The aim of this article is to analyse how collective memory is built around the Holocaust and the Nakba, and how they are represented in the context of the Palestinian-Israeli conflict, focusing on the cinematographic phenomenon and the political and identity conflict. Hence, the documentary Route 181, fragments d'un voyage en Palestine-Israël (Eyal Sivan and Michel Khleifi, 2003) and its intertextuality with the film Shoah (Claude Lanzmann, 1985) will be analysed, delineating the theoretical framework for the study of nations and the construction of narratives and collective memories, paying particular attention to the issue of cinematic production as a way of representing the past. It will delve into the conflict that emerged after the release of Route 181, addressing the critiques made by Alain Finfielkraut and the dispute brought to trial in 2006 by Sivan, as they were part of the battles for memory and the reification of the past in the context of the Israel-Palestine conflict. In this sense, the film's readings respond to the national communities' narrative frameworks, and they become key sources for understanding memory's complexities and national struggles. In order to understand historically this problematic, it will be analysed the role of the Holocaust and the Nakba within collective memories and their importance in the articulation of arguments and discourses during the trial. Therefore, this conflict works as a specific case study over concrete dynamics within the Israeli-Palestinian conflict. ; El objetivo del presente artículo consiste en analizar los modos de construir el recuerdo de manera colectiva y de representar el Holocausto y la Nakba en el contexto del conflicto palestino-israelí, atendiendo al fenómeno cinematográfico y el conflicto político e identitario que se desprende de ello. En este sentido, se estudiará el documental Route 181, fragments d'un voyage en Palestine-Israël (Eyal Sivan y Michel Khleifi, 2003) y su intertextualidad con el film Shoah (Claude Lanzmann, 1985), estableciendo los lineamientos teóricos para el análisis de las naciones y la construcción de narrativas y memorias colectivas, y atendiendo a la producción cinematográfica como medio de representación de ese pasado. Principalmente, se ahondará en la polémica desatada a partir del lanzamiento de Route 181, la crítica realizada por Alain Finkielkraut y la disputa llevada a juicio en 2006 por Sivan, ya que se inscribe en las batallas por la memoria y las maneras de construir el pasado en el contexto del conflicto palestino-israelí. Las interpretaciones sobre la película responden a los marcos narrativos de las comunidades nacionales y operan como fuente de análisis para comprender las lógicas de la memoria y pugna nacionales. Para comprender históricamente esta problemática, se analizará el rol que ocupan el Holocausto y la Nakba en las memorias colectivas y la incidencia que tienen en la articulación de argumentos y discursos durante el juicio. La polémica, entonces, funciona como caso específico para analizar dinámicas concretas del conflicto palestino-israelí.
Shoah de Claude Lanzmann est aujourd'hui considéré comme une référence. Le film a en grande partie défini la manière dont est traité et représenté le génocide des juifs, au point d'imposer l'usage du terme shoah dans la langue courante. Pendant des années, il a été quelque peu difficile de contenir l'émotion que procure le film, et de tenter une approche distanciée, voire parfois critique. Dans les années 2000, un événement va notablement modifier la situation : la mise à disposition des rushs de Shoah au Musée Mémorial de l'Holocauste (Washington), c'est-à-dire de toutes les images non retenues dans la version finale du film, ainsi que les transcriptions et résumés annotés des entretiens. Il devenait ainsi possible de se confronter au film de l'intérieur. Fabrication du film et choix au montage, modes de diffusion, appropriations successives dans les médias et par les intellectuels, ou encore influence du projet sur le travail d'autres réalisateurs, l'étude de Shoah permet de mieux comprendre comment le film est devenu un monument. Sans prendre le film comme un mythe qu'il faudrait déconstruire, mais en révélant la dynamique des places qu'occupent le réalisateur et ses équipes, ainsi que les protagonistes et les spectateurs, Rémy Besson, historien et spécialiste des cultures visuelles, retrace ici la genèse de Shoah
The article analyzes discussions around the documentary film Shoah, by Claude Lanzmann, conducted in the uncensored press in communist Poland. In the literature on the subject, a popular thesis claims that the democratic opposition in Poland, like the authorities of the Polish People's Republic, subjected this film to explicit criticism. The authors' research into discussions about the Holocaust in the Polish independent press leads to the opposite conclusion. Ours analysis shows that authors publishing in the underground press had varied reactions to Lanzmann's film. Voices opposing the official campaign against the director and his film predominate (which did not mean a complete lack of criticism vis-à-vis some of the movie's features). We found only two opinions that can be considered clearly negative. The debate about Lanzmann's film is important because it shows the complexity of the democratic opposition's attitude of toward Polish-Jewish history and memory. In the opposition elite's view of history, two currents ran in parallel, often in statements authored by the same people. On the one hand, the trend was primarily affirmative, as a reaction to the communist propaganda that bypassed or completely distorted some aspects of Polish history. On the other hand, there was also a tendency to include more controversial or even clearly shameful aspects of the history of Poland.
