Reading (in) the Holocaust. Malgorzata Wójcik-Dudek

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14 Hayden White, “Figural Realism in Witness Literature,” Parallax, Vol. 10, No. 1 (2004), pp. 113–124, on pp. 117–118. http://www.tandf.co.uk/journals. DOI: 10.1080/1353464032000171145. Accessed 11 Apr. 2019.

15 Kellner, Hans, “Etyczny moment w teorii historii,” in Historia: O jeden świat za daleko, trans. and ed. Ewa Domańska (Poznań: IH UAM, 1997), pp. 71–100, on pp. 81−82.

16 See Dorota Wolska, “Doświadczenie,” in Modi memorandi. Leksykon kultury pamięci, eds. Magdalena Saryusz-Wolska and Robert Traba, in collaboration with Joanna Kalicka (Warszawa: Wydawnictwo Naukowe Scholar, 2014), pp. 94–99.

17 Marianne Hirsch, “The Generation of Postmemory,” Poetics Today, Vol. 29, No. 1 (2008), pp. 103–128, on p. 106.

18 Małgorzata Pakier, “ ‘Postmemory’ jako figura refleksyjna w popularnym dyskursie o Zagładzie,” Kwartalnik Historii Żydów, No. 2 (2005), pp. 195–208, on p. 196.

19 See Joanna Tokarska-Bakir, “Jedwabne – historia jako fetysz.” Gazeta Wyborcza (16 Feb. 2003).

20 See James Young, At Memory’s Edge: After-Images of the Holocaust in Contemporary Art and Architecture (New Haven, CT: Yale University Press, 2000), pp. 3−4.

21 See Saryusz-Wolska and Traba, eds., Modi memorandi.

22 Shoshana Ronen, “Od zmagań z bestią nazistowską w piwnicy do zmagań z tą bestią w nas samych,” trans. from English Stanisław Obirek, trans. from Hebrew Michał Sobelman, in Porzucić etyczną arogancję: Ku reinterpretacji podstawowych pojęć humanistyki w świetle wydarzeń Szoa, eds. Beata Anna Polak and Tomasz Polak (Poznań: Wydawnictwo Naukowe Wydziału Nauk Społecznych UAM, 2011), pp. 81–112, on p. 94. Ronen also comprehensively discussed this theme in her book Polin – a Land of Forest and Rivers: Images of Poland and Poles in Contemporary Hebrew Literature in Israel (Warszawa: Wydawnictwo Uniwersytetu Warszawskiego, 2007), pp. 246–247. According to Avner Holtzman, David Grossman’s writing is ground-breaking in that he gives up on portraying the Holocaust in order to explore the impact of the Holocaust on the next generation. See Avner Holtzman, “Holocaust w literaturze hebrajskiej,” trans. Tomasz Łysak, Teksty Drugie, No. 5 (2004), pp. 142–152, on p. 145.

23 According to Przemysław Czapliński, generation 1.5 founded the literature of “belated confession.” See Przemysław Czapliński, “Zagłada – niedokończona narracja polskiej nowoczesności,” in Ślady obecności, eds. Sławomir Buryła and Alicja Molisak (Kraków: Universitas, 2010), pp. 337–381, on p. 359.

24 In his polemics with Richard Rorty’s Contingency, Irony, Solidarity, Czapliński stressed that “only our own suffering, to express which we are looking for adequate means, enables us to lend our expression to the suffering of others.” Przemysław Czapliński, “Zagłada – niedokończona narracja,” p. 378. At this point, it is helpful to recall Jean-Luc Nancy, who rejected the prohibition of representing the Holocaust, at the same time abiding by the ethical injunction to bear witness to the truth. See Jean-Luc Nancy, “Forbidden Representation,” in Jean-Luc Nancy, The Ground of the Image, trans. Jeff Fort (New York, NY: Fordham University Press, 2005), pp. 27–50.

25 Przemysław Czapliński, “Zagłada i profanacja,” Teksty Drugie, No. 4 (2009), pp. 199–213, on p. 212.

26 See Michał Głowiński, “Oczy donosiciela,” Zagłada Żydów. Studia i Materiały, Vol. 2, No. 10 (2014), pp. 853–860, on p. 857; Sławomir Buryła, Dorota Krawczyńska and Jacek Leociak, eds., Literatura polska wobec Zagłady (1939−1968) (Warszawa: IBL, 2012).

27 Przemysław Czapliński, “Przesilenie nowoczesności. Proza polska 1989−2005 wobec Wielkich Narracji,” in Narracja po końcu (wielkich) narracji. Kolekcje, obiekty, symulakra, eds. Hanna Gosk and Andrzej Zieniewicz (Warszawa: Elipsa, 2007), pp. 34–55, on p. 46.

28 According to Lech Nijakowski, grand narratives have profoundly affected the “mentality” of Poles, whom the mythologisation and heroisation of the past helped continue resisting assimilation over several generations. Lech Michał Nijakowski, Polska polityka pamięci. Esej socjologiczny (Warszawa: Wydawnictwa Akademickie i Profesjonalne, 2008), p. 139.

29 The Polish titles of literary works cited in this book are accompanied by an English translation, which does not always mean that respective texts have actually been translated into English. To help the reader distinguish between translated and not translated works, different punctuation marks are used. Specifically, the titles of translated texts are parenthesised, while the titles of those which have not been translated are square-bracketed.

30 Bartłomiej Krupa, Opowiedzieć Zagładę. Polska proza i historiografia wobec Holocaustu (1987−2003) (Kraków: Universitas, 2013), p. 364.

31 See Michael C. Steinlauf, Bondage to the Dead: Poland and the Memory of the Holocaust (Syracuse, NY: Syracuse University Press, 1997). Based on historical events, Steinlauf divides Polish memory into a series of periods and discusses them in consecutive chapters of his book entitled: “Poles and Jews during the Holocaust,” “Memory’s Wounds,” “Memory Repressed,” “Memory Expelled,” “Memory Reconstructed” and “Memory Regained,” (the last timeframe, which spans between 1989−1995, is tellingly accompanied by a question mark).

32 See Aleida Assmann, “Przestrzenie pamięci. Formy i przemiany pamięci kulturowej,” trans. Piotr Przybyła, in Pamięć zbiorowa i kulturowa: Współczesna perspektywa niemiecka, ed. Magdalena Saryusz-Wolska (Kraków: Universitas, 2009), pp. 101−142. For the German original, see Aleida Assmann, Errinerungsräume: Formen und Wandlungen des kulturellen Geddächtnissen (München: C. H. Beck Verlag, 1999).

33 Halbwachs, On Collective Memory; Jan Assmann, Cultural Memory and Early Civilization: Writing, Remembrance, and Political Imagination (Cambridge: Cambridge University Press, 2011).

34 Aleida Assmann, “O medialnej historii pamięci kulturowej,” trans. Karolina Sidowska, in Aleida Assmann, Między historią a pamięcią, ed. Magdalena Saryusz-Wolska (Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2013), pp. 127−143. This volume is a collection of Assmann’s texts translated from German. For corresponding ideas, cf. Aleida Assmann, Cultural Memory and Western Civilization: Functions, Media, Archives (Cambridge, UK: Cambridge University СКАЧАТЬ