The Belated Witness examines major works by Art Spiegelman, Cynthia Ozick, Christa Wolf, and Paul Celan, focusing specifically on the unsettling configuration of birth-as-death trauma around which these texts are organized.

What is the role of the survivor testimony in Holocaust remembrance? In this book, a concise, rigorously argued, and provocative work of cultural and intellectual history, the author seeks to answer this surpassingly complex question.

The Moral Witness is the first cultural history of the "witness to genocide" in the West. Carolyn J. Dean shows how the witness became a protagonist of twentieth-century moral culture by tracing the emergence of this figure in courtroom battles from the 1920s to the 1960s—covering the Armenian genocide, the Ukrainian pogroms, the Soviet Gulag, and the trial of Adolf Eichmann. In these trials, witness testimonies differentiated the crime of genocide from war crimes and began to form our understanding of modern political and cultural murder. By the turn of the twentieth century, the "witness to genocide" became a pervasive icon of suffering humanity and a symbol of western moral conscience. Dean sheds new light on the recent global focus on survivors' trauma. Only by placing the moral witness in a longer historical trajectory, she demonstrates, can we understand how the stories we tell about survivor testimony have shaped both our past and contemporary moral culture.

Survivors of political violence give testimonies in families and communities, trials and truth commissions, religious institutions, psychotherapies, newspapers, documentaries, artworks, and even in solitude. Through spoken, written, and visual images, survivors' testimonies tell stories that may change history, politics, and life itself. In this book Stevan Weine, a psychiatrist and scholar in the field of mental health and human rights, focuses on the testimony of survivors for the hope it might hold-hope expressed by survivors again and again that, no matter what horrors or humiliations they have endured, some good might come of their stories. It is through the thinking of Mikhail Bakhtin, and his approach to narrative, that Weine seeks to read the testimony of survivors of political violence from four different twentieth-century historical nightmares--and to read them as the stories they are meant to be, fully conveying their legitimacy, resourcefulness, power--and, finally, hope. A deeply involving, compassionate, occasionally confrontational blend of practical hands-on experience and dialogic theory, emerging from the author's decade-long work in Europe and Chicago with survivors of the Balkan wars, this book is committed to the proposition that efforts to use testimony to address the consequences of political violence can be strengthened--though by no means guaranteed--if they are based on a fuller acknowledgment of the personal and ethical elements embodied in the narrative essence of testimony. These elements are what Testimony after Catastrophe seeks to reveal.

In this unique collection, Yale literary critic Shoshana Felman and psychoanalyst Dori Laub examine the nature and function of memory and the act of witnessing, both in their general relation to the acts of writing and reading, and in their particular relation to the Holocaust. Moving from the literary to the visual, from the artistic to the autobiographical, and from the psychoanalytic to the historical, the book defines for the first time the trauma of the Holocaust as a radical crisis of witnessing "the unprecedented historical occurrence of...an event eliminating its own witness." Through the alternation of a literary and clinical perspective, the authors focus on the henceforth modified relation between knowledge and event, literature and evidence, speech and survival, witnessing and ethics.

In the face of strong moral and aesthetic pressure to deal with the Holocaust in strictly historical and documentary modes, this book discusses why and how reenactment of the Holocaust in art and imaginative literature can be successful in simultaneously presenting, analyzing, and working through this apocalyptic moment in human history. In pursuing his argument, the author explores such diverse materials and themes as: the testimonies of Holocaust survivors; the works of such artists and writers as Charlotte Salomon, Christian Boltanski, and Armando; and the question of what it means to live in a house built by a jew who was later transported to the death camps. He shows that reenactment, as an artistic project, also functions as a critical strategy, one that, unlike historical methods requiring a mediator, speaks directly to us and lures us into the Holocaust. We are then placed in the position of experiencing and being the subjects of that history. We are there, and history is present--but not quite. A confrontation with Nazism or with the Holocaust by means of a re-enactment takes place within the representational realm of art. Our access to this past is no longer mediated by the account of a witness, by a narrator, by the eye of a photographer. We do not respond to a re-presentation of the historical event, but to a presentation or performance of it, and our response is direct or firsthand in a different way. That different way of "keeping in touch” is the subject of inquiry that propels this study.

Sam Durrant's powerfully original book compares the ways in which the novels of J. M. Coetzee, Wilson Harris, and Toni Morrison memorialize the traumatic histories of racial oppression that continue to haunt our postcolonial era. The works examined bear witness to the colonization of the New World, U.S. slavery, and South African apartheid, histories founded on a violent denial of the humanity of the other that had traumatic consequences for both perpetrators and victims. Working at the borders of psychoanalysis and deconstruction, and drawing inspiration from recent work on the Holocaust, Durrant rethinks Freud's opposition between mourning and melancholia at the level of the collective and rearticulates the postcolonial project as an inconsolable labor of remembrance.

When Mieke Bal reread the story of Joseph and Potiphar’s wife as an adult, she was struck by differences between her childhood memories of a moral tale and what she read today. In Loving Yusuf ̧ Bal seeks to resolve this clash between memory and text, using the same story, in which Joseph spurns the advance of his master’s wife who then falsely accuses him of rape, as her point of departure. She juxtaposes the Genesis tale to the rather different version told in the Qur’an and the depictions of it by Rembrandt and explores how Thomas Mann’s great retelling in Joseph and His Brothers reworks these versions. Through this inquiry she develops concepts for the analysis of texts that are both strange and overly familiar—culturally remote yet constantly retold. As she puts personal memories in dialogue with scholarly exegesis, Bal asks how all of these different versions complicate her own and others’ experience of the story, and how the different truths of these texts in their respective traditions illuminate the process of canonization.

In no other country in Europe has national identity been so closely bound to memories of the war. Italy’s Republic was born of World War II, its constitution defined by anti-Fascism, its parties self-identified with national Resistance. Because of their importance to the nation’s identity, the nature and meaning of the war have been the focus of great contention, from 1943 to the present day. In recent years Italy has taken on a national evaluation of the more troubling and contested aspects of its role in the war, including its support of Fascism and collaboration after 1943, its treatment of Jews and other minorities, deep national divisions that created a civil war between 1943 and 1945, and the centrality of war myth to lingering postwar problems. Scholars of Italian history, literature, and cinema play a fundamental role in this appraisal, and this volume of essays attests to the importance of film and literature to the ways in which changing political, social and cultural imperatives have altered the war’s memory. These articles expand our understanding of the shifting phases in national memory by highlighting significant features of each era’s portrayal of the war. Contributions come from eight scholars who capture the full variety of disciplinary and sub-disciplinary approaches that are current today, including film genre studies, cultural history, gender studies, Holocaust studies, and the very new fields of emotion studies, shame theory, and environmental studies. Their innovative application of questions and methods that speak to important new subfields in Italian Studies make this volume an invaluable tool for scholars and their students.

In July 1995, the Army of the Serbian Republic killed some 8,000 Bosnian men and boys in and around the town of Srebrenica--the largest mass murder in Europe since World War II. Surviving the Bosnian Genocide is based on the testimonies of 60 female survivors of the massacre who were interviewed by Dutch historian Selma Leydesdorff. The women, many of whom still live in refugee camps, talk about their lives before the Bosnian war, the events of the massacre, and the ways they have tried to cope with their fate. Though fragmented by trauma, the women tell of life and survival under extreme conditions, while recalling a time before the war when Muslims, Croats, and Serbs lived together peaceably. By giving them a voice, this book looks beyond the rapes, murders, and atrocities of that dark time to show the agency of these women during and after the war and their fight to uncover the truth of what happened at Srebrenica and why.