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   * [[https://muse.jhu.edu/article/506542|Mihăilescu, 2013, PDF]] ###   * [[https://muse.jhu.edu/article/506542|Mihăilescu, 2013, PDF]] ###
  
-NEUHOFER, Monika, « 'Wovon man nicht sprechen kann, darüber muss man schreiben: Zur Leistung des Ich-Erzählers im Spannungsfeld von Katastrophe und Gedächtnis (Jorge Semprún, Imre Kertész, Norbert Gstrein) », dans Thomas KLINKERT et Günter OESTERLE (dir.), //Katastrophe und Gedächtnis//, Berlin, De Gruyter, 2013, p. 257-275. +++ Chapitre de collectif+NEUHOFER, Monika, « "Wovon man nicht sprechen kann, darüber muss man schreiben: Zur Leistung des Ich-Erzählers im Spannungsfeld von Katastrophe und Gedächtnis (Jorge Semprún, Imre Kertész, Norbert Gstrein) », dans Thomas KLINKERT et Günter OESTERLE (dir.), //Katastrophe und Gedächtnis//, Berlin, De Gruyter, 2013, p. 257-275. +++ Chapitre de collectif
  
 METZ, Jeremy, « Reading the Victimizer : Toward an Ethical Practice of Figuring the Traumatic Moment in Holocaust Literature », //Textual Practice//, vol. 26, no 6 (décembre 2012), p. 1021-1043. +++ Article de revue METZ, Jeremy, « Reading the Victimizer : Toward an Ethical Practice of Figuring the Traumatic Moment in Holocaust Literature », //Textual Practice//, vol. 26, no 6 (décembre 2012), p. 1021-1043. +++ Article de revue
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 ### **Abstract** ### **Abstract**
  
-Fully characterized representations of perpetrators in Holocaust literature are rare. Influential critics have deplored projects that would advance the 'understandingof victimizers, in part for fear that victimizers might thereby be absolved, to some degree, of responsibility for their crimes. Others deem certain representations of traumatic events in the Holocaust to be intrinsically 'unspeakable'. Surviving victims are supposed to be unable to grasp cognitively the traumas that were visited upon them and therefore to lack the capacity for transmitting their experiences, thus depriving authors of an authentic basis for their fictional representations of traumatic encounters between victimizers and victims. Furthermore, even if successful, narratives that would focalize on perpetrators might carry with them a risk of empathic unsettlement as readers are invited to identify empathetically with subjects that are guilty of genocide. The result of these and other taboos has been, paradoxically, a diminution of our understanding of the victim. Quite simply, the victim was brought into being as a victim by and through the will of his victimizer. We cannot therefore turn our reading gaze from the victimizer, and, in particular, from his encounter with his victim, without blinding ourselves to an essential aspect of the victim. Behind these taboos lies the horror of the events of the Holocaust. Too little attention has been paid to the psychological demands that literary representations of trauma place on authors. Careful readings of canonical Holocaust texts reveal distortions in representations of victimizers that raise profound ethical questions.+Fully characterized representations of perpetrators in Holocaust literature are rare. Influential critics have deplored projects that would advance the "understandingof victimizers, in part for fear that victimizers might thereby be absolved, to some degree, of responsibility for their crimes. Others deem certain representations of traumatic events in the Holocaust to be intrinsically "unspeakable". Surviving victims are supposed to be unable to grasp cognitively the traumas that were visited upon them and therefore to lack the capacity for transmitting their experiences, thus depriving authors of an authentic basis for their fictional representations of traumatic encounters between victimizers and victims. Furthermore, even if successful, narratives that would focalize on perpetrators might carry with them a risk of empathic unsettlement as readers are invited to identify empathetically with subjects that are guilty of genocide. The result of these and other taboos has been, paradoxically, a diminution of our understanding of the victim. Quite simply, the victim was brought into being as a victim by and through the will of his victimizer. We cannot therefore turn our reading gaze from the victimizer, and, in particular, from his encounter with his victim, without blinding ourselves to an essential aspect of the victim. Behind these taboos lies the horror of the events of the Holocaust. Too little attention has been paid to the psychological demands that literary representations of trauma place on authors. Careful readings of canonical Holocaust texts reveal distortions in representations of victimizers that raise profound ethical questions.
  
