Concentrationary Art

Jean Cayrol, the Lazarean and the Everyday in Post-war Film, Literature, Music and the Visual Arts
1. Auflage 2019
ISBN: 978-1-78533-970-7
Verlag: Berghahn Books

Buch, Englisch, 272 Seiten, Format (B × H): 157 mm x 235 mm, Gewicht: 549 g

Largely forgotten over the years, the seminal work of French poet, novelist and camp survivor Jean Cayrol has experienced a revival in the French-speaking world since his death in 2005. His concept of a concentrationary art—the need for an urgent and constant aesthetic resistance to the continuing effects of the concentrationary universe—proved to be a major influence for Hannah Arendt and other writers and theorists across a number of disciplines. Concentrationary Art presents the first translation into English of Jean Cayrol’s key essays on the subject, as well as the first book-length study of how we might situate and elaborate his concept of a Lazarean aesthetic in cultural theory, literature, cinema, music and contemporary art.

Autoren/Hrsg.

Pollock, Griselda

Silverman, Max

Fachgebiete

• Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Deutsche Geschichte Deutsche Geschichte: Holocaust
• Geisteswissenschaften Literaturwissenschaft Literarische Stoffe, Motive und Themen
• Geisteswissenschaften Literaturwissenschaft Romanische Literaturen Französische Literatur
• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie

Inhaltsverzeichnis

List of Illustrations

Acknowledgements

Introduction: Lazarus and the Modern World

Max Silverman

PART I: LAZARUS AMONG US

Jean Cayrol

Lazarean Dreams

Lazarean Literature

PART II: SITUATING CAYROL’S LAZAREAN

Chapter 1. Lazarean Writing in Post-war France

Patrick ffrench

Chapter 2. The Perpetual Anxiety of Lazarus: The Gaze, the Tomb, and the Body in the Shroud

Griselda Pollock

PART III: READING WITH THE LAZAREAN

Chapter 3. Concentrationary Art and the Reading of Everyday Life: (In)human Spaces in Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)

Max Silverman

Chapter 4. Cinematic Work as Concentrationary Art in Laurent Cantet’s Ressources Humaines (1999)

Matthew John

Chapter 5. After Haunting: A Conceptualization of the Lazarean Image

Benjamin Hannavy Cousen

Chapter 6. Lazarean Sound: The Autonomy of the Auditory from Hanns Eisler (Nuit et Brouillard, 1955) to Susan Philipsz (Night and Fog, 2016)

Griselda Pollock

Concluding Remarks

Griselda Pollock

Index

Über Autor(innen)

Pollock, Griselda
Griselda Pollock is Professor of Social & Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory & History at the University of Leeds. Her many publications include After-Affects/After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (2012) and Charlotte Salomon in the Theatre of Memory (2018). She co-edited Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog (2012).

Silverman, Max
Max Silverman is Professor of Modern French Studies at the University of Leeds. He has written on cultural memory, representations of the Holocaust, and post-colonial theory and cultures. His publications include Palimpsestic Memory: The Holocaust and Colonialism in French and Francophone Fiction and Film (2013). He co-edited Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog (2012).

Griselda Pollock is Professor of Social & Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory & History at the University of Leeds. Her many publications include After-Affects/After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (2012) and Charlotte Salomon in the Theatre of Memory (2018). She co-edited Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog (2012).