Born under Auschwitz : melancholy traditions in postwar by Mary Cosgrove

By Mary Cosgrove

In German reviews the literary phenomenon of depression, which has a longstanding and numerous heritage in ecu letters, has as a rule been linked to the Early glossy and Baroque classes, Romanticism, and the drawback of modernity. This organization, along the dominant psychoanalytical view of depression in German reminiscence discourses because the Nineteen Sixties, has ended in its overlook as an incredible literary mode in postwar German literature, a state of affairs the current publication seeks to redress via deciding on and studying epochal postwar works that use depression traditions to touch upon German historical past within the aftermath of the Holocaust. It makes a speciality of 5 writers - Günter Grass, Wolfgang Hildesheimer, Peter Weiss, W. G. Sebald, and Iris Hanika - who give some thought to the legacy of Auschwitz as intellectuals attempting to negotiate a dating to the previous in keeping with the stigma of belonging to a offender collective (Grass, Sebald, Hanika) or, normally, to the sufferer collective (Weiss, Hildesheimer), so as to boost a depression ethics of reminiscence for the Holocaust and the Nazi prior. it is going to entice students and scholars of German reports, Comparative Literature, Cultural stories, Cultural reminiscence, and Holocaust reviews. Mary Cosgrove is Reader in German on the collage of Edinburgh

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Born under Auschwitz : melancholy traditions in postwar German literature

In German reviews the literary phenomenon of depression, which has a longstanding and various historical past in ecu letters, has normally been linked to the Early smooth and Baroque classes, Romanticism, and the obstacle of modernity. This organization, along the dominant psychoanalytical view of depression in German reminiscence discourses because the Nineteen Sixties, has resulted in its forget as an incredible literary mode in postwar German literature, a state of affairs the current publication seeks to redress through opting for and reading epochal postwar works that use depression traditions to touch upon German background within the aftermath of the Holocaust.

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Melancholy and mourning thus share key features, such as ambivalence toward the lost object, some features of narcissistic object desire due to unconscious incorporation, and self-reproach. Where they differ is on the nature of the lost object. indd 19 2/20/2014 5:38:06 PM 20  INTRODUCTION unconscious mind while the loss manifests itself in outer symptoms, some of which may be deemed pathological. In the case of mourning, the loss is cognitively identified and as a result can be worked through.

To some degree, Santner’s critique calls for a return of affect in post-1945 discourses of mourning and melancholy. 101 LaCapra’s study on post-Holocaust affect and the dangers of identification also equates melancholy with foundational absence, as opposed to loss. ” Stressing the binary of “good” versus “bad” sadness, LaCapra argues that melancholy, as opposed to mourning, demonstrates “a compulsive preoccupation with aporia, an . . ” Melancholy is no less than a “secularized displacement of the sacred” and produces foundational myths of absence which, after 1945, make everyone a potential victim (23).

Structural mourning” is more the sign of the persistence of a melancholy, narcissistic disorder than the process of working through loss. ”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.

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