   * [[http://dx.doi.org/10.1080/0950236X.2012.727016|Metz, 2012, HTML]] ###   * [[http://dx.doi.org/10.1080/0950236X.2012.727016|Metz, 2012, HTML]] ###
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 ### **Abstract** ### **Abstract**
  
-The article explores the reverse of the idea of 'fluid cartographiesby focusing on a modern radical experience of non-time and non-space. Taking as a starting point fictional testimonies by Jorge Semprún, Albert Drach and H. G. Adler, various spatial figurations in Holocaust literature, in particular those that centre on a dystopian inversion of the topos of travel, are analysed. The extreme constriction of the experience of space in Holocaust narratives testifies to the reaching of an uncharted //finis terrae// that cruelly puts into question the very idea of cartography as the utopian celebration of an intelligible world.+The article explores the reverse of the idea of "fluid cartographiesby focusing on a modern radical experience of non-time and non-space. Taking as a starting point fictional testimonies by Jorge Semprún, Albert Drach and H. G. Adler, various spatial figurations in Holocaust literature, in particular those that centre on a dystopian inversion of the topos of travel, are analysed. The extreme constriction of the experience of space in Holocaust narratives testifies to the reaching of an uncharted //finis terrae// that cruelly puts into question the very idea of cartography as the utopian celebration of an intelligible world.
  
   * [[http://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/jrs.11.1.79|Ribeiro, 2011, PDF]] ###   * [[http://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/jrs.11.1.79|Ribeiro, 2011, PDF]] ###
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 ### **Résumé** ### **Résumé**
  
-Les années qui ont suivi immédiatement la fin de la Seconde Guerre mondiale et la libération des camps ont été le lieu de la publication d'une multitude de témoignages. La communauté savante historiens, anthropologues, sociologues qui a normalement la tâche ardue et complexe d'historiser les faits ne sait pas comment interpréter cette abondante littérature. Ce sont les psychologues et les littéraires qui s'y intéressent d'abord. À partir de 1948, les survivants font face à un mur du silence : on veut passer à autre chose. Les manuscrits trouvent difficilement une maison d'édition, non pas seulement à cause d'une saturation, mais plutôt par la nature même du sujet traité. Dans ce climat difficile où 1a vérité historique ne concorde pas toujours avec la vérité racontée, qu'en est-il des œuvres de fiction? C'est dans cette optique que j'étudie deux ouvrages de Jorge Semprún, survivant du camp de Buchenwald. //Le grand voyage// (1963) et //L'écriture ou la vie// (1994) racontent l'expérience marquante vécue dans l'univers concentrationnaire nazi. Contrairement à d'autres témoignages sur les camps, l'auteur transgresse le type conventionnel du compte rendu objectif par un travail de création. Dans ce mémoire, je cherche à montrer comment Semprún utilise le travail de création et l'artifice de l'art pour transmettre l'indicible, c'est-à-dire ce qui ne semblait pas pouvoir être raconté : la vérité essentielle de l'expérience vécue.+Les années qui ont suivi immédiatement la fin de la Seconde Guerre mondiale et la libération des camps ont été le lieu de la publication d'une multitude de témoignages. La communauté savante – historiens, anthropologues, sociologues – qui a normalement la tâche ardue et complexe d'historiser les faits ne sait pas comment interpréter cette abondante littérature. Ce sont les psychologues et les littéraires qui s'y intéressent d'abord. À partir de 1948, les survivants font face à un mur du silence : on veut passer à autre chose. Les manuscrits trouvent difficilement une maison d'édition, non pas seulement à cause d'une saturation, mais plutôt par la nature même du sujet traité. Dans ce climat difficile où 1a vérité historique ne concorde pas toujours avec la vérité racontée, qu'en est-il des œuvres de fiction? C'est dans cette optique que j'étudie deux ouvrages de Jorge Semprún, survivant du camp de Buchenwald. //Le grand voyage// (1963) et //L'écriture ou la vie// (1994) racontent l'expérience marquante vécue dans l'univers concentrationnaire nazi. Contrairement à d'autres témoignages sur les camps, l'auteur transgresse le type conventionnel du compte rendu objectif par un travail de création. Dans ce mémoire, je cherche à montrer comment Semprún utilise le travail de création et l'artifice de l'art pour transmettre l'indicible, c'est-à-dire ce qui ne semblait pas pouvoir être raconté : la vérité essentielle de l'expérience vécue.
  
