By Mary Cosgrove
In German reports the literary phenomenon of depression, which has a longstanding and numerous heritage in eu letters, has more often than not been linked to the Early glossy and Baroque classes, Romanticism, and the quandary of modernity. This organization, along the dominant psychoanalytical view of depression in German reminiscence discourses because the Nineteen Sixties, has ended in its forget as an incredible literary mode in postwar German literature, a scenario the current booklet seeks to redress by way of picking and examining epochal postwar works that use depression traditions to touch upon German historical past within the aftermath of the Holocaust. It specializes in 5 writers - Günter Grass, Wolfgang Hildesheimer, Peter Weiss, W. G. Sebald, and Iris Hanika - who think about the legacy of Auschwitz as intellectuals attempting to negotiate a courting to the prior in accordance with the stigma of belonging to a culprit collective (Grass, Sebald, Hanika) or, primarily, to the sufferer collective (Weiss, Hildesheimer), with a view to enhance a depression ethics of reminiscence for the Holocaust and the Nazi previous. it is going to attract students and scholars of German reports, Comparative Literature, Cultural reports, Cultural reminiscence, and Holocaust experiences. Mary Cosgrove is Reader in German on the collage of Edinburgh
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Additional resources for Born under Auschwitz : melancholy traditions in postwar German literature
Yet at the same time that he commemorates the victims, Grass also compromises his ethical project. , situates his understanding of the melancholy type between prudent warning and recuperative consolation, his engagement with melancholy discourses goes beyond Dürer’s image and is more nuanced than most critics have recognized. In the archival material for the Tagebuch one sheet of notes entitled “Über die Melancholie” (On Melancholy) shows the breadth of Grass’s knowledge. Dürer is mentioned only briefly at the top of the page: in the Tagebuch his biography is not central (TB, 100, 309).
100 In positing an absence—as opposed to loss—analysis of melancholy, Santner deviates from Freud. But what is most striking about his critique is the demand for discursive presence—signifying authenticity—in the form of appropriate affect (26). The “structural mourning-work” of the melancholy narcissist reveals the highly conventionalized quality of the performance of sadness. This absence of authentic affect is what renders structural mourning work ethically suspect: where we might expect some expression of authenticity, we encounter only the divergence between words and interior affective states.
64 See Ernst Gombrich, Aby Warburg: An Intellectual Biography with a Memoir on the History of the Library by F. Saxl (Oxford: Phaidon, 1986). Klibansky, Panofsky, and Saxl, Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art (London: Nelson, 1964). This work’s production history is quite complex. It is the expanded version of the much earlier study that was cowritten by Panofsky and Saxl: Dürers Melencolia I, which was influenced by Karl Giehlow’s work on the engraving: “Dürers Stich ‘Melencolia I’ und der maximilianische Humanistenkreis,” Mitteilungen der Gesellschaft für vervielfältigende Kunst 26, no.
Born under Auschwitz : melancholy traditions in postwar German literature by Mary Cosgrove