In this article, the author seeks to establish whether specific sites from Eastern Europe can be viewed as loci critiquing Pierre Nora's seminal notion of lieux de mémoire. The sites in question are abandoned, clandestine locations of past violence and genocide, witnesses to wanton killings, today left with no memorial markers or inadequate ones. Without monuments, plaques, or fences, they might be understood as "completely forgotten," as Claude Lanzmann once claimed. In opposition to that view, in the article the locations in question are interpreted as still potent agents in local processes of working with a traumatic past. Sites of mass violence and genocide are described as unheimlich and trigger strong affective reactions of fear, disgust, and shame whose actual causes remain unclear. This article analyzes possible catalysts of these powerful affective responses. The first hypothesis is grounded in the abundance of ghost stories in literary or artistic representations of the sites in question. The second hypothesis addresses the issue of the presence of dead bodies: human remains have never been properly neutralized by rituals. And finally, the third hypothesis explores the "effect of the affects" of non-sites of memory as the capacity of bodies to be moved by other bodies, the bodies affected in this case being those of the visitors to the uncanny sites.
Representing the "un-representable" -- Resistance, and repression (1940 -1960) -- Revisiting collaboration: Vichy and the Holocaust (1960-1980) -- From Lanzmann's Shoah to la shoah (1985-2000) -- A "century of genocide" and beyond (2000 ) -- Conclusion
Preliminary Material /Falko Schmieder -- Überleben Geschichte und Aktualität eines neuen Grundbegriffs /Falko Schmieder -- Überleben? Nach Auschwitz /Detlev Claussen -- Nach Weltuntergang Kritische Theorie als »Nötigung, dialektisch zugleich und undialektisch zu denken« /Gerhard Scheit -- Zeugenschaft der Toten Über Claude Lanzmanns Film Shoah /Christoph Hesse -- »I remember only the grandiose moment when they all started to sing« Schönbergs Survivor und Nonos Ricorda als musikalische Manifestation der Erinnerung /Tobias Robert Klein -- »Der Beredsamkeit der Sieger den Hals umdrehen« Jüdischer Humor als Strategie zum Überleben /Christina Pareigis -- Testamentarisches Schreiben: Souveränität und Nachleben /Ulrike Vedder -- Überleben und Schreiben Varlam Šalamov, Aleksandr Solženicyn, Jorge Semprún /Franziska Thun-Hohenstein -- Auschwitz überleben Macht und Ohnmacht bei Jean Améry, Primo Levi und Elias Canetti /Birte Hewera -- Empathie und Erfahrung Der Blick auf die Überlebenden in der Debatte zwischen Bruno Bettelheim und Terrence Des Pres /Fabian Kettner -- Totalitäres ›Experiment‹ und Anthropologie ›nach Auschwitz‹ – Arendt und Agamben /Moritz Mutter -- Der gerettete Tod Überleben und Sterben /Hermann Haarmann -- Der Macbeth-Komplex Zur Sucht des Überlebens /Thomas Macho -- Vom Überleben des Wunsches als Todestrieb: Nachträglichkeit, Subjekt und Geschichte bei Freud /Christine Kirchhoff -- Überlebende und Überlebte Zwischen Unsterblichkeitswunsch und Vergänglichkeit Freud und Canetti /Erik Porath -- Überlebensthemen Vom Umgang mit der Sterblichkeit des Menschen bei Hans Blumenberg /Rüdiger Zill -- Überleben in der Rezeption – Untergehen in der Geschichte Problematisierung des Überlebensparadigmas anhand einer Zusammenführung der Reflexionen von Hans Blumenberg und Primo Levi /Lisa Regazzoni -- Spektakulärer Zuschauer: Wie Nietzsche die Geschichte überlebt /Stephan Braun -- Heiterkeit und Überlebenswille Von Nietzsche zu Jünger /Detlev Schöttker -- Was vom Menschen bleibt Kojèves atheistische Eschatologie /Andreas Hiepko -- ›Überleben‹ Ein Darwinscher Begriff am Rand des Foucaultschen Textes /Philipp Sarasin -- Über Leben Einige Szenarien zu einer Ethik des Überlebens nach Foucault, Agamben und Ridley Scotts Alien /Katherina Zakravsky -- Verteiltes Überleben Paul Barans Antwort auf die atomare Bedrohung /Christoph Engemann -- Fit für den Ernstfall? Überleben als Hobby /Uta Kornmeier -- Überleben Frieden, kulturelle Vielfalt, Nachhaltigkeit als Bildungsaufgaben /Christoph Wulf -- Personenverzeichnis /Falko Schmieder -- Autorenbiografien /Falko Schmieder.