 Ce mémoire se déploie en trois parties. Tout d'abord, afin de bien cerner l'importance de l'acte testimonial, il est important de définir le rôle du témoin dans le contexte particulier de la Seconde Guerre mondiale. Ensuite, puisque le corps est central à l'expérience vécue, il est possible d'observer sa fonction dans la construction de la mémoire. Finalement, il faut dégager les divers mécanismes d'écriture utilisés par l'auteur. De cette manière, à la fin du travail, le rôle prépondérant de la création littéraire dans l'élaboration du témoignage peut être clairement mis en évidence. Ce mémoire se déploie en trois parties. Tout d'abord, afin de bien cerner l'importance de l'acte testimonial, il est important de définir le rôle du témoin dans le contexte particulier de la Seconde Guerre mondiale. Ensuite, puisque le corps est central à l'expérience vécue, il est possible d'observer sa fonction dans la construction de la mémoire. Finalement, il faut dégager les divers mécanismes d'écriture utilisés par l'auteur. De cette manière, à la fin du travail, le rôle prépondérant de la création littéraire dans l'élaboration du témoignage peut être clairement mis en évidence.
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 ### **Abstract** ### **Abstract**
  
-This article discusses the literary representation of the 'concentrationary universein the works of Yehiel Dinur, the Yiddish and Hebrew author who published under the pseudonym Ka. Tzetnik. He became known to the public on the witness stand of the Eichmann trial in 1962. Ka. Tzetnik's novels //Salamandra//, //Piepel//, and //House of Dolls// are read in this article within the context of the polemic over the Jewish victims' alleged collaboration with the Nazi annihilation system - a polemic generated after World War II by Bruno Bettelheim, Raul Hilberg, Hannah Arendt, and others, and revived by Primo Levi in his last book, //The Drowned and the Saved// (1986). Contrary to previous readings of Ka. Tzetnik's oeuvre, this article presents it as a unique, daring, and nonjudgmental literary testimony to the 'insideof the Lager as a gray zone, a testimony that defies Levi's distinction between 'the drownedand 'the saved.Ka. Tzetnik's emphatic representation of existence in this 'situation at the limitsis understood in relation to works by such authors as Jorge Semprún, Charlotte Delbo, Ida Fink, and Tadeusz Borowski.+This article discusses the literary representation of the "concentrationary universein the works of Yehiel Dinur, the Yiddish and Hebrew author who published under the pseudonym Ka. Tzetnik. He became known to the public on the witness stand of the Eichmann trial in 1962. Ka. Tzetnik's novels //Salamandra//, //Piepel//, and //House of Dolls// are read in this article within the context of the polemic over the Jewish victims' alleged collaboration with the Nazi annihilation system - a polemic generated after World War II by Bruno Bettelheim, Raul Hilberg, Hannah Arendt, and others, and revived by Primo Levi in his last book, //The Drowned and the Saved// (1986). Contrary to previous readings of Ka. Tzetnik's oeuvre, this article presents it as a unique, daring, and nonjudgmental literary testimony to the "insideof the Lager as a gray zone, a testimony that defies Levi's distinction between "the drownedand "the saved". Ka. Tzetnik's emphatic representation of existence in this "situation at the limitsis understood in relation to works by such authors as Jorge Semprún, Charlotte Delbo, Ida Fink, and Tadeusz Borowski.
  
