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Narrating the German loss: Small his...

Hennlich, Andrew J.

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Narrating the German loss: Small histories and the historiography of Fascist violence.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Narrating the German loss: Small histories and the historiography of Fascist violence./
作者:	Hennlich, Andrew J.
面頁冊數:	44 p.
附註:	Adviser: Carol Mavor.
Contained By:	Masters Abstracts International45-04.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1442298

Narrating the German loss: Small histories and the historiography of Fascist violence.
Hennlich, Andrew J.

Narrating the German loss: Small histories and the historiography of Fascist violence. - 44 p.

Adviser: Carol Mavor.

Thesis (M.A.)--The University of North Carolina at Chapel Hill, 2007.

Witness is the primary form of documenting histories of Fascist violence. Despite the inherent problems associated with witnessing, it incorporates itself into purportedly objective and scientific histories. Responding to Hayden White's claim that all histories are narrative in structure, my thesis interrogates two artist's works---W.G. Sebald's last novel Austerlitz and Christian Boltanski's Resistance. Each project examines the relationships between witness, photography and archives, constructing what Boltanski terms "small histories"---personal memories, unique to the individual making up an important aspect of their identity, falling outside of "objective" histories. Sebald and Boltanski's narratives become exemplars of a literary history, supplementing the gaps within history writing, making "small histories" an essential part of historiography. Writing histories of Fascist violence in this way counters the ideological and overwhelming images of the Holocaust. Instead their images preserve a trace of the individual's life rather than death, narrating histories that are self-reflexive and open.Subjects--Topical Terms:

635474
Art History.

Narrating the German loss: Small histories and the historiography of Fascist violence.
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520 $a Witness is the primary form of documenting histories of Fascist violence. Despite the inherent problems associated with witnessing, it incorporates itself into purportedly objective and scientific histories. Responding to Hayden White's claim that all histories are narrative in structure, my thesis interrogates two artist's works---W.G. Sebald's last novel Austerlitz and Christian Boltanski's Resistance. Each project examines the relationships between witness, photography and archives, constructing what Boltanski terms "small histories"---personal memories, unique to the individual making up an important aspect of their identity, falling outside of "objective" histories. Sebald and Boltanski's narratives become exemplars of a literary history, supplementing the gaps within history writing, making "small histories" an essential part of historiography. Writing histories of Fascist violence in this way counters the ideological and overwhelming images of the Holocaust. Instead their images preserve a trace of the individual's life rather than death, narrating histories that are self-reflexive and open.
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