps indéfinis : la représentation des corps dans l'art d'après Auschwitz." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0188.
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Cette thèse intitulée Corps indéfinis. La représentation des corps dans l'art d'après Auschwitz vise à démontrer que l'événement en question a profondément rompu les formes de représentation du corps humain dans les arts plastiques, et plus particulièrement dans la peinture. Une telle rupture engage aussi bien les modes de représentation dits traditionnels, et dont on soutient ici qu'ils relèvent d'une esthétique du discernement, que les modes hérités de la modernité artistique en rendant précisément ces corps indéfinis, c'est-à-dire indiscernables. Dans une perspective à la fois historique et théorique, il s'agit donc de proposer un examen approfondi d'un certain nombre d'œuvres, aussi bien d'avant Auschwitz que d'après, en faisant droit pour ce qui touche à ces dernières aux multiples formes que suggère cette temporalité du « d'après », selon une dialectique qu'on définit comme celle de la traduction : à la fois transmission et trahison de l'événement. Il s'agit donc aussi bien de reconsidérer un corpus d'œuvres déjà constitué (celui de l'art contemporain) que de définir les outils d'analyse à même de définir les contours conceptuels et herméneutiques dudit corpus. Examen et analyse visant en toute fin de compte à repenser aussi bien les modes de représentation du corps humain que la façon dont un certain habitus s'est développé à ce sujet d'après AuschwitzThis doctoral dissertation, untitled Undefmed Bodies : The Representation of Bodies in Art after Auschwitz, aims to demonstrate that this event deeply ruptured the forms of representation of the human body in the plastic arts ; especially in painting. Such a rupture engages the so-called traditional modes of representation (for which we argue that they belong to an aesthetics of discernment), as well as those inherited from the artistic modernity, by making this bodies undefined, i. E. Undiscernible. In a perspective both historical and theoretical, this dissertation proposes a deep examination of several artworks, from before and after Auschwitz, trying to question for the latter the multiple forms of the temporality determined by the term "after", following then a dialectic close to the notion of translation : transmission as well as treason of the event. Therefore, the main purpose of the dissertation is to reconsider an artworks' corpus (already existing since it derives from contemporary art) and to define analysis devices able to define the conceptual and hermeneutic outlines of such a corpus. Both examination and analysis aim at rethinking the modes of representation of the human body as well as a kind of habitus which has been developed around them in the aftermath of Auschwitz
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Scarpa, Domenico. "La Realità inimmaginabile : Primo Levi e Georges Perec à Auschwitz." Paris 3, 2004. http://www.theses.fr/2004PA030161.
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Stern, Frank. "Im Anfang war Auschwitz : Antisemitismus und Philosemitismus im deutschen Nachkrieg /." Gerlingen : Bleicher, 1991. http://catalogue.bnf.fr/ark:/12148/cb35707742t.
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Almeida, Davi da Costa. "PARADIGMAS DO ESTADO MODERNO: ÃTICA E BIOPOLÃTICA EM GIORGIO AGAMBEN." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8973.
