By Mary Cosgrove
In German stories the literary phenomenon of depression, which has a longstanding and various historical past in ecu letters, has generally been linked to the Early sleek and Baroque sessions, Romanticism, and the quandary of modernity. This organization, along the dominant psychoanalytical view of depression in German reminiscence discourses because the Nineteen Sixties, has ended in its forget as a massive literary mode in postwar German literature, a scenario the current e-book seeks to redress through deciding on and studying epochal postwar works that use depression traditions to touch upon German historical past within the aftermath of the Holocaust. It specializes in 5 writers - Günter Grass, Wolfgang Hildesheimer, Peter Weiss, W. G. Sebald, and Iris Hanika - who consider the legacy of Auschwitz as intellectuals attempting to negotiate a dating to the prior according to the stigma of belonging to a offender collective (Grass, Sebald, Hanika) or, commonly, to the sufferer collective (Weiss, Hildesheimer), on the way to enhance a depression ethics of reminiscence for the Holocaust and the Nazi previous. it is going to entice students and scholars of German reports, Comparative Literature, Cultural experiences, Cultural reminiscence, and Holocaust experiences. Mary Cosgrove is Reader in German on the collage of Edinburgh
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97 Thus the ambivalence—an unresolved mix of love and hate—felt toward the elusive object is redirected toward the self (TM, 437). This explains why Freud suggests that a distinguishing feature of melancholy, as distinct from mourning, is the lowering of self-esteem and a tendency to selfdestruction (TM, 438–39). Freud seems to posit a clear difference between the two modes here, yet he also points out that profound mourning has similar traits to melancholy, including that of self-reproach. However, he suggests that selfreproach in mourning cannot be pathological, as in melancholy, because its cause is clear and legible.
7 Dunker, Die anwesende Abwesenheit: Literatur im Schatten von Auschwitz (Munich: Fink, 2003), 23. 8 LaCapra, Writing History: Writing Trauma (Baltimore, MD: Johns Hopkins University Press, 2001), 23. 9 Dunker, Die anwesende Abwesenheit, 15, 18. 10 Adorno, “Kulturkritik und Gesellschaft (1951),” in Gesammelte Schriften, ed. Rolf Tiedemann, 20 vols. (Frankfurt am Main: Suhrkamp, 1977), 30. 11 Adorno’s position on his “dictum” changed, which has helped fuel the debate about its original meaning. For a brief overview see Dunker, Die anwesende Abwesenheit, 9–12.
In this way, the subject never has to fear the shock of loss. In the disguised form of a foundational absence, a kind of pseudo-loss has become the universal norm. LaCapra’s analysis critiques the melancholy position for doing the opposite. In a bid to deny the existential emptiness that always threatens to engulf the self, the melancholy individual of his scenario treats foundational absence as a concrete loss that is usually someone else’s experience. While the two analyses stand at different ends of a spectrum that moves, in respect of the lost object, from ghostly abstraction to material concretion, both identify an elaborate signification practice in melancholy discourse.