   * [[http://www.jstor.org/stable/40207018|Milner, 2008, PDF]] ###   * [[http://www.jstor.org/stable/40207018|Milner, 2008, PDF]] ###
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 This study addresses the question of imparting difficult, often overwhelming knowledge to future generations and the public-at-large. Have recent technological innovations, especially video, solved the question of “unspeakable” memory? Or has the public’s media hunger denatured the attempt? The role of the survivor and the medium by which he or she chooses to bear witness are central to these questions, as the witness is the guarantor of truth in the public’s search for authority and authenticity, and the importance of the testimonial medium grows tenfold with the arrival of the contemporary media age. An examination of these shifts in the transmission and reception of Holocaust testimony foretells a possible future about the social uses of history and memory as they turn around iconic events and their representations. This study addresses the question of imparting difficult, often overwhelming knowledge to future generations and the public-at-large. Have recent technological innovations, especially video, solved the question of “unspeakable” memory? Or has the public’s media hunger denatured the attempt? The role of the survivor and the medium by which he or she chooses to bear witness are central to these questions, as the witness is the guarantor of truth in the public’s search for authority and authenticity, and the importance of the testimonial medium grows tenfold with the arrival of the contemporary media age. An examination of these shifts in the transmission and reception of Holocaust testimony foretells a possible future about the social uses of history and memory as they turn around iconic events and their representations.
  
-I begin with an examination of postwar literary testimonies by Robert Antelme (//L'Espèce humaine//, 1947) and Elie Wiesel (//La Nuit//, 1958), as examples of the two dominant categories of //déporté// : Antelme, political; Wiesel, “racial.” The public and intellectual engagement each received (Marguerite Duras, Dionys Mascolo, Francis Mauriac) demonstrates on a textual level the socio-political phenomena that would later be catalyzed on a larger scale by Alain Resnais’s //Nuit et brouillard// (1956). This short documentary on the concentration camps and the political debates it engendered, examined in Chapter Two, are representational of a larger vision of French national memory in the postwar period. Chapter Three demonstrates similar socio-political influences on more recent initiatives, including a first account of the four major initiatives to videotape Holocaust testimony in France. Finally, with an emphasis on the public roles of Elie Wiesel and Jorge Semprún, in addition to Jo Wajsblat’s //Le témoin imprévu// (2001), Chapter Four examines the public embrace of a relation between vision, truth, and traumatic experience, as demonstrated in contemporary televised news programming. The result, I argue, is a shift in public attention away from historical experience to focus on the potential trauma to the secondary witness.+I begin with an examination of postwar literary testimonies by Robert Antelme (//L'Espèce humaine//, 1947) and Elie Wiesel (//La Nuit//, 1958), as examples of the two dominant categories of //déporté// : Antelme, political; Wiesel, “racial”The public and intellectual engagement each received (Marguerite Duras, Dionys Mascolo, Francis Mauriac) demonstrates on a textual level the socio-political phenomena that would later be catalyzed on a larger scale by Alain Resnais’s //Nuit et brouillard// (1956). This short documentary on the concentration camps and the political debates it engendered, examined in Chapter Two, are representational of a larger vision of French national memory in the postwar period. Chapter Three demonstrates similar socio-political influences on more recent initiatives, including a first account of the four major initiatives to videotape Holocaust testimony in France. Finally, with an emphasis on the public roles of Elie Wiesel and Jorge Semprún, in addition to Jo Wajsblat’s //Le témoin imprévu// (2001), Chapter Four examines the public embrace of a relation between vision, truth, and traumatic experience, as demonstrated in contemporary televised news programming. The result, I argue, is a shift in public attention away from historical experience to focus on the potential trauma to the secondary witness.
  