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nÃo hÃO objetivo deste trabalho à apresentar o fracasso da concepÃÃo dos paradigmas tradicionais do estado moderno, bem como, apresentar uma alternativa de comunidade polÃtica baseada no âser qualquerâ. Para alcanÃar tais objetivos, à preciso exemplificar e descrever os conceitos sobre estado de exceÃÃo, totalitarismo, biopolÃtica e vida nua. à preciso caracterizar e determinar como Auschwitz nasceu, como foi possÃvel conceber tal espaÃo de vida e de morte. à preciso entender e percorrer os caminhos que levaram a Alemanha, um dos berÃos culturais mais esplÃndidos da humanidade, a conceber e colocar em prÃtica o extermÃnio de milhÃes de pessoas consideradas impuras e socialmente indesejadas. Os campos de concentraÃÃo sÃo a mÃxima do totalitarismo que representam um limite, um extremo com um objetivo: a âdominaÃÃo total do homemâ. Os relatos histÃricos, polÃticos, econÃmicos e sociais estarÃo presentes neste trabalho, pois nÃo à possÃvel perscrutar os porÃes dos campos de concentraÃÃo sem levar em consideraÃÃo as inÃmeras pesquisas documentais sobre a Segunda Guerra Mundial e sobre o Holocausto judaico. Percebe-se que o legado que Auschwitz deixou à uma exigÃncia profundamente nova para o pensamento filosÃfico e, em particular, para a Ãtica e a polÃtica. Com base nesses objetivos, procura-se identificar as principais ideias conceituais que Giorgio Agamben apresenta nos seus livros. Esta pesquisa à uma anÃlise sobre a politizaÃÃo da vida nua. A âvida nuaâ à uma produÃÃo especÃfica do poder e nÃo um dado natural. à o poder que produz o indivÃduo, que o identifica com suas singularidades e peculiaridades. à o poder, suas tÃcnicas e seus dispositivos, que produz a âvida nuaâ, que manipula os corpos, que permite a captura no bando soberano. A metodologia aplicada neste trabalho perpassa o arcabouÃo metodolÃgico desenvolvido por Agamben. O autor trabalha com a concepÃÃo de paradigma, remetendo-o ao seu sentido original no grego, o termo em grego quer dizer simplesmente âexemploâ. Auschwitz, estado de exceÃÃo, âhomo sacerâ, âMuselmannâ, etc., sÃo exemplos para compreendermos os acontecimentos modernos e contemporÃneos que envolvem a polÃtica e a Ãtica. As conclusÃes deste trabalho abrem as portas para pesquisas futuras porque envolvem os conceitos de profanaÃÃo e inoperosidade. à pensar como desativar os dispositivos de poder que produzem e capturam a vida nua, tornÃ-los inoperosos. à pensar como profanÃ-los para criar um novo uso para eles.
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Turrini, Martina. "Proposta di traduzione dall'italiano al tedesco di una selezione di testi tratti dall'opera di Matteo Marani "Dallo scudetto ad Auschwitz": "Von der italienischen Fussballmeisterschaft nach Auschwitz"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8811/.
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La seguente tesi si prefigge lo scopo di far conoscere a un pubblico di lingua tedesca l'avvincente storia di Arpad Weisz, l'allenatore ebreo-ungherese del Bologna durante il periodo nazi-fascista. La parte centrale e' composta dalla traduzione dall'italiano al tedesco di una selezione di testi tratti dall'opera di Matteo Marani "Dallo scudetto ad Auschwitz" e oltre alla traduzione, la tesi si compone inoltre di un introduzione, di una parte teorica in cui vengono esplicate brevemente le caratteristiche del processo traduttivo insieme alle varie tipologie testuali e infine vi e' il commento alla traduzione, il quale espone le strategie utilizzate per risolvere i problemi traduttivi incontrati durante il lavoro.
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Emmett, Lucy Victoria Jane. "Rewriting the Holocaust : intertextuality in the works of Primo Levi." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364418.
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Ombrosi, Orietta. "La raison à l'épreuve de la Catastrophe : une Leçon des Ténèbres." Paris 10, 2002. http://www.theses.fr/2002PA100180.
