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  • German  (2,593)
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  • Holocaust survivors' writings History and criticism
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  • 1
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 147-160
    Keywords: Levi, Primo, ; Holocaust survivors' writings History and criticism ; Memory Psychological aspects ; Metaphor in literature ; Holocaust, Jewish (1939-1945) Personal narratives ; History and criticism
    Abstract: As the epigraph to what would turn out to be his final book, Primo Levi chose a few lines from Coleridge’s Rime of the Ancient Mariner that lend impressive moral authority to the witness:Since then, at an uncertain hour,That agony returns,And till my ghastly tale is toldThis heart within me burns.1It is memory, of course, that visits this agony upon the mariner, the memory of having sinned first by felling the fateful albatross and then, all the worse, by surviving his fellow sailors after they paid the heavy price for his violent presumption. Thereafter, the mariner’s transgression overtakes him as a force unto itself, a Fury that he can neither predict nor control, a phantom of the mind that plunges him—in true Romantic form—into physical pain. His only relief takes the form of confessions that will (also with vintage Romantic defiance) imperil simple bourgeois happiness, robbing the wedding celebration of joy with the tale of his devastating (if entirely human) failure. In fact, Coleridge’s mariner does not so much tell his tale as find himself the vehicle for its searing truth, a mere—more or less helpless—medium of agonizing revelation. In return for bearing his agonizing truth so unconsciously, even selflessly, all the mariner can claim is a kind of helpless irreproachability, the ghosts that throng his burning heart and tongue comprising a veritable moral imperative.
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  • 2
    Article
    Article
    In:  Interpreting Primo Levi (2016) 97-112
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 97-112
    Keywords: Levi, Primo, ; Jewish scientists ; Holocaust survivors' writings History and criticism ; Literature and science
    Abstract: Primo Levi was not only a Holocaust survivor and witness, he was also an industrial chemist by trade and a lifelong apologist for science as a vital part of an integrated culture. Yet, though few scholars or critics fail to mention that he was a chemist, or to add that his profession helped to save his life in Auschwitz, Levi the scientist and advocate of science remains a surprisingly neglected subject, especially when we consider that it was the publication in 1984 of the English translation of The Periodic Table that first established him as an internationally significant writer. In part, this neglect is due to that very lack of comprehension between the humanities and the sciences (sadly, often more evident on the humanities side) which Levi attempted to overcome. For example, Nicholas Patruno, keenly concerned with the history of the Jews, reads the whole of the “Carbon” chapter of The Periodic Table as an extended metaphor on that theme, making the unexamined assumption that Levi cannot really be writing about organic chemistry, a subject in which Patruno himself clearly sees little intrinsic interest:Levi speaks of the “atom,” which, inserted as part of an architectural structure, is “subjected to complicated exchanges and balances”. By this he seems to mean the Jews and their history. … Levi’s description of how carbon is involved in the creation of wine and how it is stored in the human liver to be activated in exacerbated circumstances refers to how the Jews were destined to be abused and, in a sense, kept in reserve for those moments in history when the world needed to lash out at a scapegoat.
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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) 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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  • 5
    Article
    Article
    In:  Interpreting Primo Levi (2016) 21-35
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 21-35
    Keywords: Levi, Primo, ; Holocaust survivors' writings History and criticism ; Holocaust, Jewish (1939-1945) Philosophy ; Holocaust, Jewish (1939-1945) Moral and ethical aspects
    Abstract: Primo Levi’s exact motives for writing his essay “The Grey Zone” (“La zona grigia,” 1986) are unknown. Although Levi gives us some indications as to his motivation when he writes “from many signs, it would seem that the time has come to explore the space which separates (and not only in the Nazi Lagers) the victims from the perpetrators, and to do so with a lighter hand, and with a less turbid spirit than has been done, for instance, in a number of films,”1 it is ultimately left up to Levi’s readers to examine his writings and to make a sensitive judgment as to the genesis of his concept of the “gray zone.” Following this method it becomes clear that Levi was uncomfortable with the reductiveness of the terms “good” and “evil.” It is true that Levi never rejected the absolute positions of good and evil and in fact makes use of them in recalling “the evil and insane SS men”2 or when describing the Italian laborer Lorenzo as a man with a “natural and plain manner of being good :”3 So to say that for Levi the notions of good and evil were reductive is not to say that they were redundant. What seems to have been dissatisfying for Levi was that the moral concepts of good and evil constituted the total linguistics and theoretical framework available for understanding the moral lives of the victims of Nazi rule.