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The approach employed by memory activists to sites of memory often involves historical practices. This paper presents the results of the examination of historical practices undertaken in locations of Holocaust violence during World War II and the disposal of victims' remains that were not memorialised properly according to local residents or other groups with an interest in the sites' past. The analysed practices were observed in the course of field research in various locations in Poland. The goal of the research was to describe these practices, discuss their critical potential, and indicate their distinct features as activities pertaining to contested sites of memory. A central tool for approaching this task is found in concepts of "non-site of memory" and "vernacular historian" as introduced to the debate by Claude Lanzmann and Lyle Dick. As a result, the article presents the cases of four vernacular historians whose practices are experimental combinations of the components of the work of professional historians and ways of working conditioned by local cultural environments, individual experience and commitment to communal life. Although vernacular history is sometimes considered of little value by academic historians, the research shows that the practices in question have the potential to produce new, socially relevant knowledge. Two distinct features of vernacular historical practices in non-sites of memory were observed: these unmarked sites of burial attract activists and prompt them to undertake historical practices; vernacular historians of these locations often undertake unconventional, sometimes experimental activities..
"Sites of Violence and their Communities" presents the results of a research project that brought together scholars and practitioners of memory work in an attempt to critically reinterpret the links between sites, their (human, and non-human) users, and memory. These interdisciplinary discussions focused on overlooked, repressed or ignored sites of violence that may benefit from new approaches to memory studies, approaches that go beyond the traditional focus on communication, symbolism, representation and communality. Clandestine or contested sites, in particular, pose challenging questions about memory practices and policies: about the status of unacknowledged victims and those who witnessed their deaths; about those who have inherited the position of "bystander"; about the ontology of human remains; and about the ontologies of the sites themselves, with the natural and communal environments implicated in their perdurance. Claude Lanzmann – one of the first to undertake rigorous research on abandoned, uncommemorated or clandestine sites of violence – responded to Pierre Nora's seminal conception with his work and with the critical notion of "non-lieux de mémoire." Methodologies emerging from more traditional as well as recently introduced perspectives (like forensic, ecological, and material ones) allowed team members to engage with such "non-sites of memory" from new angles. The goal was to consider the needs and interests of post-conflict societies; to identify and critically read unofficial transmissions of memory; and to re-locate memory in new contexts – in the grassroots of social, political and institutional processes where the human, post-human and natural merge with unanticipated mnemonic dynamics.
