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Sebald - Austerlitz albo Auschwitz

100%
Hyde G. M., Sady M.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
67-70
2
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Remembering and Forgetting as a Narrative Mode in W.G. Sebald’s “Austerlitz”

85%
Aslan E.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2015
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issue 4/2015 O Młodej Polsce mniej znanej
183-190
EN
The relationship between memory and literature is a complex and curious one. While memory implies a relation with the past, with the factual, literature’s realm is the fictional. They, nevertheless, implicate each other: while re-membering the past which is what is gone and not there anymore always entails mediation and a degree of fictionality, we can consider literary language as acting out psychic processes through metaphor, concealment and temporal dislocation. The novel that I deal with in this paper is Austerlitz by W.G. Sebald which recounts the story of a series of chance encounters between two travelers – the narrator and Austerlitz – in a time span of thirty years. As they traverse Europe, conceived in the text as a landscape in which cultural, natural and personal history intermingle, their paths converge several times and it is in their lengthy talks that Austerlitz’s traumatic past gradually emerges. Sent to England by his parents on a kindertransport just before the beginning of the Second World War and raised in Wales by foster parents, Austerlitz pursues a life unaware of his real identity. In this paper, focusing on the relationship of forgetting and remembering with storytelling, I explore how the mnemonic processes are represented in the text with an emphasis on the effect of the mechanisms of repression on the way the narrative is told.
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Ocalone w montażu. Obraz, empatia i przeciw-historia w Austerlitz W.G. Sebalda

85%
Mościcki P.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
123-134
EN
This attempted analysis focuses on the motif of empathy in the oeuvre of W. G. Sebald from the historical perspective and within the context of relations between the text and the image in Austerlitz. The argument is based on a fragment in which the titular protagonist, seeking an image of his mother, comes across a Nazi propaganda film made in the Theresienstadt ghetto at the end of the war. Apparently, the path towards an empathetic encounter with one’s past and the traumatic history of Europe leads across montage, in which observed images become rendered as problems and salvaged.
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