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END:VTIMEZONE
BEGIN:VEVENT
DTSTAMP:20260503T234404Z
DTSTART;VALUE=DATE-TIME:20181205T170000
DTEND;VALUE=DATE-TIME:20181205T183000
SUMMARY:Susanne Luhmann\, 'Representing Familial Legacies of Nazi Perpetr
 ation: Postmemory and/or a ‘Move to Innocence’?'
TZID:Europe/London
UID:20181205-8a17841a66c4e3b70166cfa2b502506c@warwick.ac.uk
CREATED:20181101T141718Z
DESCRIPTION:In this paper\, I focus I on a series of texts\, by and about
  the descendants of Amon Goeth\, the notoriously brutal commander of the
  concentration camp Platzow. Goeth’s crimes initially became known to a 
 wide audience through British actor Ralph Fiennes’ portrayal of him in t
 he 1993 the Holocaust blockbuster Schindler’s List. In the quarter centu
 ry since Spielberg’s movie hit the big screen\, Goeth’s daughter and gra
 nddaughter each have become the focus of much press\, including two popu
 lar books and one film\, each of which chronicles from a different persp
 ective the difficult emotional inheritance that knowing about one’s Holo
 caust perpetrator ancestor represents.[1] I discuss these texts in terms
  of what Marianne Hirsch famously has described as “postmemory.” I descr
 ibe the postmemory work that descendants of Nazi perpetrators engage in 
 as they seek to make public and work through silenced familial legacies 
 of perpetration. However\, in so doing I also question the limits of the
  concept of postmemory for studying the inheritances of those who descen
 d from the perpetrators. On the one hand\, the three texts offer ample a
 nd potent examples of the unconscious inheritance that this difficult fa
 mily legacy entails. Each text digs deep into showing the unsettlement t
 hat comes with uncovering one’s family history and learning about one’s 
 personal and familial connection to profound histories of violence. Howe
 ver\, working with what Eve Tuck and Wayne Yang in a different context h
 ave called “moves to innocence” I want to dig deeper into how the unsett
 ling knowledge of one’s ancestor’s violence gets settled again through a
  series of different rhetorical moves\, without really having to account
  for or to give up the benefits\, power\, or privilege derived from this
  history. [1] Matthias Kessler (2002)\, Ich muss doch meinen Vater liebe
 n\, oder? Die Lebensgeschichte der Monika Göth\, der Tochter des KZ-Komm
 andanten aus 'Schindlers Liste'\; Inheritance (2006 dir. James Moll)\; M
 onika Teege (2015) My Grandfather Would Have Shot Me: A Black Woman Disc
 overs Her Family's Nazi Past (coauthored with Nikola Seellamair\, the bo
 ok was published first in German in 2014 as Amon: Mein Großvater hätte m
 ich erschossen and subsequently translated into English by Carolin Somme
 r.)
LOCATION:
CATEGORIES:Seminar,Feminist
LAST-MODIFIED:20181101T141718Z
ORGANIZER;CN=Laura Schwartz:
END:VEVENT
END:VCALENDAR