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Cette thèse Doctorat s'inscrit dans une interrogation sur les conditions de possibilité d'une pensée porteuse de mémoire, capable de supporter la mémoire et le témoignage de la Shoah. Bien que l'incommensurabilité de l'événement d'Auschwitz échappe aux catégories de la pensée, il est nécessaire de s'interroger sur les questions nées sur ses cendres et sur l'échec de la raison prouvé par cette Catastrophe. Pour autant que la pensée soit pensée du présent, elle ne peut ignorer Auschwitz. Car « ses morts ne furent pas les derniers ». Car, selon la phrase de Walter Benjamin « si l'ennemi triomphe, même les morts ne seront pas en sécurité ». Alors, pour que le mal et ses vainqueurs n'aient pas le dernier mot et que le silence des victimes résonne encore dans les oreilles des vivants, pour que le passé reste toujours vivant et soit racheté dans l'instant du présent, il est nécessaire que la lucidité de la pensée philosophique recherche les motivations profondes selon lesquelles la raison peut aussi engendrer la barbarie. Cette recherche vise donc à mettre en relation l'événement historique de la Shoah et les réflexions que des philosophes comme Theodor W. Adorno, Max Horkheimer, Emmanuel Lévinas et, avant l'heure, Walter Benjamin, ont pu avoir sur ce sujet et elle se confronte avec les questions à lesquelles ils se sont heurtés, en s'arrêtant tout particulièrement sur le concept même de raison et sur la critique de la domination. Et cela, afin d'esquisser un parcours autre pour la philosophie, un parcours se mouvant sous le signe du témoignageThis doctoral thesis is concerned with an investigation of the conditions necessary for the thinking that enables memory capable of the remembrance and testimony of the Holocaust. Although the event of Auschwitz is inconceivable within the traditional categories of thinking, it is necessary to ask those questions arising from its ashes and the failure of human reason evidenced by this catastrophe. To the extent to which thinking is thought in the present, Auschwitz cannot be ignored. For "dead were not the last ones". According to Walter Benjamin, "if the enemy triumphs, even the dead will not be safe". So that evil and its perpetrators do not have the last word and so that the victims are not silent in the ears of the living, the past must remain alive forever and redeemed in the present. Therefore, the clarity of philosophic thought searches for the profound motivations by which human reason is able to generate barbarity. The purpose of this research is to relate the historical event of the Holocaust to the thinking of philosophers like Theodor W. Adorno, Max Horkheimer, Emmanuel Lévinas, and, even before the historic event itself, Walter Benjamin. Further, to confront the questions with which they were engaged, with particular attention to the concept of reason itself and a critique of its domination. The goal of this thesis is to outline a different direction for philosophy, a direction characterized by remembrance and testimony
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Köster, Juliane. "Archive der Zukunft der Beitrag des Literaturunterrichts zur Auseinandersetzung mit Auschwitz /." Augsburg : Wissner, 2001. http://catalog.hathitrust.org/api/volumes/oclc/50591175.html.
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Pager, Chet Kelii-Wallraff. "Verses on Auschwitz : images of the Holocaust in modern American poetry." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/18875.
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This thesis examines how poetic responses to the Holocaust in America, when they emerged, have differed from the novels addressing the same subject; how the Second World War has challenged, in a way the First World War did not, basic humanistic assumptions regarding the image of man, the role of God, the benefits of civilisation & culture, and the humanising power of art or reason; and how this impact has influenced modern trends in poetry. After an extensive background section documenting the impact the Holocaust and Second World War have made upon the literary imagination, an extensive review is conducted of the varied critical positions and criteria, both aesthetic and ethical, from which American literary responses have been evaluated. Among the major critical positions is the belief that there should be no literary response to the Holocaust; that this literary response must primarily serve to document and testify; that the Holocaust should not be addressed imaginatively by non-victims; and that the Holocaust should not be used as a metaphor to convey some other subject or theme. These and other critical standpoints are discussed in relation to works by ten American poets whose poetry is representative of the ways in which the Holocaust has impacted on the poetic imagination, the breadth of poetic responses to this atrocity, and the range of difficulties and corresponding criticisms which are associated with almost all attempts to respond creatively to the Holocaust. The poets examined are Sylvia Plath, Anne Sexton, Maxine Kumin, Adrienne Rich, Denise Levertov, Stephen Berg, Van Brock, W.D. Snodgrass, William Heyen and Charles Reznikoff. Where illustrative, comparisons to relevant European poets have been made, including Nellie Sachs and Paul Celan. It was concluded that certain poets (Levertov, Rich, Heyen), as well as certain critical standpoints (Ezrahi, Langer, James Young) did more justice to the reality of the Holocaust and the challenges it poses to the literary and poetic imagination. Bibliography: p. 135-140.