"Sites of Violence and their Communities" presents the results of a research project that brought together scholars and practitioners of memory work in an attempt to critically reinterpret the links between sites, their (human, and non-human) users, and memory. These interdisciplinary discussions focused on overlooked, repressed or ignored sites of violence that may benefit from new approaches to memory studies, approaches that go beyond the traditional focus on communication, symbolism, representation and communality. Clandestine or contested sites, in particular, pose challenging questions about memory practices and policies: about the status of unacknowledged victims and those who witnessed their deaths; about those who have inherited the position of "bystander"; about the ontology of human remains; and about the ontologies of the sites themselves, with the natural and communal environments implicated in their perdurance. Claude Lanzmann – one of the first to undertake rigorous research on abandoned, uncommemorated or clandestine sites of violence – responded to Pierre Nora's seminal conception with his work and with the critical notion of "non-lieux de mémoire." Methodologies emerging from more traditional as well as recently introduced perspectives (like forensic, ecological, and material ones) allowed team members to engage with such "non-sites of memory" from new angles. The goal was to consider the needs and interests of post-conflict societies; to identify and critically read unofficial transmissions of memory; and to re-locate memory in new contexts – in the grassroots of social, political and institutional processes where the human, post-human and natural merge with unanticipated mnemonic dynamics.
"Sites of Violence and their Communities" presents the results of a research project that brought together scholars and practitioners of memory work in an attempt to critically reinterpret the links between sites, their (human, and non-human) users, and memory. These interdisciplinary discussions focused on overlooked, repressed or ignored sites of violence that may benefit from new approaches to memory studies, approaches that go beyond the traditional focus on communication, symbolism, representation and communality. Clandestine or contested sites, in particular, pose challenging questions about memory practices and policies: about the status of unacknowledged victims and those who witnessed their deaths; about those who have inherited the position of "bystander"; about the ontology of human remains; and about the ontologies of the sites themselves, with the natural and communal environments implicated in their perdurance. Claude Lanzmann – one of the first to undertake rigorous research on abandoned, uncommemorated or clandestine sites of violence – responded to Pierre Nora's seminal conception with his work and with the critical notion of "non-lieux de mémoire." Methodologies emerging from more traditional as well as recently introduced perspectives (like forensic, ecological, and material ones) allowed team members to engage with such "non-sites of memory" from new angles. The goal was to consider the needs and interests of post-conflict societies; to identify and critically read unofficial transmissions of memory; and to re-locate memory in new contexts – in the grassroots of social, political and institutional processes where the human, post-human and natural merge with unanticipated mnemonic dynamics.
O presente artigo, datado de julho de 1969, foi publicado em francês no ano de 1970 pela revista Les temps modernes (n° 291, p. 718-731). Fundada em 1945 por Jean-Paul Sartre e Simone de Beauvoir, Les temps modernes segue sendo editada até os dias atuais, sob a direção de Claude Lanzmann. Originalmente escrito em espanhol, o texto também foi reproduzido, naquele mesmo ano, na Revista Rocinante, editada entre 1968 e 1971 em Caracas, Venezuela; o número desta revista em que foi publicado o artigo de Marini, no entanto, não consta na Biblioteca Nacional da Venezuela e é de impossível acesso no Brasil. Posteriormente, o artigo foi reproduzido em diferentes revistas da América Latina: em 1972, em Cuadernos Universitarios, revista de Ciências Sociais da Universidad Autónoma de Santo Domingo – primeira universidade da América Latina – e, mais recentemente, em 1997, na revista do Centro de Estudios Miguel Enríquez, no Chile. É ilustrativo o fato de que, para a presente reprodução, foi mais fácil ter acesso à versão francesa de Temps Modernes do que qualquer outra publicada na América Latina.Para esta tradução, além da versão francesa, o texto foi cotejado ao artigo em espanhol publicado em 1970 na revista Ciencia Social do Instituto Central de Sociologia da Universidade de Concepción, no Chile, que se encontra disponível em: http://marini-escritos.unam.mx/pdf/038_movimientos_estudiantiles.pdf. Optamos por incluir os subtítulos presentes na versão em espanhol acima destacada e ausentes na versão francesa. Por fim, é preciso sinalizar as valiosas contribuições de Fernando Corrêa Prado e do Comitê Editorial dos Cadernos Cemarx que, através de revisõescriteriosas, colaboraram para uma melhor tradução.
