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Postkatastroficzne relikty i relikwie: los obrazów po Holokauście

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Tippner A.

Poznańskie Studia Polonistyczne. Seria Literacka

2015

issue 25

237-255

The text concerns itself with the afterlife of visual representations of the victims of the Holocaust. With regard to Classe terminale du lycée chases en 1931: Castelgasse, Vienne by the French artist Christian Boltanski and drawings made by Dina Gottliebová-Babbitt in Auschwitz, questions of ownership and the appropriation are discussed. The article addresses the aporias of postcatastrophic attitudes towards the remnants of the Holocaust as well as the way in which they are treated and dealt with. The paper states, that the dynamics of dispossession, appropriation and re-appropriation that have been set into motion by the Holocaust, have not come to an end nor will they come to an end in the foreseeable future.

„Odrodziły się traumy z czasów Zagłady”. Marzec 1968 jako narracja postkatastroficzna

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Artwińska A.

Poznańskie Studia Polonistyczne. Seria Literacka

2015

issue 25

187-208

The article discusses select literary images and presentations of March 1968, which are treated as an example of a postcatastrophic narration. The author states that the events of the years 1967-1968 are often depicted in Polish literature as a kind of a “recurring catastrophe” – predicting an event of the calibre of the Holocaust. Similarities and parallels can be noticed on the artistic level (ways of representation) and ideological (judgement of events). Consequently, the catastrophe does not fulfil its cathartic function and does not become a breakthrough, instead its characteristic features are repetitions and new configurations. Finally, the author asks whether, and to what extent, Polish remembrance of March overlaps with the remembrance of the Holocaust, and to what degree the struggle with anti-Semitism in 1967-1968 was simultaneously a struggle with anti-Semitism during WWII.

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2 Poznańskie Studia Polonistyczne. Seria Literacka

1 Artwińska A.

1 Tippner A.

2 2015

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Postkatastroficzne relikty i relikwie: los obrazów po Holokauście

„Odrodziły się traumy z czasów Zagłady”. Marzec 1968 jako narracja postkatastroficzna