Introduction: Rupture and Repair: Marking the Legacy of the Second Generation "A Tale Repeated Over and Over Again": Polyidentity and Narrative Paralysis in Thane Rosenbaum's Elijah Visible "In Auschwitz We Didn't Wear Watches": Marking Time in Art Spiegelman's Maus "Because We Need Traces": Robert Schindel's Gebürtig and the Crisis of the Second-Generation Witness Documenting Absence in Patrick Modiano's Dora Bruder and Katja Behrens's "Arthur Mayer, or The Silence" "Under a False Name": Peter Schneider's Vati and the Misnomer of Genre My Mother Wears a Hitler Mustache: Marking the Mother in Niklas Frank and Joshua Sobol's Der Vater The Future of Väterliteratur: Bernhard Schlink's Der Vorleser and Uwe Timm's Am Beispiel meines BrudersAm Beispiel meines Bruders Conclusion: The "Glass Wall": Marked by an Invisible Divide Works Cited Index
Introduction: Rupture and Repair: Marking the Legacy of the Second Generation "A Tale Repeated Over and Over Again": Polyidentity and Narrative Paralysis in Thane Rosenbaum's Elijah Visible "In Auschwitz We Didn't Wear Watches": Marking Time in Art Spiegelman's Maus "Because We Need Traces": Robert Schindel's Gebürtig and the Crisis of the Second-Generation Witness Documenting Absence in Patrick Modiano's Dora Bruder and Katja Behrens's "Arthur Mayer, or The Silence" "Under a False Name": Peter Schneider's Vati and the Misnomer of Genre My Mother Wears a Hitler Mustache: Marking the Mother in Niklas Frank and Joshua Sobol's Der Vater The Future of Väterliteratur: Bernhard Schlink's Der Vorleser and Uwe Timm's Am Beispiel meines BrudersAm Beispiel meines Bruders Conclusion: The "Glass Wall": Marked by an Invisible Divide Works Cited Index
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