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Informationen zum Autor Alan Rosen is a 2004-2005 fellow at the Center for Advanced Judaic Studies at the University of Pennsylvania and the 2005 Sosland Fellow at the Center for Advanced Holocaust Studies at the United States Holocaust Memorial Museum. He has published books and articles on Holocaust writing and is currently working on a book dealing with David Boder and Holocaust testimony. Klappentext Language has frequently been at the center of discussions about Holocaust writing. Yet English, a primary language of neither the persecutors nor the victims, has generally been viewed as marginal to the events of the Holocaust. Alan Rosen argues that this marginal status profoundly affects writing on the Holocaust in English and fundamentally shapes our understanding of the events. Sounds of Defiance chronicles the evolving status of English in writing about the Holocaust, from the period of the Second World War to the 1990s. Each chapter highlights a representative work from a different genre-psychology, sociology, memoir, tales, fiction, and film-and examines the special position of English with regard to the Holocaust, supported by references to the role of other languages, including Hebrew, Yiddish, and German. This original approach provides a new perspective on such standard works as Eichmann in Jerusalem, The Shawl, and Maus, while drawing attention to others largely unknown. Rosen also links this analysis of English writing to developments in the postwar period: the escalating production of writing on the Holocaust in English; the increasing prestige of English as a global language; and paradoxically, within the contexts of neocolonial and multilingual studies, the increasingly uncertain position of English. Zusammenfassung Language has frequently been at the centre of discussions about Holocaust writing. This title chronicles the status of English in writing about the Holocaust! from the period of the Second World War to the 1990s. It provides a perspective on such standard works as "Eichmann in Jerusalem"! "The Shawl"! and "Maus". Inhaltsverzeichnis Introduction: Everything is Alright! or The Problem of English Writing onthe HolocaustPart I: 19501 - Evidence of Trauma: English As Perplexity in David Boder's Tropical Autobiographies; 2 - An Entirely Different Culture: English as Translation in John Hersey's The Wall; 3 - What Does He Speak?: English As Mastery in Ruth Chatterton's Homeward BornePart II: 1960/Law's Languages! Eichmann and After4 - Please Speak English: Babbling in Philip Roth's Elis! the Fanatic; 5 - From Law to Outlaw: Borrowed English in Edward Wallants The Pawnbroker; 6 - Laws Languages: Hannah Arendt's Mother and Other Tongues; 7 - Say Good Boy: Legitimizing English in Sidney Lumets The Pawnbroker; 8 - Cracking Her Teeth: Broken English in Cynthia Ozick's Fiction and Essays; 9 - The Languages of Dollars: English As Intruder in Yaffa Eliach's Hasidic Tales of the HolocaustPart III: 1990/Two Generations After10 - The Language of Salvation: English As Metaphor in Art Speigelman's Maus; 11 - Eaten Away By Silence: English As Elegy in Anne Michael's Fugitive PiecesConclusion: Against Eloquence ...
