LEADER 03827cam a2200433Ia 4500001    136014
005    20240621203821.0
008    080116s2005    xx      rb    000 0 eng d
028 52 3197016 |bUMI
035    (OCoLC)ocn263683825
035    136014
049    LHMA
040    LHM |beng |erda |cLHM
090    PN56.H55 |bJ66 2005
100 1  Jones, Susanne Lenné.
245 00 What's in a frame? : |bphotography, memory, and history in contemporary German literature / |cby Susanne Lenné Jones.
264  1 [Place of publication not identified] : |b[publisher not identified], |c2005.
300    v, 251 pages
336    text |btxt |2rdacontent
337    unmediated |bn |2rdamedia
338    volume |bnc |2rdacarrier
502    Thesis (Ph. D.)--University of Cincinnati, 2005.
504    Includes bibliographical references (pages 226-239).
520     During the past two decades, a vast body of German literature has appeared that is interested not only in the Holocaust but also in the way Germans have dealt with the legacy of National Socialism over the last sixty years. Especially since the fall of the Berlin Wall and the German reunification, a number of literary works have appeared that use photographs to approach this limit-event and its remembrance in German national and private discourses. At the same time, the scholarly attention given to questions of memory and its representation has also sharply increased over the last few decades. Such debates have brought forth a number of demands in order for Holocaust literature to become productive for remembrance as well as for the creation of the present and the future. The following study investigates works by Monika Maron, W. G. Sebald, and Irina Liebmann. Of particular interest is the question of how these authors have integrated photographs within their texts in order to address and overcome the problems of Holocaust representation: the generational distance, absences and silences as well as the institutionalization and instrumentalization of memory. The first chapter lays out the theoretical framework that informs the discussion of the most vital concepts treated in this study: fact and fiction, history and memory, photography and text. The subsequent three chapters investigate the respective works written by the three authors: Monika Maron's Pawels Briefe (1999), W. G. Sebald's Die Ausgewanderten (1992) and Austerlitz (2001), and Irina Liebmann's Stille Mitte von Berlin (2002). I maintain that the complex and paradoxical nature of photography, most significantly its simultaneous claim to truth and to deception, renders it a particularly fruitful means to negotiate questions of factuality and fiction as well as memory and history. It allows these authors to engage the reader in a problematization of the concept of truth as well as the constructedness of all forms of representation.
530    Electronic version(s)  |bavailable internally at USHMM.
533    Photocopy. |bAnn Arbor, Mich. : |cUMI Dissertation Services, |d2007. |e22 cm.
590     Dissertations and Theses
591    Record updated by Marcive processing 21 June 2024
650  0 Holocaust, Jewish (1939-1945), in literature.
650  0 Literature and photography.
650  0 German literature |y20th century.
600 10 Maron, Monika. |tPawels Briefe.
600 10 Sebald, W. G. |q(Winfried Georg), |d1944-2001 |xCriticism and interpretation.
600 10 Liebmann, Irina. |tStille Mitte von Berlin.
856 41  |uhttp://proquest.umi.com/pqdweb?did=1031063951&sid=105&Fmt=6&clientId=54617&RQT=309&VName=PQD |zElectronic version from ProQuest
956 41  |u http://dc.ushmm.org/library/bib136014/3197016.pdf  |z Hosted by USHMM.
852 0   |bstacks |hPN56.H55 |iJ66 2005
852     |bwww
852 0   |bebook