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The issue of memory is closely related to survival and avowal of the Holocaust. Elie Wiesel in one of his interviews had said, "Without memory, there is no culture. Without memory, there would be no civilization, no society, no future." This paper focuses on the personal memory of Holocaust victims and survivors and the way memory functions in concentration camp inmates as they encountered the most inhuman and unthinkable of brutalities and the conflicting way it functions in survivors who are plagued by trauma and survivor guilt. For the concentration camp inmate, memory of the pre-war life seems to make suffering bearable and serves as a support system and succour whereas for the survivor, the faculty of memory that had been their only companion, evolves into traumatic Holocaust memory that they constantly encounter and negotiate in an effort to lead a normal life. This will be discussed based on the writings of Etty Hillesum, Primo Levi, Elie Wiesel and Charlotte Delbo. [ABSTRACT FROM AUTHOR]

In this paper, I explore images of evil and (in)humanity in the works of Primo Levi and Charlotte Delbo - verbal images that they encountered within Auschwitz and those that they created afterwards to try to bear witness to what happened there. Verbal images played a crucial role for Levi and Delbo in their efforts both to maintain a sense of their own humanity during their time in the concentration camp and to depict the extent to which inmates' humanity was diminished and degraded by the Nazis. Thus, verbal images helped them both to maintain a sense of their own humanity and to depict the effort to destroy it. This dual role of verbal images found in their testimonies suggests that there is an intimate relationship between evil, images, and (in)humanity during and after the Holocaust - one that we would do well to consider. [ABSTRACT FROM AUTHOR]

L'article présente une relecture du premier volume de la Trilogie d’Auschwitz, Aucun de nous ne reviendra, de Charlotte Delbo dans une perspective du genre (dans le sens double de « genre littéraire » et de « gender ») visant à analyser l’influence de la conscience d´être femme sur la mise en scène de la voix narrative ainsi que sur la présentation du monde concentrationnaire. Loin des généralisations stéréotypées, telles que la supposition d’une plus grande force morale dans le groupe des détenues féminines ou d’une plus grande solidarité entre les femmes l’article focalise les procédés narratifs et les images évoquées par le texte de Delbo qui sera comparé ensuite au récit L’espèce humaine de Robert Antelme. Dans la mesure où Charlotte Delbo et Robert Antelme s’obstinent à faire une histoire de leur expérience, il devient impossible d’associer leurs textes à un genre et, par conséquent, la lecture est contaminée par les effets d’une voix qui ne peut plus être située dans un cadre fixe ou un lieu concret. Ce « Je » qui parle appartient à un corps féminin ou masculin qui garde la mémoire traumatique et qui, en se transformant en un « nous », fonctionne comme un écran pour la souffrance et la mort des autres. Il reste alors à analyser les liens (secrets) entre voix narrative, corps et genre, non pour rétablir le contexte biographique mais pour faire voir la naissance d’un sujet qui parle et qui, dans sa vulnérabilité, s’expose au regard des autres.

A literary criticism of the books "La Soirée avec Monsieur Teste" by Paul Valéry and "Aucun de nous ne reviendra" by Charlotte Delbo is presented. Topics include the themes of the books, narratives for communicating disrupted self-function, and the phenomenon of unselfing. Also discussed are the power of pain, the nature of self, and empathy.

A literary criticism of the books "La Soirée avec Monsieur Teste," by Paul Valéry and "Aucun de nous ne reviendra," by Charlotte Delbo is presented. Topics discussed include the self encounters on painful experiences, the intellectual experiment on the power of pain, and the study of the unselfing phenomena which covers self-loss and self-transcendence.

This article challenges the widespread scholarly assumption that the term Muselmann, ubiquitous in Holocaust survivor accounts, denotes a fixed, silent, concentration-camp 'type' of prisoner who, nearest to death, was fated to die. Rather, based on evidence from a range of oral testimonies and firsthand accounts, I show that by contrast, Muselmännerdid not enter into a new ontological category or a different species. Rather, 'Muselmannhood' was, surprisingly, a temporary condition for many who claimed to have been Muselmännerand yet survived. This implies that they were similar to other prisoners in kind, differing rather in degree, along a broad continuum of deprivation, starvation, and proximity to death. Their routinely designated status as ultimate 'others' thus reflects a strategy among the living to fend off approaching death, and a renunciation of human solidarity that brought survivors great shame. Given this new, more fluid sense of the term, I link literary figurations of the Muselmannto other 'death-in-life' metaphors in memoirs by Charlotte Delbo, Elie Wiesel, and Ruth Klüger, who struggle to translate the quotidian extremity of death-in-life without resorting to specious euphemism. These writers invoke the Muselmannas their own shadowy Auschwitz double, a mirror of the self-thatdied for the self-that-lived, an 'impossible metaphor' that yields meaning precisely through dissimilarity. This study contributes to Holocaust Studies an ethical mode of reading the Muselmannamong a newly assembled constellation of such impossible metaphors. These failed comparisons, which demand our witness in the form of active interpretation, I argue, mark the 'aesthetics of survival' as efforts to translate, however imperfectly, the impossibility of 'surviving'-only half-alive, part victim, part witness, even part collaborator-a place from where, as Delbo puts it, 'None of us was meant to return.' [ABSTRACT FROM AUTHOR]

A literary criticism of the book "II Faut Donner à Voir/They Must Be Made to See," by Charlotte Delbo is presented. It reflects on the plight of the victims of Holocaust, which it states is unknowable. It discusses the incomprehensibility of Holocaust as well as unintelligible behavior. Cognitive reactions, Nazi influence and antisemitism are also discussed.

