Overview

Largely forgotten over the years, the seminal work of French poet, novelist and camp survivor Jean Cayrol has experienced a revival in the French-speaking world since his death in 2005. His concept of a concentrationary art—the need for an urgent and constant aesthetic resistance to the continuing effects of the concentrationary universe—proved to be a major influence for Hannah Arendt and other writers and theorists across a number of disciplines. Concentrationary Art presents the first translation into English of Jean Cayrol’s key essays on the subject, as well as the first book-length study of how we might situate and elaborate his concept of a Lazarean aesthetic in cultural theory, literature, cinema, music and contemporary art.

Full Product Details

Author:   Griselda Pollock ,  Max Silverman
Publisher:   Berghahn Books
Imprint:   Berghahn Books
ISBN:  

9781785339707

ISBN 10:   1785339702
Pages:   272
Publication Date:   22 April 2019
Audience:   Professional and scholarly ,  Professional & Vocational ,  Postgraduate, Research & Scholarly
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

List of Illustrations Acknowledgements Introduction: Lazarus and the Modern World Max Silverman PART I: LAZARUS AMONG US Jean Cayrol Lazarean Dreams Lazarean Literature PART II: SITUATING CAYROL'S LAZAREAN Chapter 1. Lazarean Writing in Post-war France Patrick ffrench Chapter 2. The Perpetual Anxiety of Lazarus: The Gaze, the Tomb, and the Body in the Shroud Griselda Pollock PART III: READING WITH THE LAZAREAN Chapter 3. Concentrationary Art and the Reading of Everyday Life: (In)human Spaces in Chantal Akerman's Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975) Max Silverman Chapter 4. Cinematic Work as Concentrationary Art in Laurent Cantet's Ressources Humaines (1999) Matthew John Chapter 5. After Haunting: A Conceptualization of the Lazarean Image Benjamin Hannavy Cousen Chapter 6. Lazarean Sound: The Autonomy of the Auditory from Hanns Eisler (Nuit et Brouillard, 1955) to Susan Philipsz (Night and Fog, 2016) Griselda Pollock Concluding Remarks Griselda Pollock Index

Reviews

Concentrationary Art is invariably intellectually exhilarating to read, and is hard to put down. It puts forward a new and cogent aesthetic theory in its analysis not only of the wartime `concentrationary', but also of the role of the survivor in a post-war world where traces of the same phenomena persist unseen in the everyday. Sue Vice, University of Sheffield This is an authoritative, clear, and insightful book. The contributions to this excellent volume offer a novel take on the concentrationary and provide a wider understanding of post-Holocaust art. Kathryn Robson, Newcastle University

Author Information

Griselda Pollock is Professor of Social & Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory & History at the University of Leeds. Her many publications include After-Affects/After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (2012) and Charlotte Salomon in the Theatre of Memory (2018). She co-edited Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais's Night and Fog (2012).

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