Die meisten amerikanischen Autoren, die heute noch über den Holocaust schreiben, sind keine Zeitzeugen. Ihr Wissen beruht auf Repräsentationen. Es ist "second hand". Weder die "Rhetorik des Faktischen" noch die "Poetik des Traumas" scheint der Darstellung dieses Wissens angemessen. Es verlangt statt nach einer Ästhetik, die eine direkte Begegnung mit den Fakten oder dem Trauma des Holocaust suggeriert, nach einer Darstellungsform, in der sich Konstruiertheit und Nachträglichkeit ausdrücken. Von den Künstlern, deren Repräsentationen die Grundlage der vorliegenden Untersuchung bilden, ist Paul Celan der einzige Überlebende. Schon Claude Lanzmann erhebt, obwohl er den Weltkrieg im besetzten Frankreich überlebt hat, keinerlei Anspruch mehr auf testimoniale Autorität, und die übrigen vier Autoren sind nach dem Krieg in den USA geboren: Thane Rosenbaum und Melvin Jules Bukiet sind Kinder Überlebender, Jonathan Safran Foer ist Enkel Überlebender und Jonathan Littells unmittelbare Familie hat der Holocaust nicht betroffen. Gemeinsam ist ihren Darstellungen die eingehende implizite und explizite Auseinandersetzung mit der Angemessenheit der eigenen Ästhetik, die sie auch über den Bezug aufs Musikalische führen. Eine Möglichkeit für Literatur, die Nähe bzw. Distanz zu ihrem Gegenstand zu markieren und zu diskutieren, ist die Musikalisierung. Als Musikalisierung bezeichnet man literarische Versuche, eine gleichsam musikalische Erfahrung zu schaffen. Eine Literatur, die sich der Musik annähert, evoziert eine Diskussion über die Vorzüge und Nachteile der literarischen Semiotik gegenüber der musikalischen. Diese liegen vereinfacht gesagt darin, dass Literatur ihren Gegenstand repräsentiert, Musik ihr Gegenstand ist. Es liegt nahe, von einem direkten Zusammenhang von dem testimonialen Anspruch einer Holocaustdarstellung und ihrem Umgang mit Musik auszugehen. Davon, dass sich die Holocaustrepräsentationen Überlebender einer stärker musikalisierten Poetik bedienen, weil sie eine direkte Begegnung mit dem Holocaust bezeugen wollen, wohingegen die Literatur Außenstehender, der Kinder und Enkel der Überlebenden, ihrem vermittelten Wissen durch eine Poetik zu entsprechen sucht, die ausdrücklich von Musikalisierungen Abstand nimmt. Eine Analyse der genannten Darstellungen bestätigt diese Annahme allerdings nur zum Teil. Zwar verzichten Romane wie Rosenbaums The Golems of Gotham, Foers Everything Is Illuminated, Littells Les Bienveillantes sowie Lanzmanns Film Shoah ausdrücklich deshalb auf eine musikalisierte Darstellungsweise, weil sie diese mit dem testimonialen Wissen der Überlebenden identifizieren. Doch der Überlebendenliteratur selber lassen sich nur sehr selten melopoetische Absichten nachweisen, und selbst dann erweisen sich Musikalisierungen, wie in Celans Gedicht "Todesfuge", als in erster Linie metafiktionale und kritische Instrumente. Außerdem gibt es Autoren der zweiten und dritten Generation, die die Konstruiertheit ihres Zeugnisses durch intensive Musikalisierungsversuche betonen. Bukiets Roman After zum Beispiel benutzt Musikalisierungen, die den Leser statt zu einem Re-enactment der traumatischen Vergangenheit zum affektiven Nachvollzug gegenwärtiger Gedenkformen einladen. Die Intention melopoetischer Strategien in Holocaustliteratur ist eine überwiegend kritische: Als metamediale Werkzeuge stellen sie die Angemessenheit einer diskursiven wie einer affektiven Ästhetik in Frage und kritisieren die Unterschlagung traumatischer Schmerzen ebenso wie deren Vereinnahmung. In den vergangenen 25 Jahren ist der Holocaust in den USA zu einer zentralen Metapher des öffentlichen Diskurses geworden, die sieben von zehn Büchern, schätzt Bukiet, zumindest erwähnen. Gleichzeitig wird die Bedeutung des "H word" (Bukiet) immer unklarer. Mitverantwortlich ist eine Ästhetik, die dem Betrachter eine emotionale, affektive und zuweilen sogar körperliche Teilnahme an den schmerzhaften Erfahrungen der Opfer suggeriert. Kritiker wie Charles Maier haben auf die Gefahr hingewiesen, dass solche Identifikation mit den Opfern die soziale und politische Auseinandersetzung mit gegenwärtigen gesellschaftlichen Missständen ersetzen könne. Musikalisierungen, die solche identifikatorischen Effekte