By Mary Cosgrove
In German reviews the literary phenomenon of depression, which has a longstanding and numerous historical past in eu letters, has ordinarily been linked to the Early smooth and Baroque sessions, Romanticism, and the obstacle of modernity. This organization, along the dominant psychoanalytical view of depression in German reminiscence discourses because the Sixties, has ended in its overlook as a big literary mode in postwar German literature, a state of affairs the current publication seeks to redress via determining and interpreting epochal postwar works that use depression traditions to touch upon German background within the aftermath of the Holocaust. It specializes in 5 writers - Günter Grass, Wolfgang Hildesheimer, Peter Weiss, W. G. Sebald, and Iris Hanika - who ponder the legacy of Auschwitz as intellectuals attempting to negotiate a courting to the prior in response to the stigma of belonging to a culprit collective (Grass, Sebald, Hanika) or, frequently, to the sufferer collective (Weiss, Hildesheimer), with a purpose to advance a depression ethics of reminiscence for the Holocaust and the Nazi previous. it's going to attract students and scholars of German experiences, Comparative Literature, Cultural stories, Cultural reminiscence, and Holocaust stories. Mary Cosgrove is Reader in German on the collage of Edinburgh
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Extra info for Born under Auschwitz : melancholy traditions in postwar German literature
The manic-melancholic moment is also negative—in the form of the economic miracle it is merely the external sign of repression. Santner, who draws on Freud and the Mitscherlichs, describes adult melancholics as secondary narcissists who love the object only insofar as they can repress its difference. Such narcissism inhibits the work of mourning and “people’s capacities to assume post-modern, post-Holocaust lives” (26). For melancholy to come to an end, the adult melancholic must work through the loss of the fantasy of omnipotence typical of the narcissist (6–7).
This body of writing delivers a more comprehensive picture of melancholy traditions than the theoretical discourse allows. In the literary texts, melancholy alternates between suffering, creativity, resistance, capitulation, despondency, and so on. The dialectical tension between despair and inspiration germane to genial melancholy exemplifies the ongoing struggle to feel and understand what eludes the mind. ”110 This type lends itself well to the task of performative remembrance, which, in its ideal form, continually reveals the struggle to understand and take responsibility for the past.
52 Aristotle, Aristotle: Problems II, Books XXII–XXXVIII, trans. S. 155. ” See Hellmut Flashar, Melancholie und Melancholiker in den medizinischen Theorien der Antike (Berlin: de Gruyter, 1966), 61. 53 Freud, “Trauer und Melancholie,” 10: 432. 54 Schiesari, The Gendering of Melancholia, 61. , 77–83. 56 Clark Lawlor, “Fashionable Melancholy,” in Melancholy Experience in Literature of the Long Eighteenth Century: Before Depression, 1660–1800, ed. Allan Ingram et al. (Basingstoke, UK: Palgrave Macmillan, 2011), 44–46.