 Though audiovisual testimony offers extraordinary potential for public diffusion, I conclude with a defense of literature. Close readings of Wiesel’s //La Nuit// and Jorge Semprún’s //Le Grand voyage// (1963) demonstrate a complicated space between life and death inhabited by the testifying witness—previously considered the unique domain of the audiovisual—a space that was already subtly outlined in the literary narrative, but whose significance has been overlooked. Though audiovisual testimony offers extraordinary potential for public diffusion, I conclude with a defense of literature. Close readings of Wiesel’s //La Nuit// and Jorge Semprún’s //Le Grand voyage// (1963) demonstrate a complicated space between life and death inhabited by the testifying witness—previously considered the unique domain of the audiovisual—a space that was already subtly outlined in the literary narrative, but whose significance has been overlooked.
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 DELSAUX, Aurélien, « Jorge Semprún, //Le Grand Voyage//, 1963 », dans Guillaume ZORGBIBE et Alain-Gérard SLAMA (dir.), //Littérature et politique en France au XXe siècle//, Paris, Ellipses, 2004, p. 250-255. +++ Chapitre de collectif DELSAUX, Aurélien, « Jorge Semprún, //Le Grand Voyage//, 1963 », dans Guillaume ZORGBIBE et Alain-Gérard SLAMA (dir.), //Littérature et politique en France au XXe siècle//, Paris, Ellipses, 2004, p. 250-255. +++ Chapitre de collectif
  
-KAPLAN, Brett Ashley, « "The Bitter Residue of Death": Jorge Semprún and the Aesthetics of Holocaust Memory », //Comparative Literature//, vol. 55, no 4 (automne 2003), p. 320-337. +++ Article de revue+KAPLAN, Brett Ashley, « "The Bitter Residue of Death" : Jorge Semprún and the Aesthetics of Holocaust Memory », //Comparative Literature//, vol. 55, no 4 (automne 2003), p. 320-337. +++ Article de revue
  
 ###  ### 
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 This dissertation analyzes the category of total domination in the work of Hannah Arendt in light of testimonies of Holocaust survivors. The primary goal of totalitarianism, largely achieved in the concentration camps, Arendt argued, was the virtual eradication of human plurality, individuality and the capacity for spontaneity. Thinking with and against Arendt’s framework, I contend that we cannot philosophically exhaust the problem of “total domination” without taking into account the dynamics of the camps from the perspective of the survivors. Utilizing various testimonies of survivors of Auschwitz and Buchenwald concentration camps, I engage in an interdisciplinary research into the limits of the Nazis’ attempt to reach total domination over man. I analyze works by Primo Levi, Jean Améry, Charlotte Delbo, Jorge Semprún, Imre Kertész, and Viktor Frankl, as well as oral testimonies of survivors who remained largely unknown who provide more “raw” descriptions of their experiences. This dissertation analyzes the category of total domination in the work of Hannah Arendt in light of testimonies of Holocaust survivors. The primary goal of totalitarianism, largely achieved in the concentration camps, Arendt argued, was the virtual eradication of human plurality, individuality and the capacity for spontaneity. Thinking with and against Arendt’s framework, I contend that we cannot philosophically exhaust the problem of “total domination” without taking into account the dynamics of the camps from the perspective of the survivors. Utilizing various testimonies of survivors of Auschwitz and Buchenwald concentration camps, I engage in an interdisciplinary research into the limits of the Nazis’ attempt to reach total domination over man. I analyze works by Primo Levi, Jean Améry, Charlotte Delbo, Jorge Semprún, Imre Kertész, and Viktor Frankl, as well as oral testimonies of survivors who remained largely unknown who provide more “raw” descriptions of their experiences.
  
