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  • RAMBI - רמב''י  (4)
  • 2015-2019  (4)
  • 2000-2004
  • 1995 - 1999
  • Levi, Primo, Criticism and interpretation
  • Monastic and religious life History Early church, ca. 30-600
  • 1
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 7-20
    Keywords: Levi, Primo, Criticism and interpretation ; Améry, Jean Criticism and interpretation ; Holocaust survivors' writings History and criticism ; Holocaust, Jewish (1939-1945), in literature ; Holocaust survivors Psychology
    Abstract: Primo Levi was the twentieth century’s preeminent witness—preeminent both in general and, more specifically, among the voices that sought to draw attention to the shape of its central disfiguring tragedy. Levi attained this position because, as Philip Roth wrote of him shortly after his death, he had “the moral stamina and intellectual poise of a twentieth century Titan:”1 Levi’s name will forever be associated with Auschwitz, where he was imprisoned between February 1944 and January 1945. Indeed, he himself later said that but for his time there he would probably not have become a writer.2 I find this hard to credit in view of his exceptional wisdom about life and the world even as early as his mid-20s, when he composed his memoir of Auschwitz, If This Is a Man.3
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  • 2
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 51-63
    Keywords: Levi, Primo, Criticism and interpretation ; Holocaust, Jewish (1939-1945) Study and teaching ; Holocaust survivors' writings History and criticism
    Abstract: In the winter of 2011, I took a graduate seminar on Holocaust Life Writing. In this particular course, “Life Writing” was defined (and problematized) as autobiography, memoir, and letters. Primo Levi’s The Drowned and the Saved was our last text. During our first week of discussions of Levi, a student rejected the text. I remember feeling uneasy—everyone stopped talking and sat in silence—not a productive, contemplative silence, rather a deeply terrified silence. The student expressed hatred, overtly saying: “I hate him!” Our classroom discussion halted abruptly. Then, suddenly, students tried to intervene; without listening, they policed the space, now turned unsafe. They attacked the student, attacked the professor for not diffusing the “hate” comment. In the midst of this emotional outburst, I kept wondering whether the student hated the text, hated Levi, or both. What exactly was at stake in this expression of hatred? More importantly, what did it mean to hate a Holocaust survivor, someone who had survived extreme and overt forms of hatred: deportation, dehumanization, torture, and genocide? We never really asked the student to explain the expression of hatred toward Levi. The topic was left and never brought up again, never worked-through. We continued attending class with an incredible silence between us, a divisive energy that seemed irreconcilable. Our class discussions skirted around the articulation of hatred but never addressed what it meant directly.
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  • 3
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 115-127
    Keywords: Levi, Primo, Criticism and interpretation ; Holocaust survivors' writings History and criticism ; Italian fiction Jewish authors ; History and criticism ; Smell in literature ; Smell Psychological aspects ; Memory in literature
    Abstract: Smell is a primary and primitive sense; it is our “chemical” sense, as the French geographer Jean-François Staszak states.1 The sense of smell begins with the contact between a molecule and a cell. The stimulus (a set of odorant molecules) is processed by the brain together with other information, both contextual (visual, tactile, and olfactory) and emotional.2 The brain, as the anthropologist Joël Candau explains, identifies, names and categorizes these pieces of information, creating an olfactory image.3 In this complex process, the data that an individual has stored during a lifetime produces olfactory traces. The social and cultural environment and the biography of the individual determine what these traces are. At the end of this “operation,” according to Candau, the stimulus “is codified in the long-term memory in the form of a new olfactory trace.”4 Therefore, individuals carry their own personal, subjective, and intimate olfactory cultures and memories. Two different persons can smell the same odor, but each one memorizes and collects different traces.
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  • 4
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 129-145
    Keywords: Levi, Primo, Criticism and interpretation ; Holocaust survivors' writings ; Nazi concentration camps in literature ; Space and time in literature
    Abstract: “I’ve always thought that bridges are the most beautiful work there is,” remarks Tino Faussone in Primo Levi’s 1978 book The Wrench (La chiave a stella).1 Levi’s rigger-protagonist appreciates bridges because “they’ll never do anybody harm; in fact, they do good, because roads pass over bridges, and without roads we would still be like savages. In other words, bridges are sort of the opposite of boundaries, and boundaries are where wars start.”2 The nomadic Faussone enjoys seeing the world while “going from one construction site to another,” appreciating the diversity of the planet: “the world is beautiful because it’s all different .”3 Typically working at interstitial places such as shorelines, riverbanks, or on an offshore oil rig that is “like an island, but … an island we had made,” Faussone is a “Homo faber” who finds meaning in work performed well. The rigger’s wrench is, for Faussone, also a key to the stars whose dust he finds on top of the tall constructions he has helped to erect.4 A celebration of the “freedom” attainable from “being good at your job and therefore taking pleasure in doing it,” Faussone demonstrates Levi’s argument that freedom means “not having to work under a boss.”5
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