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• W4205884429 abstract "Reviewed by: What Remains: The Post-Holocaust Archive in German Memory Culture by Dora Osborne Helen Finch What Remains: The Post-Holocaust Archive in German Memory Culture. By Dora Osborne. Rochester, NY: Camden House. 2020. 238 pp. $90; £75 (ebk $24.99; £19.99). ISBN 978–1–64014–052–3 (ebk 978–1–78744–664–9). Dora Osborne’s monograph is an important and timely reflection on the ‘archival turn’ that, she argues, has taken place in German memory culture in recent years. Drawing on theories of the archive, particularly those of Jacques Derrida and Georges Didi-Hubermann, and combining these with Marianne Hirsch’s theory of post-memory, she contends that the passing away of the generation that bore witness to the Nazi period means that the archive has replaced the living witness [End Page 138] as a source of authoritative knowledge about the Nazi past. Osborne’s concern is with the ways in which contemporary artists and other actors in German memory culture have problematized the increasingly dominant role of the archive in the German understanding of the Holocaust and of the Nazi period. Her approach draws on psychoanalytic theory, such as ideas of trauma, traces, belatedness, and hauntology. However, the monograph is also grounded in a welcome wealth of interdisciplinary research about the artistic artefacts that she analyses, and the political contexts in which they arose and in which they seek to intervene. The Introduction and first chapter provide an exceptionally useful synthesis of recent developments in archival and memory theory. Osborne sets out how the archive can be understood as ‘concept and trope’, showing that it serves as a trace of that which has been lost as well as a material trace. In particular, the archive after Auschwitz—that is, archival material relating to National Socialism—is not only broken but also paradoxically constituted by excess, owing to the bureaucratic systems of the Nazi regime. She discusses such urgent ethical questions arising from the Holocaust archive as the problems posed by engagement with images of atrocity, which are often taken from a perpetrator perspective, or the revictimization of victims by preserving only the evidence of their persecution and murder rather than their full lives. The three successive chapters deal with the way in which a series of artistic projects have reflected and intervened in these theoretical problems of the archive. The first set consists of memorial projects which integrate archival elements that move from the archive-as-source to the archive-as-subject. Osborne considers projects from Gunter Demnig’s celebrated Stolpersteine artwork to less familiar initiatives such as Jochen Gerz’s 2146 Steine: Mahnmal gegen Rassismus. While the Stolpersteine have moved from an originally critical artwork to a now iconic memorial, other memorials work in a more site-specific way, disrupting easy identification with the victims their monument commemorates, or engaging with local communities. Osborne notes how despite good intentions, memorial projects often end up reproducing the bureaucratically inflected excesses of the Nazis. The next chapter deals with documentary film and theatre, noting a formal and epistemological shift away from the physically present witness towards the mediated testimonial archive in this artistic practice. Osborne focuses particularly on documentaries that stage the engagement with National Socialist archival material from the position of later generations. The pieces range from Malte Ludin’s oder 3 Dinge, die ich von ihm weiß (2005), dealing with family memory of a perpetrator father, to the ‘documentary theatre of the digital age’, Staatstheater Stolpersteine (2015), that stages the way in which the violent relationship between a newly Nazified theatre and the individual Jewish actor is repeated by the violence of the archive. The final chapter focuses on prose narrative, looking at the way in which such novels as Katja Petrowskaja’s Vielleicht Esther (2014) and Per Leo’s Flut und Boden (2014) engage with the trope of the archive to cast a critical eye on Erinnerungskultur. Throughout the artworks analysed in the book, tensions emerge between the [End Page 139] violent excess of the archive produced by National Socialist authorities and the erasure of the voices and material traces of the regime’s victims. Osborne’s analysis repeatedly demonstrates how..." @default.
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• W4205884429 title "What Remains: The Post-Holocaust Archive in German Memory Culture by Dora Osborne" @default.
• W4205884429 doi "https://doi.org/10.1353/mlr.2022.0031" @default.
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