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Avery, Maria R. "Preserving memory at Auschwitz : a study in Polish-Jewish historical memory /." View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1516.html.
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Thesis (M.A.)--Central Connecticut State University, 1999.Thesis advisor: Stanislaw Blejwas. " ... in partial fulfillment of the requirements for the degree of Master of Arts." Includes bibliographical references (leaves 131-134).
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Münz, Christoph. "Der Welt ein Gedächtnis geben : geschichtstheologisches Denken im Judentum nach Auschwitz /." Gütersloh : C. Kaiser, 1996. http://catalogue.bnf.fr/ark:/12148/cb37218828d.
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Nafziger-Leis, Cheryl. "Art, even after Auschwitz, Adorno's critical theory of art, religion and ideology." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28025.pdf.
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Wittmann, Rebecca Elizabeth. "Holocaust on trial?, the Frankfurt Auschwitz trial 1963-1965 in historical perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ63679.pdf.
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Hall, Sidney G. "Preaching Paul after Auschwitz a Christian liberation theology of the Jewish people /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com/search.cfm?p100-0086.
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Lorenz, Matthias N. ""Auschwitz drängt uns auf einen Fleck" Judendarstellung und Auschwitzdiskurs bei Martin Walser." Stuttgart Weimar Metzler, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2647081&prov=M&dok_var=1&dok_ext=htm.
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Cardon-Hamet, Claudine. "Mille otages pour Auschwitz : les "45000"; le convoi du 6 juillet 1942 /." Paris : Ed. Graphein, 1997. http://swbplus.bsz-bw.de/bsz061176664inh.htm.
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Wagner, Bernd C. "IG Auschwitz : Zwangsarbeit und Vernichtung von Häftlingen des Lagers Monowitz 1941-1945 /." München : K.G. Saur, 2000. http://catalogue.bnf.fr/ark:/12148/cb376323725.
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Lorenz, Matthias N. ""Auschwitz drängt uns auf einen Fleck" : Judendarstellung und Auschwitzdiskurs bei Martin Walser /." Stuttgart : J. B. Metzler, 2005. http://catalogue.bnf.fr/ark:/12148/cb40143660q.
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Oliveira, Lucas Amaral de. "Primo Levi e os rumores da memória: limites e desafios na construção do testemunho." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-17122013-122149/.
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O químico e escritor italiano Primo Levi (1919-1987), sobrevivente de Auschwitz, construiu um dos testemunhos mais importantes da segunda metade do século XX. Esta pesquisa tem como desígnio maior converter algumas questões que aparecem em duas de suas autobiografias mais impactantes sobre o campo de extermínio É isso um Homem? e Os Afogados e os Sobreviventes em problemas de caráter sociológico, na tentativa de contribuir na seara de investigações aberta pelos depoimentos desse intelectual ítalo-judeu. Gostaria de interpretar seu testemunho como fonte documental, em que seja possível apreender aspectos informativos de denúncia, rastros de dor, violência e morte que assinaram com sangue nossa era. Assim, em um primeiro momento, busco dar voz e espaço à memória de Levi e à sua narração sobre o cotidiano das agressões no Lager, a sociabilidade comum àquele ambiente infernal, os tipos humanos ali dispostos e a dificuldade de comunicação surgida em função da violência descomedida e do rebaixamento de alguns à condição de escravos. A partir disso, passo a tecer algumas reflexões sobre seu testemunho, explorando, principalmente, o chão aporético sobre o qual ele se desenvolveu: fragmentado, lacunar, impossível em sua inteireza, mas absolutamente necessário. Tentarei verificar, nessa medida, os limites na construção do testemunho da barbárie e as possibilidades encontradas por Primo Levi na representação e transmissão da experiência vivida. Afinal, qual o potencial do testemunho na geração de novos conhecimentos sobre esse evento traumático que foi Auschwitz? E em que medida a obra-testemunho de Levi pode ser tida como instrumento de transmissão