Abstract
The new instruments to which Geoffrey Hartmann points do not only record and express the events of the Holocaust: they also teach it. And it is this teaching, and the particular and significant issues the subject matter raises in teaching, which this volume aims to address.
The French philosopher Jean-François Lyotard surmised that the shock of the Holocaust was so great that it destroyed the very instruments by which it could have been measured. But the aftershocks are measurable: we are deep into the process of creating new instruments to record and express what happened. The instruments themselves, the means of expression are now, as it were, born of trauma.
Geoffrey Hartmann.1
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Notes
Geoffrey Hartmann, The Longest Shadow (Basingstoke: Palgrave Macmillan, 2002), p. 1.
Gillian Rose, Mourning Becomes the Law (Cambridge: Cambridge University Press, 1996), p. 43.
Shoshona Felman and Dori Laub, Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History (London: Routledge, 1992), p. 1.
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© 2008 Robert Eaglestone and Barry Langford
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Eaglestone, R., Langford, B. (2008). Introduction. In: Eaglestone, R., Langford, B. (eds) Teaching Holocaust Literature and Film. Teaching the New English. Palgrave Macmillan, London. https://doi.org/10.1057/9780230591806_1
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DOI: https://doi.org/10.1057/9780230591806_1
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-0-230-01937-9
Online ISBN: 978-0-230-59180-6
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)