Lexington Books
Pages: 230
•
Trim: 6⅜ x 9
978-1-7936-0015-8 • Hardback • October 2019 • $117.00 • (£90.00)
978-1-7936-0017-2 • Paperback • March 2022 • $41.99 • (£35.00)
978-1-7936-0016-5 • eBook • October 2019 • $39.50 • (£30.00)
Lisa A. Costello is associate professor of writing and linguistics and director of the Women’s, Gender, and Sexuality Studies Program at Georgia Southern University.
Chapter One: Claude Lanzmann’s Shoah and the Opening of Testimony Archives: Gender and Performance in Public Memory
Chapter Two: Schindler’s List and its “After-Affect”: Son of Saul, Spielberg’s List, and the USC Shoah Foundation Visual History Archive
Chapter Three: Is it Happening Again? How Women’s Deferred Memories Perform Holocaust Public Memory: Ruth Klüger and the Levys
Chapter Four: “Next Generation” Texts: Reclaiming the Body; Reclaiming Auschwitz
Chapter Five: Performing Gender in Local Holocaust Museums: Memorial Spaces and Community Places
This book is an insightful analysis directed at Holocaust Studies, but it could also be extended to other fields as a way to widen analysis of how memory and history are made and performed.
Highly recommended for academic libraries.
— Association of Jewish Libraries Reviews
American Public Memory and the Holocaust: Performing Gender, Shifting Orientations makes an important contribution to Holocaust studies and its intersection with the study of rhetoric and memory: it shows what happens when we take the idea of the body seriously, and how affect, as part of the material experience of the body, plays an important role in complicating certain Holocaust commonplaces. Any serious scholar of public memory should read this book.— Michael Bernard-Donals, University of Wisconsin-Madison
American Cultural Memory and the Holocaust: Performing Gender, Shifting Orientations takes on the most current scholarship and often difficult debates in the field. A timely exploration of the importance of affect theories of recent years, and how Holocaust studies are definitively moved and shaped by what Lisa Costello calls “after-affects.” The chilling resurgence of anti-semitism in the U.S. and abroad is palpably pushing and pulling Costello along. She opens up for critical examination the performances of artists, writers, museums, and locations where, as students, teachers, and citizens we are compelled to confront a history that disappears, with actual witnesses ever fewer, and newer voices and generations who will continue to add to the archives of memory and history. Costello shows how the knowledge we already have, and which grows continuously, must “stick” for the after-affects to hold, for history not to repeat.— Frances Bartowski, Rutgers University