de experiência e conhecimento sobre esse passado? Tais questões são importantes porque pensar o testemunho de Primo Levi a partir de um conjunto de elementos que encontra na noção de memória seu eixo decisivo faz do testemunho não apenas um objeto de análise histórica, mas, ainda, fonte privilegiada para refletir sobre violências em outros contextos.The Italian writer and chemist Primo Levi (1919-1987), survivor of Auschwitz, created one of the most important testimonies of the second half of the twentieth century. In this research, my aim is to convert some of the questions that appear in two of his most striking autobiographies about the extermination camp Survival in Auschwitz and The Drowned and the Saved in problems of sociological character, attempting to contribute to the field of investigations opened by the testimonies of the Jewish-Italian intellectual. I wish to interpret his testimony as a documentary source, where it is possible to apprehend informative aspects of denunciation, traces of pain, violence and death things that have signed our era with blood. Thus, in the first moment, I seek to give voice and space to the memory of Levi and to his narration about the daily aggressions in the Lager, the usual sociability in that hellish place, the human types who were striving there, and the difficulty in communication emerged as a result of the immense violence and the relegation of some people to the slave condition. From this point, I get to make some reflections about his testimony, exploring mainly the aporetic groundings on which it developed: being fragmented, incomplete and impossible in its entirety, but absolutely necessary. In these terms, I will try to verify the limits to the construction of a testimony of the barbarism and the possibilities found by Primo Levi in the representation and transmission of his experience. After all, I question about the potential of the testimony to generate new knowledge about such a traumatic event as Auschwitz has been. I also question to which extent Primo Levi\'s testimonial work can be taken as a mechanism for transmitting the experience and knowledge about that past. These questions are important because to address Levis testimony parting from a set of elements that find in the notion of memory its decisive axis makes the testimony not only an object of historical analysis, but also a prime source to reflect on violence in other contexts.
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Leukert, Matthias. "Die strafrechtliche Erfassung des Auschwitzleugnens /." [S.l.] : Wiesinger Media.de, 2005. http://aleph.unisg.ch/hsgscan/hm00136302.pdf.
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Lemcke, Verena. "Der Begriff Verzeihen bei Vladimir Jankélévitch." Würzburg Königshausen & Neumann, 2008. http://d-nb.info/988383926/04.
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Taglioli, Elisa. "La Shoah degli ebrei italiani nell’esperienza di Arminio Wachsberger, l’«interprete di Auschwitz»." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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La tesi tratta l’argomento della Shoah degli ebrei italiani utilizzando come filo conduttore l’esperienza di Arminio Wachsberger, l’«interprete di Auschwitz. L’elaborato analizza le varie situazioni che si verificarono in Italia a partire dalla seconda metà degli anni Trenta fino alla fine degli anni Ottanta. La tesi analizza l’esperienza dei prigionieri all’interno dei lager nazisti, lo sviluppo della macchina dello sterminio nel corso degli anni, in particolare dal 1933 al 1945, e il tema della liberazione del nemico nazista. In conclusione, l’elaborato tratta in modo approfondito l’importanza delle testimonianze dei sopravvissuti e il delicato tema della memoria.
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Engelmann, Jonas. ""Welches Vergessen erinnere ich?" Auschwitz im Werk von Paul Auster und Hubert Fichte." Marburg Tectum-Verl, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2908511&prov=M&dok_var=1&dok_ext=htm.
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Engelmann, Jonas. ""Welches Vergessen erinnere ich?" : Auschwitz im Werk von Paul Auster und Hubert Fichte." Marburg Tectum, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2908511&prov=M&dokv̲ar=1&doke̲xt=htm.
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