By Wilfried Wilms, William Rasch
Caused via contemporary demanding situations to and debates concerning the relative public silence about the results of the Allied air warfare over Europe in the course of global battle II, this selection of essays examines literary, visible (film and photography), and institutional (museums) representations of the bombing of civilian pursuits, predominantly in Germany. The authors learn narrative thoughts of either recognized and comparatively little identified works in addition to the ethical and ideological presuppositions of the various representations of the depredations of overall warfare. The creation and afterword by means of the editors invite the readers to extend the contours and old context of the debates in regards to the German public discourse at the bombing conflict past the slim confines of perpetrators and sufferers. the quantity might be of curiosity to literary students, historians, and the overall studying public drawn to war and its results on civilian populations. desk of Contents Wilfried WILMS & William RASCH : creation: Uncovering their tales: The Rubble of reminiscence and the Bombing conflict I. Narrative and historical past Brad PRAGER: Air battle 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: countless 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: conserving speedy to Ruins: The Air battle 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 battle in Gerd Gaiser’s Die sterbende Jagd Andrew WILLIAMS: “Das stanniolene Rascheln der Weinbl?tter”: Hans Erich Nossack und der Luftkrieg III. The Allied event Paul CROSTHWAITE: “Children of the Blitz”: Air warfare and the Time of Postmodernism in Michael Moorcock’s mom London Erwin WARKENTIN: loss of life by means of Moonlight: A Canadian Debate over Guilt, Grief and Remembering the Hamburg Raids Diederik OOSTDIJK: Debunking ‘The sturdy conflict’ fantasy: Howard Nemerov’s struggle Poetry Steve PLUMB: artwork 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 traditional heritage of Destruction Anna LEAHY & Douglas DECHOW: continue ’Em Flying excessive: How American Air Museums Create and Foster issues of the realm struggle II Air warfare IV. movie Jaimey FISHER: Bombing stories in Braun’s Zwischen Gestern und Morgen (1947): Flashbacks to the new earlier 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 warfare Jerome F. SHAPIRO: 90 mins over Tokyo: Aesthetics, Narrative, and beliefs in 3 eastern movies concerning the Air conflict Afterword William RASCH: ‘It begun with Coventry’: On increasing the talk over the Bombing struggle
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Additional info for Bombs Away! Representing the Air War over Europe and Japan (Amsterdamer Beitrage zur neueren Germanistik 60) (Amsterdamer Beitrage zur Neueren Germanistik)
11 Sebald: Luftkrieg und Literatur. Pp. 12–13. 31 Luftkrieg und Literatur was meant as a work that would challenge his readers to mourn, one that gazed into the past in order to make a case in favor of adequately acknowledging the realities of wartime suffering and death, and also to insist indirectly that people do no less when confronted with bombing campaigns taking place in the present. But the question remains: What exactly did Sebald mean to suggest with this initial image? If it is an image that takes a position among icons of its kind, then how can we best describe the implied (and even longed for) anteriority?
Hrsg. von Walter Nowojski unter Mitarb. von Hadwig Klemperer. Bd. 1–2. Berlin: Aufbau 1995; Walter Kempowski: Das Echolot. Ein kollektives Tagebuch. Januar und Februar 1943. Bd. 1– 4. München: Knaus 1999. 36 Diesen Begriff übernehme ich von Walter Hinck: Selbstannäherungen. Autobiographien im 20. Jahrhundert von Elias Canetti bis Marcel Reich-Ranicki. Darmstadt: Wiss. Buchges. 2004. 37 Die Folgen für die Autobiographie diskutiert Almut Finck: Autobiographie. Schreiben nach dem Ende der Autobiographie.
Der nicht nur literarische Geschichtsdiskurs im Nachwende-Deutschland als Dispositiv für Jörg Friedrichs Brand The (re-)discovery of the air war against Germany has triggered a new phase in the debate on the relationship between German victimhood and German guilt. Yet, the insight of recent historical theory – that there cannot be a central perspective from which to draw an overall picture of World War II – undermines any attempt to square moral accounts. Indeed, current German historical discourse in literature and historiography is more often characterized by a search for narrative techniques that create a multiplicity of perspectives rather than explanatory simplicity.