The article focuses on a workshop held on April 12, 2013 named "Twenty-First-Century Literature in French: Publication, Translation, Collection" and a conference held in London on March 18, 2013 called "Writing Auschwitz: Testimony, Representation and Prose in the Work of Charlotte Delbo, Primo Levi and Holocaust Writers." Topics include the translation of French fiction and its reception by British public, and French author Charlotte Delbo's writings from concentration camps network Auschwitz.

The article discusses the history of musical and theatrical works dedicated to Jewish Holocaust, that occurred in Nazi Germany and Europe during 1933-1945. It is stated that most of their scores, scripts, playbills have been preserved in letters, diaries, and postwar testimonies. It is also given that most of their clandestine works depicted the terrifying cultures of camps and ghetto. Works of political prisoners, Germaine Tillion, and Charlotte Delbo, are also presented.

This article is an attempt to go beyond the heated debates over the aesthetics of Holocaust representation into a productive exploration of the politics of memory in the contemporary world. It also engages with current theory in the fields of memory studies, trauma, narratology and life writing, to elucidate what, in particular, the study of these disciplines may contribute to the understanding of the relationship between aesthetics, politics, loss and grief. My hope is that the treatment of memory, trauma and the simultaneity of past pain and its aftermath addressed in the following approaches to Charlotte Delbo - in her trilogy Auschwitz and After- and Jorge Semprun - in his memoir Literature or Life - will be applicable as 'lessons' beyond the Holocaust and towards other difficult moments in traumatic history. [ABSTRACT FROM AUTHOR]

A literary criticism of the plays "Qui rapportera ces paroles?/Who Will Carry the Word?" by Charlotte Delbo and "Par-dessus bord/Overboard" by Michel Vinaver is presented. The author states that these theatrical productions are examples of Holocaust plays that explore the abuse of Jewish bodies in extermination camps and add personification to the literary works on the body.

This article focuses on the trilogy "Auschwitz et après" by Charlotte Delbo. The author evaluates Delbo's use of figurative language through symbol and metaphor, and how they create connection with the reader and allow for the Jewish Holocaust concentration camps in the work to be imagined. Figurative images discussed include hospital stretchers and mannequins. Topics include the myth of textual immediacy, how metaphor may create distrust in readers, and the Third Reich's manipulation of language during the Holocaust.

This article introduces the special issue "New Work in Holocaust Studies" and discusses articles within including an article by Zsuzsanna Ozsváth on the Hungarian poet Miklos Radnóti, an article on the poet Charlotte Delbo by Elizabeth Scheiber, and an article by Menachem Feuer on fiction writer Raymond Federman.

The deictic, as place of ethical and aesthetic encounter, has been taken up for its play across various forms, including film, painting, and photography. ''Calling on Witnesses'' explores the particular case of the ethical appeal of the deictic in Charlotte Delbo's memoir Auschwitz and After and Michael Redhill's drama Goodness, two texts that exemplify the tensions between first- and second-hand witnesses. The deictic, best known as an ethics of exchangeability, operates differently here, where second-hand witnesses are rebuked for not knowing the experience of the other. In a new formulation of the ethics of the deictic, "Calling on Witnesses," argues that second-person, second-hand witnesses are called upon to pay attention to their own future capacity for ethical and/or unethical action rather than the immediate details of testimony, which can only be transmitted as history. [ABSTRACT FROM AUTHOR]

The article focuses on the first book publication of Charlotte Delbo in Paris, France. The publication also mark's the first year anniversary of the Algerians massacre in October 17. It is said that Delbo was considered to be one of the articulate memoirists of the Nazi camps due to the success of her books. Meanwhile, to capture the extremity and the impact of the Nazi camps, she experiments with documentary writings. Moreover, she published her first trilogy and documentary in 1965.

This article discusses the role of literature in the testimonial writings of Charlotte Delbo, an Auschwitz survivor, about her concentration camp experience from 1913 to 1985. In April 1942, she and her husband Georges Dudach was arrested as communist resistants. Dudach was shot at Mont Valérien while Delbo was imprisoned at La Santé, and since then was tranferred to several prisons. Her experience serves as the basis of her play "Qui rapportera ces paroles?," her essay "Spectres, mes compagnons," and her book "La Mémoire et les jours." Her testimonial writings does not only includes historical dimensions, but also political, ethical, cultural, and sociological dimensions.

Presents a contextual analysis of the book "Spectres, mes compagnons," by Charlotte Delbo. Job offered by director and actor Louis Jouvet to Delbo; Description of Delbo's imprisonment, deportation and return to France; Distinction between the book's account of textual secrecy and the theory of ghosts of psychoanalysts Nicholas Abraham and Maria Torok.

This article focuses on dreaming and trauma in Charlotte Delbo's triology "Auschwitz and After." Delbo documents atrocity in three hundred and forty-five pages of minimalist, dreamlike prose and poetry. The logic of her narrative, each of its three sections subdivided into fragmentary portraits, relies on an insistent analogy between the inexorable degradation of life in the camps and the experience of dreaming. Delbo and her husband Georges Dudach were arrested for their work with the French resistance in March of 1942. In May, they were reunited on the day of his execution.

Discusses the efforts of authors David Rousset, Jorge Semprun and Charlotte Delbo to express the pervasive psychic presence of the Holocaust. Merging of form and content; Special adaptations of narrative voice; Holocaust fiction that relies on form to convey part of the content and meaning; Tensions that spill over into Holocaust literature.