verfolgen, aber auch problematisieren können, scheinen auf eine Möglichkeit zu verweisen, wie Holocaustliteratur auf einer gesellschaftlichen Funktion bestehen kann. ; Most American authors who have recently written about the holocaust have never experienced it personally. Their knowledge is based almost exclusively on representations. It is "second hand". To represent such knowledge, neither the "rhetoric of the factual" nor the "poetic of trauma" seems appropriate: Far from requiring an aesthetic that suggests closeness to its object, "second hand testimony" asks for a form of representation that reflects its vicarious and constructive quality. Among the artists whose works form the basis of this study Paul Celan is the only survivor. Claude Lanzmann, although acquainted with the war through the German occupation of France, claims no testimonial knowledge. Finally, Thane Rosenbaum, Melvin Jules Bukiet, Jonathan Safran Foer, and Jonathan Littell were born in post-war America. They are either children (Rosenbaum and Bukiet) or grandchildren (Foer) of survivors, and in Littell's case his immediate family was not personally affected by the holocaust at all. A productive way to mark the various degrees of representational distance is the use of musicalizations. The term musicalization denotes any literary attempt to create a quasi musical experience. Unlike literature, music provides a reenactment rather than a representation. This means that through the use of musicalization literature can imply the wish to no longer represent, but to be its object. Holocaust-literature for instance can, by indulging in or explicitly refraining from the use of musicalization, raise the question of whether a representation or reenactment would be the appropriate way to express a particular degree of testimonial knowledge. It seems safe to assume that there is a link between the claims of testimonial knowledge that a representation of the holocaust makes and the way it evokes music. Survivors who would want to testify a direct encounter with the "Univers concentrationnaire" (David Rousset) would be expected to involve intense forms of musicalization. Texts written by their children or grandchildren, on the other hand, would, in consideration of the indirect and vicarious nature of their testimony, be presumed to do without them. This assumption, however, was confirmed only in parts. Though non-survivors do, indeed, identify the use of musicalization with "first hand testimony" and therefore refrain from it, there are only a few examples of survivors' literature that confirm this identification – even in those who do, like Paul Celan in his famous poem "Die Todesfuge", use musicalizations, first and foremost, as metafictional and critical tools. On the other hand, some writers emphasize the constructiveness of their knowledge just by indulging in a musicalized poetic. In Bukiet's novel After, for instance, musicalizations do not aim at engaging the reader in a traumatic past but in present forms of commemoration. In the examples of Holocaust representation mentioned above, musicalizations appear to be mainly instruments of metamedial discussions. They seem to be capable of questioning the appropriateness of a discursive as well as an affective aesthetic, of criticizing the concealment of traumatic pain as well as its misappropriation. In the last 25 years, the holocaust has emerged into a cultural and political metaphor of such prominence that, as Bukiet provocatively put it, "seven out of ten" books will at least mention it. At the same time, the meaning of the "H word" (Bukiet) has become more and more obscure. The prevalent aesthetic of this culture of commemoration invites the recipient to emotionally, affectively and sometimes even physically reenact the painful experiences of the victims. Critics such as Charles Maier have pointed out that this obsession with memory has a tendency to substitute the discussion of current social problems and thereby to prevent any transformative politics. Musicalizations, as a strategy that can enforce as well as question an aesthetic of reenactment, seem to show one way of how holocaust-literature can still observe its social function.