-I propose a certain “ethics of listening,” anchored in two central contentions: 1. In order to comprehend the human experience in general and in Auschwitz in particular, we need to examine a //plurality// of experiences and perspectives of different people. 2. When dealing with such extraordinary stories one should attempt to approach them without a-priori judgments regarding what is moral or immoral behavior. When we examine the question of the prisoners’ ability to maintain their morality and individuality in different testimonies from a variety of perspectives and without being judgmental, we can get a fuller and perhaps more accurate picture of human beings in their plurality. We also might learn the complexity and different facets of the process of dehumanization, which was experienced differently by each person in the camps. Comparing Arendt’s speculation about “total domination” with the actual experience of the victims, I conclude that through covert and overt acts of resistance some prisoners were able to retain their human dignity, personal and collective identity, and moral bearing even under the most extreme circumstances. +I propose a certain “ethics of listening”anchored in two central contentions: 1. In order to comprehend the human experience in general and in Auschwitz in particular, we need to examine a //plurality// of experiences and perspectives of different people. 2. When dealing with such extraordinary stories one should attempt to approach them without a-priori judgments regarding what is moral or immoral behavior. When we examine the question of the prisoners’ ability to maintain their morality and individuality in different testimonies from a variety of perspectives and without being judgmental, we can get a fuller and perhaps more accurate picture of human beings in their plurality. We also might learn the complexity and different facets of the process of dehumanization, which was experienced differently by each person in the camps. Comparing Arendt’s speculation about “total domination” with the actual experience of the victims, I conclude that through covert and overt acts of resistance some prisoners were able to retain their human dignity, personal and collective identity, and moral bearing even under the most extreme circumstances. 
  
 //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]].//  ### //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]].//  ###
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 The first chapter, on Jorge Semprún, uses the psychoanalytic notion of traumatic memory to explore how writing helps to overcome, while repeating, a terrible loss. This loss is dramatized in Semprún's novels about his deportation to Buchenwald, especially //Le grand voyage//. The first chapter, on Jorge Semprún, uses the psychoanalytic notion of traumatic memory to explore how writing helps to overcome, while repeating, a terrible loss. This loss is dramatized in Semprún's novels about his deportation to Buchenwald, especially //Le grand voyage//.
  
-The chapter on Juan Benet studies the workings of the "pharmakon" of memory in //Volveras a Region//. Meaning both illness and cure, the "pharmakon" exemplifies the way memory becomes what Benet calls a "zona de sombras," where attempts at reaching any epistemological certainty are subverted.+The chapter on Juan Benet studies the workings of the "pharmakon" of memory in //Volveras a Region//. Meaning both illness and cure, the "pharmakon" exemplifies the way memory becomes what Benet calls a "zona de sombras"where attempts at reaching any epistemological certainty are subverted.
  
 The last chapter is on Paloma Diaz-Mas's //El sueno de Venecia//. This novel recounts the story of a painting throughout the centuries in a style that imitates the literature of those times. Memory here becomes the embodiment of the Spanish canon, which is denaturalized, and thus questioned, as it is recreated in the text. The last chapter is on Paloma Diaz-Mas's //El sueno de Venecia//. This novel recounts the story of a painting throughout the centuries in a style that imitates the literature of those times. Memory here becomes the embodiment of the Spanish canon, which is denaturalized, and thus questioned, as it is recreated in the text.
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 DIAMANT, Naomi, « The boundaries of Holocaust literature : The emergence of a canon », thèse de doctorat, Graduate School of Arts and Sciences, Columbia University, 1992, 403 f. +++ Thèse de doctorat / mémoire de maîtrise DIAMANT, Naomi, « The boundaries of Holocaust literature : The emergence of a canon », thèse de doctorat, Graduate School of Arts and Sciences, Columbia University, 1992, 403 f. +++ Thèse de doctorat / mémoire de maîtrise
  
