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• W280508990 abstract "How should be remembered and commemorated? What are purposes and goals of and commemoration? What are most likely ways of reaching them? These and related questions arise with every endeavor to represent Holocaust, endeavors fraught with multiple moral, epistemological, and aesthetic quandaries. In an essay on memorials in Germany, for example, James E. Young considers possibility that they may subvert their stated purpose: For once we assign monumental form to memory, we have to some degree divested ourselves of obligation to remember. In shouldering memory-work, monuments may relieve viewers of their memory-burden (273). W. G. Sebald's work, especially several of long prose texts of his last decade, grapples with these questions while paying particular attention to pitfalls faced by non-Jewish writers. His response to a question by Maya Jaggi regarding his very oblique and tentative [...] approach to Holocaust clarifies his concerns: In history of postwar writing, for first 15 or 20 years, avoided mentioning political persecution--the incarceration and systematic extermination of whole peoples and groups in society. Then from 1965 this became a preoccupation of writers--not always in an acceptable form. So I knew that writing about subject, particularly for of origin, is fraught with dangers and difficulties. Tactless lapses, moral and aesthetic, can easily be committed. (The Last Word) Similarly, in an interview with news magazine Der Spiegel, Sebald claims that work of German writers of non-Jewish origin on the topic of persecution and attempted extermination of Jewish people is generally inadequate and consists largely of awkwardness and usurpations (Ich furchte 231-232). (1) Themselves attempts to exemplify a kind of responsible and representation, Sebald's texts are also investigations of their own theoretical and methodological foundations. They reject prescribed remembrance [verordnete Erinnerung] (234). Uncomfortable with symbolism of public commemoration, Sebald's explorations of and post-war Germany focus on individual life stories to create an appropriate language of commemoration. These stories are cobbled together from disparate sources by narrators driven by moral obligation to listen and to share both what they hear and what their own research yields. In order to substantiate these claims, this essay looks at Sebald's connection of concept of Heimat with Freud's uncanny; significance of storytelling and storytellers in his long prose works; relationship between fiction and documentary and that between aesthetics and ethics in both his criticism and his long prose narratives; his reliance on fragmentation and provisional narratives; and relationship between melancholia and allegory in his work. Heimat, Uncanny, and Return of Dead Public commemorations tend to fail to commemorate individual victims. They may add something--a memorial, for example--to a particular place, but they do not, as a rule, trace specific suffering undergone by individual victims, they do not place that suffering in specific context in which it occurred, and they do not engage viewer or listener in an effort to (re-)establish connections with victims and their suffering. Sebald's exploration of concept of Heimat in story of Paul Bereyter, protagonist of second narrative in The Emigrants, shows us effects of these omissions, specifically in his recognition of Bereyter's Heimat as uncanny. As marker of a specific part of world, Heimat recalls locus amoenus tradition and, like it, is not descriptive of an objective reality but rather represents an agglomeration of values and feelings associated with a particular place. …" @default.
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• W280508990 date "2012-03-22" @default.
• W280508990 modified "2023-09-26" @default.
• W280508990 title "Holocaust Remembrance in W.G. Sebald's Work: Melancholy Storytelling about an Uncanny Heimat" @default.
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