El pensamiento de Jacques Rancière sobre el cine es el tema de este artículo. Sus reflexiones, que abordamos en la primera parte, deben enmarcarse dentro del régimen estético del arte, común a las diferentes disciplinas estéticas, pues niega que exista una esencia del arte cinematográfico que pueda extraerse de su condición material y técnica. En la segunda parte del artículo exponemos la crítica que realiza Rancière al giro (tournant) ético –aunque nos parece más bien teológico– de la política y, sobre todo, de la estética. En este contexto distinguimos entre dos teologías estéticas: la que, en analogía con la teología judía, se centra en el problema de lo irrepresentable; y la que, en analogía con el cristianismo, habla de redención –si nos centramos en el cine – de las imágenes. Las obras de Lyotard o Lanzmann –en la primera teología estética– y las de Bazin, Deleuze o Godard –en la segunda– nos permiten verificar las tesis de Rancière. ; The thought of Jacques Rancière on cinema is the subject of this paper. His thoughts must be included within the aesthetic regime of art, which is common to different aesthetic disciplines. Rancière claims there is no essence of film art in its material and technical condition. In the second part of the paper we show the critics made by Rancière about the ethical turn (tournant) -although it seems a theological turn instead- of politics, and specially aesthetics. In this context we distinguish between two aesthetic theologies: First, that one wich, in analogy with Jewish theology, focuses on the problem of the unrepresentable, and second, in analogy with Christianity, the one that speaks of redemption –if we focus on films– of images. The works of Lyotard or Lanzmann's –in first theology of aesthetics–, and the ones of Bazin, Deleuze and Godard –in the second one– allow us to verify the thesis of Rancière.
"Only those who knew Auschwitz know what it was. Others will never know it. " This truth proclaimed by Elie Wiesel summarizes the impossibility of representing to oneself what the victims of Nazism, whether Jewish, Gypsy, homosexual or political opponents, endured. Indeed, if we can not imagine their tribulations how can we imagine representing them? This question was the one that presided over the emergence of the concept of irrepresentability, defended notably by Claude Lanzmann, a concept that soon became an injunction that condemned any undertaking of fictionalizing the Holocaust. However, despite the forbidden or perhaps because of these prohibitions, artists, Prometheus of modern times, basically transgressive and free have seized this subject that has become unavoidable. Not a year goes by without a Holocaust-themed work being produced. All are not worthwhile, some even use the infatuation of the public for the period of the Second World War to give depth to their work that is sorely lacking. But some bring a new light, instill an original and uplifting thought while avoiding the stumbling block that constitutes the indecency, it is the case of the works which we chose to study. As Yosef Yerushalmi puts it: "The Holocaust has already attracted more historical research than any other event in Jewish history, but I have no doubt that the image that emerges from it, far from being forged on the an anvil of the historian, be melted in the crucible of the novelist ". It is this crucible that we wish to explore through our comparative analysis of Romain Gary's Genghis Cohn's Dance, Quentin Tarantino's Inglourious basterds and Mieczyslaw Weinberg's The Passsenger. This study aims to highlight the progressive shift of the real to the fiction that artists put in place in their works and analyze it to reveal the issues. Then to highlight the fictional artifices used by artists as revelators and to emphasize their contributions to the theme of the Holocaust, and finally to contemplate the omnipotence of art which, ...
