Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction: The Pursuit of Unhappiness
- 1 The Confinement of Tragedy: Between Urfaust and Woyzeck
- 2 Goethe’s Faust as the Tragedy of Modernity
- 3 Before or Beyond the Pleasure Principle: Goethe’s Wahlverwandtschaften and the Tragedy of Entsagung
- 4 Hölderlin und das Tragische
- 5 Nietzsche, Büchner, and the Blues
- 6 Freud und die Tragödie
- 7 The Death of Tragedy: Walter Benjamin’s Interruption of Nietzsche’s Theory of Tragedy
- 8 Rosenzweig’s Tragedy and the Spectacles of Strauss: The Question of German-Jewish History
- 9 Requiem for the Reich: Tragic Programming after the Fall of Stalingrad
- 10 The Strange Absence of Tragedy in Heidegger’s Thought
- 11 The Tragic Dimension in Postwar German Painting
- 12 Vestiges of the Tragic
- 13 Atrocity and Agency: W. G. Sebald’s Traumatic Memory in the Light of Hannah Arendt’s Politics of Tragedy
- 14 “Stark and Sometimes Sublime”: Hannah Arendt’s Reflections on Tragedy
- 15 The German Tragic: Pied Pipers, Heroes, and Saints
- Afterword: Searching for a Standpoint of Redemption
- Notes on the Contributors
- Index
Afterword: Searching for a Standpoint of Redemption
Published online by Cambridge University Press: 22 February 2023
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction: The Pursuit of Unhappiness
- 1 The Confinement of Tragedy: Between Urfaust and Woyzeck
- 2 Goethe’s Faust as the Tragedy of Modernity
- 3 Before or Beyond the Pleasure Principle: Goethe’s Wahlverwandtschaften and the Tragedy of Entsagung
- 4 Hölderlin und das Tragische
- 5 Nietzsche, Büchner, and the Blues
- 6 Freud und die Tragödie
- 7 The Death of Tragedy: Walter Benjamin’s Interruption of Nietzsche’s Theory of Tragedy
- 8 Rosenzweig’s Tragedy and the Spectacles of Strauss: The Question of German-Jewish History
- 9 Requiem for the Reich: Tragic Programming after the Fall of Stalingrad
- 10 The Strange Absence of Tragedy in Heidegger’s Thought
- 11 The Tragic Dimension in Postwar German Painting
- 12 Vestiges of the Tragic
- 13 Atrocity and Agency: W. G. Sebald’s Traumatic Memory in the Light of Hannah Arendt’s Politics of Tragedy
- 14 “Stark and Sometimes Sublime”: Hannah Arendt’s Reflections on Tragedy
- 15 The German Tragic: Pied Pipers, Heroes, and Saints
- Afterword: Searching for a Standpoint of Redemption
- Notes on the Contributors
- Index
Summary
Wir haben die Kunst, damit wir
nicht an der Wahrheit zugrunde gehen.
—Nietzsche, Aus dem Nachlass der AchtzigerjahreAufgabe von Kunst heute ist es,
Chaos in die Ordnung zu bringen.
—Adorno, Minima MoraliaNo Place Imaginable
Imagine. Imagine the unimaginable. Negatively, not positively. And then realize, not just with your mind, but with your whole body and soul, that you did not imagine it. It really happened. Auschwitz. If utopia, ού (“not”) and τόπος (“place”), is a “no place,” a place that does not exist except as a vision of a better world, Auschwitz was a “no place” where a world ended, a place where existence was negated. More exactly: existences. Not exclusively, but overwhelmingly Jewish existences. One life after another. Again and again. We could name names, and add them all together only to arrive at a number that is unimaginable not because it is so great, but rather because it is still a number, and because suffering is not a quantity. To put a number on this suffering would be an illusion, the illusion that the suffering was limited. Even unimaginably great numbers are limitations. No matter how great the number, the suffering was greater. Numbers are placebos that in the end have no effect, even if you believe in them.
Auschwitz is the paradox of an unimaginable reality. It is an unspeakable place. Because language ends where the imagination ends, the rest is silence—deathly still. For the survivors it is the silence of soul-searching and word-searching. If we don’t find the words, we have lost our soul. The silence that Auschwitz bespeaks is that of a horror vacui: the words have fled, retreating before a reality that they can neither imitate nor intimate. Before Auschwitz, Karl Kraus anticipated the words not to come, that the words would not come. In 1933 in his “Third Walpurgisnacht” he wrote: “Zu Hitler fällt mir nichts ein” (When I think of Hitler nothing comes to mind). Twelve years later the “nichts,” the “nothing” that came to mind had the name Auschwitz. Intellectual historians may debate about the extent to which the German mind created Auschwitz; any debate about whether Auschwitz has shaped the German mind is as morally irresponsible as historically false.
- Type
- Chapter
- Information
- Tragedy and the Tragic in German Literature, Art, and Thought , pp. 337 - 356Publisher: Boydell & BrewerPrint publication year: 2014