By Wilfried Wilms, William Rasch
Brought on through fresh demanding situations to and debates concerning the relative public silence in regards to the results of the Allied air battle over Europe in the course of global conflict II, this number of essays examines literary, visible (film and photography), and institutional (museums) representations of the bombing of civilian ambitions, predominantly in Germany. The authors learn narrative innovations of either recognized and comparatively little recognized works in addition to the ethical and ideological presuppositions of the various representations of the depredations of overall battle. The creation and afterword by means of the editors invite the readers to extend the contours and ancient context of the debates concerning the German public discourse at the bombing warfare past the slender confines of perpetrators and sufferers. the amount should be of curiosity to literary students, historians, and the final studying public attracted to battle and its results on civilian populations. desk of Contents Wilfried WILMS & William RASCH : advent: Uncovering their tales: The Rubble of reminiscence and the Bombing battle I. Narrative and background Brad PRAGER: Air conflict and Allegory Daniel FULDA: Abschied von der Zentralperspektive. Der nicht nur literarische Geschichtsdiskurs im Nachwende-Deutschland als Dispositiv f?r J?rg Friedrichs model Stephan JAEGER: endless Closures: Narrative(s) of Bombing in Historiography and Literature at the Borderline among truth and Fiction Henning HERRMANN-TRENTEPOHL: “Das sind meine lieben Toten” – Walter Kempowskis “Echolot”-Projekt Jennifer BAJOREK: preserving speedy to Ruins: The Air warfare in Brecht’s Kriegsfibel Thomas C. FOX: East Germany and the Bombing warfare Benedikt JAGER: Die gepolsterte Nussschale des Bootes – Der Luftkrieg aus der Sicht skandinavischer Korrespondenten II. The German adventure Timm MENKE: W. G. Sebalds Luftkrieg und Literatur und die Folgen: Eine kritische Bestandsaufnahme Florian RADVAN: Religi?se Bildlichkeit und transtextuelle Bez?ge in Gert Ledigs Luftkriegsroman Vergeltung Walter PAPE: “Mich f?r mein ganzes leben verletzendes Geschehen als Erlebnis”: Die Luftangriffe auf Salzburg (1944) in Thomas Bernhards Die Ursache und Alexander Kluges Der Luftangriff auf Halberstadt am eight. April 1945 Stuart SMITH: “Das battle nicht mehr wie vor Ilion”: Servicemen, Civilians and the Air struggle in Gerd Gaiser’s Die sterbende Jagd Andrew WILLIAMS: “Das stanniolene Rascheln der Weinbl?tter”: Hans Erich Nossack und der Luftkrieg III. The Allied adventure Paul CROSTHWAITE: “Children of the Blitz”: Air struggle and the Time of Postmodernism in Michael Moorcock’s mom London Erwin WARKENTIN: loss of life through Moonlight: A Canadian Debate over Guilt, Grief and Remembering the Hamburg Raids Diederik OOSTDIJK: Debunking ‘The solid struggle’ delusion: Howard Nemerov’s battle Poetry Steve PLUMB: paintings and the Air Campaigns of 1940/41 and 1945: visible Representations of the London and Dresden Bombing Raids Silke ARNOLD-de SIMINE: reminiscence Cultures: The Imperial conflict Museum North and W. G. Sebald’s ordinary historical past of Destruction Anna LEAHY & Douglas DECHOW: maintain ’Em Flying excessive: How American Air Museums Create and Foster subject matters of the area battle II Air conflict IV. movie Jaimey FISHER: Bombing thoughts in Braun’s Zwischen Gestern und Morgen (1947): Flashbacks to the hot prior within the German Rubble-Film Christina GERHARDT: The Allied Air Bombing crusade of Germany in Herzog’s Little Dieter must Fly Wilfried WILMS: Hollywood’s Celluloid Air struggle Jerome F. SHAPIRO: 90 mins over Tokyo: Aesthetics, Narrative, and beliefs in 3 jap movies concerning the Air battle Afterword William RASCH: ‘It all started with Coventry’: On increasing the talk over the Bombing warfare
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Additional resources for Bombs Away! Representing the Air War over Europe and Japan (Amsterdamer Beitrage zur neueren Germanistik 60) (Amsterdamer Beitrage zur Neueren Germanistik)
As far as de Mendelssohn is concerned, Torstenson’s world-annihilating fantasies, which put him on the side of 20 Peter de Mendelssohn: Die Kathedrale. Ein Sommernachtmahr. Hamburg, Albrecht Knaus 1983. P. 230. For more on this point, see also Torstenson’s explanation of why he left on Pp. 108–109. 21 de Mendelssohn: Die Kathedrale. Pp. 229–30. 22 de Mendelssohn: Die Kathedrale. Pp. 102–3. 23 de Mendelssohn: Die Kathedrale. P. 73. 24 de Mendelssohn: Die Kathedrale. See P. 143, Pp. 180–1, and P.
17 Sebald: Lufkrieg und Literatur. P. 43. 35 Böll himself was a Catholic, who hoped to keep the Church relevant in the period following the War. But what happens, one has to ask, when a work of literature that takes up this same iconographic perspective is written by someone who is not a Catholic, but an exiled Jewish-German such as Peter de Mendelssohn? Sebald disdained de Mendelssohn’s incomplete 1948 novel, Die Kathedrale, and he described it as page after page of “sich fortsetzende Peinlichkeiten”.
Die Mörder sind unter uns would have us conclude that an honest assessment of German responsibility is a necessary component of working through national melancholia and turning it into mourning, or of being able to move forward and rebuild. In its ultimately optimistic reestablishment of justice and law, the final sequence of Staudte’s film depicts graves marked by well-ordered, upright crosses. Effacing the tilted cross that appears in the film’s first sequence, these crosses are the clearly defined and organized markers that signify proper mourning.