Online ordering is currently unavailable due to technical issues. We apologise for any delays responding to customers while we resolve this. For further updates please visit our website: https://www.cambridge.org/news-and-insights/technical-incident
Due to planned maintenance there will be periods of time where the website may be unavailable. We apologise for any inconvenience.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure coreplatform@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Crisis presents chances for change and creativity: Adorno's famous dictum that writing poetry after Auschwitz would be barbaric has haunted discourse on poetics, but has also given rise to poetic and theoretical acts of resistance. The essays in this volume discuss postwar poetics in terms of new poetological directions and territory rather than merely destruction of traditions. Embedded in the discourse triggered by Adorno, the volume's foci include the work of Paul Celan, Gottfried Benn, and Ingeborg Bachmann. Other German writers discussed are Ilse Aichinger, Rose Ausländer, Charlotte Beradt, Thomas Kling, Heiner Müller, and Nelly Sachs; concrete poetry is also treated. The final section offers comparative views of the poetics of European literary figures such as Jean Paul Sartre, André Malraux, and Danilo Kis and a consideration of the aesthetics of Claude Lanzmann's film 'Shoah.' Contributors: Chris Bezzel, Manuel Bragança, Gisela Dischner, Rüdiger Görner, Stefan Hajduk, Gert Hofmann, Aniela Knoblich, Rachel MagShamhráin, Marton Marko, Elaine Martin, Barry Murnane, Marko Pajevic, Tatjana Petzer, Renata Plaice, Annette Runte, Hans-Walter Schmidt-Hannisa, Michael Shields, Peter Tame. Gert Hofmann is a Lecturer in German, Comparative Literature, Drama, and Film and Rachel MagShamhráin is a Lecturer in German, Film, and Comparative Literature, both at University College Cork; Marko Pajevic is a Lecturer in German at Queen's University Belfast; Michael Shields is a Lecturer in German at the National University of Ireland, Galway.
In this sixty-fifth anniversary year of the end of the Second World War and the liberation of Auschwitz, we are fast approaching the eightdecade death-knell for all “lebendige Erinnerung” (living, or communicative, memory) of the Nazi genocide. It would seem, then, that we have reached another critical milestone on our path backward into the future. As the last witnesses, survivors, and perpetrators pass out of real time, the imperative of Holocaust remembrance and attendant conundrum of how to express that re-presented past, seems to be entering a new and particularly perilous phase, one that will soon be exclusively characterized by “post-memory,” to borrow Marianne Hirsch's term. The idea of a dawning age of post-remembrance is associated for many with a terrible sense of urgency, fueled by the idea that such a transition may take us a step nearer to a coming time of complete erasure. The act of remembrance is now engaged in a “race against time,” requiring such massive interventions as, for example, the Survivors of the Holocaust Visual History Foundation, which aims to record and archive on film and in aeternum the memories of all remaining Holocaust survivors. So, nearly seven decades after the “break” of 1945, another major sense of caesura has come upon us, arguably even more radical than that first Zero Hour. With this sense of an impending end comes the sense that returns, recall, and representations are needed now more than ever.
THIS CHAPTER EXAMINES VARIOUS DISCOURSES involved in German-Turkish relations from the 1890s until the end of the First World War, arguing that they are evidence of a more multidirectional Orientalism than is suggested by Edward Said's idea of a hegemonic West representing and therefore controlling an essentialized East. Orientalism, these discourses reveal, does not occur along the single trajectory suggested by its name. It is not simply a nonreversible, monodirectional phenomenon radiating out from the West onto a passive Eastern object, but rather, as Sheldon Pollock among others has argued, something that can also emanate from the East, be applied by the East to itself, and even be applied by the West to the West. In short, the dialectics of Orientalism are infinitely more conflicted, complex, decentered, and displaced than Said's approach indicates.
The image of the “sick old man of Europe” as a passive Eastern pawn in Western imperialist power games is a case in point, failing to do justice to the extent to which the Ottoman Empire was an active participant in the major power plays of the period, all the while serving its own political agendas, which included a hegemonic national project based on ideas of “ethnic-national homogeneity,” or, as John Morrow puts it, “historians have long credited the German government with manipulating the Ottoman government into the war to foster German aims of an empire from Berlin to Baghdad.…More recently [however, they] have recognized that the … Young Turks had their own aims, and … manipulated the Germans.”
Recommend this
Email your librarian or administrator to recommend adding this to your organisation's collection.