306.0944 SIL Silverman, Max. Palimpsestic Memory : the Holocaust and Colonialism in French and Francophone Fiction and Film / M. Silverman. - New York ; Oxford : Berghahn Books, 2013. - 206 p. - (Berghahn on Film). - Bibliography : p. 183 - 198. - ISBN 978-0-85745-883-4. - Текст : непосредственный. Index : p. 199 - 206
Staging Memory as Palimpsest : introduction The Politics and Poetics of Memory : chapter 1 The Concentrationary Universe and Total Domination The Politics of Memory : between the Holocaust and Colonialism The Poetics of Memory Interconnecting Memories Concentrationary Memory : chapter 2 Fearful Imagination Alain Resnais's Nuit et brouillard Memoire-monde Anti-colonialism Revisited : chapter 3 Frantz Fanon : Peau noire masques blancs Mohammed Dib : Qui se souvient de la mer Assia Djebar : Femmes d'Alger dans leur appartement Colonial Hauntings of the Holocaust Imaginary : chapter 4 Charlotte Delbo : Auschwitz et apres Georges Perec : W ou le souvenir d'enfance Patrick Modiano : Dora Bruder The Memory of the Image : chapter 5 Jean-Luc Godard : Histoire(s) du cinema Michael Haneke : Cache "Un montage qui ne separe rien" Memory Traces : chapter 6 Helene Cixous's "Pieds nus" and Jacques Derrida's Le Monolinguisme de l'autre, ou le prothese de l'origine Patrick Chamoiseau and Rodolphe Hammadi : Guyane: Traces-memoires du bagne Cosmopolitical Memory : chapter 7
The interconnections between histories and memories of the Holocaust, colonialism and extreme violence in post-war French and Francophone fiction and film provide the central focus of this book. It proposes a new model of "palimpsestic memory", which the author defines as the condensation of different spatio-temporal traces, to describe these interconnections and defines the poetics and the politics of this composite form. In doing so it is argued that a poetics dependent on tropes and techniques, such as metaphor, allegory and montage, establishes connections across space and time which oblige us to perceive cultural memory not in terms of its singular attachment to a particular event or bound to specific ethno-cultural or national communities but as a dynamic process of transfer between different moments of racialized violence and between different cultural communities. The structure of the book allows for both the theoretical elaboration of this paradigm for cultural memory and individual case-studies of novels and films