Based on analyses of literature and oral histories of children of survivors, At Home with the Holocaust reveals how the material conditions of survivor-family homes, along with household practices and belongings, rendered these homes as archives of trauma that in turn traumatized the children of Holocaust survivors.
Based on analyses of literature and oral histories of children of survivors, At Home with the Holocaust reveals how the material conditions of survivor-family homes, along with household practices and belongings, rendered these homes as archives of trauma that in turn traumatized the children of Holocaust survivors.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
LUCAS F. W. WILSON is a SSHRC postdoctoral fellow at the University of Toronto Mississauga. He is the editor of Shame-Sex Attraction: Survivors’ Stories of Conversion Therapy, as well as the coeditor of Emerging Trends in Third-Generation Holocaust Literature.
Inhaltsangabe
Preface Introduction 1 Postmemorial Structures: The “Space” and “Stuff” of Survivor-Family Homes 2 “Remember, my house it’s also your house too”: Postmemorial Structures in Art Spiegelman’s Maus 3 Domestic(ated) (Un)fashioning: Sonia Pilcer’s The Holocaust Kid
4 A Tale of Two Storeys: Upper and Lower Space and Postmemorial Divergences in Elizabeth Rosner’s The Speed of Light 5 Pre/Occupied Longing: Toward a Definition of Postnostalgia in Jonathan Safran Foer’s Everything Is Illuminated 6 Conclusion Appendix Acknowledgments Bibliography Index Preface ix Introduction 1 1 Postmemorial Structures: The “Space” and “Stuff” of Survivor-Family Homes 15 2 “Remember, my house it’s also your house too”: Postmemorial Structures in Art Spiegelman’s Maus 32 3 Domestic(ated) (Un)fashioning: Sonia Pilcer’s The Holocaust Kid 51 4 A Tale of Two Storeys: Upper and Lower Space and Postmemorial Divergences in Elizabeth Rosner’s The Speed of Light 76 5 Pre/Occupied Longing: Toward a Definition of Postnostalgia in Jonathan Safran Foer’s Everything Is Illuminated 101 Conclusion 124 Appendix 133 Acknowledgments 135 Notes 139 Bibliography 161 Index 000
Preface Introduction 1 Postmemorial Structures: The “Space” and “Stuff” of Survivor-Family Homes 2 “Remember, my house it’s also your house too”: Postmemorial Structures in Art Spiegelman’s Maus 3 Domestic(ated) (Un)fashioning: Sonia Pilcer’s The Holocaust Kid
4 A Tale of Two Storeys: Upper and Lower Space and Postmemorial Divergences in Elizabeth Rosner’s The Speed of Light 5 Pre/Occupied Longing: Toward a Definition of Postnostalgia in Jonathan Safran Foer’s Everything Is Illuminated 6 Conclusion Appendix Acknowledgments Bibliography Index Preface ix Introduction 1 1 Postmemorial Structures: The “Space” and “Stuff” of Survivor-Family Homes 15 2 “Remember, my house it’s also your house too”: Postmemorial Structures in Art Spiegelman’s Maus 32 3 Domestic(ated) (Un)fashioning: Sonia Pilcer’s The Holocaust Kid 51 4 A Tale of Two Storeys: Upper and Lower Space and Postmemorial Divergences in Elizabeth Rosner’s The Speed of Light 76 5 Pre/Occupied Longing: Toward a Definition of Postnostalgia in Jonathan Safran Foer’s Everything Is Illuminated 101 Conclusion 124 Appendix 133 Acknowledgments 135 Notes 139 Bibliography 161 Index 000
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