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  • 6
    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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  • 7
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 67-81
    Keywords: Levi, Primo, Philosophy ; Holocaust survivors' writings History and criticism ; Holocaust, Jewish (1939-1945) Moral and ethical aspects
    Abstract: Since at least Socrates, reflection on human mortality has been central in philosophy. It has been taken as virtually axiomatic that death is the worst that can befall us and that if we are not to die ignominiously we must prepare ourselves for death. Hence it is that philosophy has long seen itself as telling us that we should seek to develop the kind of attitude toward death that allows us to do that. Indeed, philosophy has often seen itself as a form of this preparation: the act of philosophizing, so the thought goes, is itself a kind of dying, since it involves a withdrawal of the thinking self from world and body, and thus mirrors or models death in some way. At another level, philosophy might help with preparing us for death by offering concrete suggestions for thinking about it less fearfully. Socrates, Plato, Seneca, Lucretius, Montaigne, Spinoza, Heidegger, and countless others repeat this sense of the relation between philosophy and death, inflected in numerous different forms and styles.
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  • 8
    Article
    Article
    In:  Interpreting Primo Levi (2016) 83-96
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 83-96
    Keywords: Levi, Primo, ; Holocaust survivors' writings History and criticism ; Holocaust, Jewish (1939-1945) Moral and ethical aspects ; Animal experimentation Moral and ethical aspects
    Abstract: Scholars have often considered Primo Levi’s essay “Contro il dolore” (“Against Pain,” 1977) the principal point of entry into his inclusive ethics, capable of taking into account the suffering of each living creature, human and nonhuman animals alike. Ilona Klein, for instance, reads this essay as the expression of a possibly conciliatory position in one of the most controversial debates of the last decades, namely the comparison between the suffering of Jews during the Second World War and the suffering of animals in our time. According to Klein, “Contro il dolore” is in fact the clearest manifestation of a general approach to nonhuman animal life based on respect and compassion, which seems to stem “from Levi’s first-hand experience as a slave prisoner in Auschwitz.”
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  • 9
    Language: English
    Year of publication: 2016
    Titel der Quelle: Interpreting Primo Levi
    Angaben zur Quelle: (2016) 173-186
    Keywords: Levi, Primo, Literary style ; Holocaust survivors' writings History and criticism ; Jewish authors ; Holocaust, Jewish (1939-1945), in literature
    Abstract: Amoral urgency of testimony and an untiring scientific curiosity stand out as the distinguishing characteristics of Primo Levi’s works. His eminence as a witness, however, is not the only reason for his rhetorical effectiveness: Levi systematically deploys the ethical authority of literature in his writing, both as an institution and as a set of discursive practices, through a system of citations and representations modeled on canonic texts, from Homer to Shakespeare and Rabelais. His meditations on ethics and testimony are constantly in dialogue with literary tradition, from Dante in If This Is a Man, to Manzoni in The Drowned and the Saved.3
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  • 10
    ISBN: 3899290038
    Language: German
    Pages: 223 S , zahlr. Ill , 29 cm
    Year of publication: 2003
    RVK:
    Keywords: Liebermann, Max ; Liebermann, Max, 1847-1935 Exhibitions ; Kunsthalle Würth ; Liebermann, Max ; Ausstellung ; Einzelausstellung ; Schwäbisch Hall ; Ausstellungskatalog 2003 ; Liebermann, Max 1847-1935 ; Malerei ; Liebermann, Max 1847-1935 ; Malerei
    Abstract: Ausstellungskatalog
    Abstract: Die Ausstellung wird in der jüngst erbauten Kunsthalle Würth in Schwäbisch Hall präsentiert und anschließend im von-der-Heydt-Museum in Wuppertal. Neben den 73 gezeigten Werken von M. Liebermann (1847-1935) werden im vorliegenden Katalog weitere zahlreiche Vergleichsabbildungen herangezogen. Es wird nachgewiesen, dass die frühen Darstellungen der arbeitenden holländischen Bevölkerung oder Szenen aus Waisen- und Altmännerhäusern keine soziale Anklage beinhalten sollten - wie auch schon behauptet wurde -, sondern Natürlichkeit und "Poesie des einfachen Lebens" vermitteln. Um 1890 vollzog sich sein Wandel zum Impressionismus mit den lichten Strand- und Badebildern, während sein Spätwerk von Porträts und Gartenbildern geprägt ist (s. dazu ID 41/97). Als etablierter Großbürger und Präsident der Akademie der Künste in Berlin wird er hier als Symbolfigur der Weimarer Republik bezeichnet. Mit illustriertem Abriss der Biografie sowie Verzeichnis der ausgestellten Werke. Neben D. Gronau (BA 5/02), nur üppiger ausgestattet. (2) (Gudrun Reindl-Scheffer)
    Note: Zsfass. in engl. Sprache
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