-### **Résumé**+### **Abstract**
  
 This dissertation discusses the emergence of a discourse and a field of study, that of Holocaust literature. Because of the magnitude of the events in question, scholars and readers appear to agree that the literature which emerged from the Holocaust must be considered sui generis, an almost sacred literature devoted to the testimony of victims and survivor-writers, marked by a constant struggle between the inadequacy of language to communicate the Holocaust experience and the obligation to testify to it. Thus the most basic premise of this literature seems to be that the events of the Holocaust are so terrible that they cannot be expressed. Despite the vast body of Holocaust literary material in existence, these events are paradoxically considered both unspeakable and beyond comparison. Holocaust literature therefore exists in a hermetic canon, completely removed from comparison and literary interaction with other non-Holocaust literary texts. This dissertation discusses the emergence of a discourse and a field of study, that of Holocaust literature. Because of the magnitude of the events in question, scholars and readers appear to agree that the literature which emerged from the Holocaust must be considered sui generis, an almost sacred literature devoted to the testimony of victims and survivor-writers, marked by a constant struggle between the inadequacy of language to communicate the Holocaust experience and the obligation to testify to it. Thus the most basic premise of this literature seems to be that the events of the Holocaust are so terrible that they cannot be expressed. Despite the vast body of Holocaust literary material in existence, these events are paradoxically considered both unspeakable and beyond comparison. Holocaust literature therefore exists in a hermetic canon, completely removed from comparison and literary interaction with other non-Holocaust literary texts.
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 CÉSPEDES GALLEGO, Jaime, « //El largo viaje// (1963) », //La obra de Jorge Semprún : Claves de interpretación. Vol. 1 : Autobiografía y novela//, Berne, Peter Lang (Perspectivas hispánicas), 2012, p. 58-70. +++ Monographie CÉSPEDES GALLEGO, Jaime, « //El largo viaje// (1963) », //La obra de Jorge Semprún : Claves de interpretación. Vol. 1 : Autobiografía y novela//, Berne, Peter Lang (Perspectivas hispánicas), 2012, p. 58-70. +++ Monographie
  
-BUCARELLI, Anna, « Gérard e Bardamu o //Le Grand Voyage// oltre la notte », //LinguaeRivista di lingue e culture moderne//, no 1 (2008), p. 47-60. +++ Article de revue+BUCARELLI, Anna, « Gérard e Bardamu o //Le Grand Voyage// oltre la notte », //Linguae Rivista di lingue e culture moderne//, no 1 (2008), p. 47-60. +++ Article de revue
  
 WACHOWSKA, Judyta, « El universo concentracionario en las novelas de Jorge Semprún : historia, memoria, escritura », dans Juan Francisco GARCÍA BASCUÑANA (dir.), //Jorge Semprún : memoria, historia, literatura / mémoire, histoire, littérature//, Berne, Peter Lang (Perspectivas Hispánicas), 2015. +++ Chapitre de collectif WACHOWSKA, Judyta, « El universo concentracionario en las novelas de Jorge Semprún : historia, memoria, escritura », dans Juan Francisco GARCÍA BASCUÑANA (dir.), //Jorge Semprún : memoria, historia, literatura / mémoire, histoire, littérature//, Berne, Peter Lang (Perspectivas Hispánicas), 2015. +++ Chapitre de collectif
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 BERTRAND, Lucie, « Histoire et fiction dans //Le grand voyage// de Jorge Semprún et //La danse de Gengis Cohn// de Romain Gary », dans Aude DERUELLE et Alain TASSEL (dir.), //Problèmes du roman historique//, Paris, L’Harmattan (Narratologie, n°7), 2008, p. 259-270. +++ Chapitre de collectif BERTRAND, Lucie, « Histoire et fiction dans //Le grand voyage// de Jorge Semprún et //La danse de Gengis Cohn// de Romain Gary », dans Aude DERUELLE et Alain TASSEL (dir.), //Problèmes du roman historique//, Paris, L’Harmattan (Narratologie, n°7), 2008, p. 259-270. +++ Chapitre de collectif
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