By E. M. Forster
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Extra info for A Room With a View
To draw out the implications of these questions and the effect of the dynamic text-image relationship, I differentiate among multiple levels of reality in Sebald’s works. I frame my analyses within three broader historical and theoretical discussions: the concept of mimesis, the development of photography, and the representability of the Holocaust. Adorno, Saul Friedländer, and Georges Didi-Huberman. This chapter further illuminates the ethical imperative of literature by connecting the fundamental problem of art’s relationship to reality to the specific problem of the Holocaust’s representability, which is arguably Sebald’s foremost concern.
115). 14 See Daniel Fulda and Silvia Serena Tschopp, “Einleitung. Literatur und Geschichte: Zur Konzeption des Kompendiums,” Literatur und Geschichte. Ein Kompendium zu ihrem Verhältnis von der Aufklärung bis zur Gegenwart, eds. Daniel Fulda and Silvia Serena Tschopp (Berlin; New York: de Gruyter, 2002) 1–10. See also Koselleck, “Einleitung,” 593. 15 Reinhart Koselleck, “Historia Magistra Vitae. Über die Auflösung des Topos im Horizont neuzeitlich bewegter Geschichte,” Natur und Geschichte. Karl Löwith zum 70.
J. Long, W. G. Sebald: Image, Archive, Modernity (Edinburgh: Edinburgh University Press, 2007), and Blackler (2007). 22 Introduction: Why W. G. Sebald refer to the contributions by Sheppard as review articles, for they go far beyond an evaluation of recent scholarship. Sheppard weaves together meticulous readings of Sebald’s literary and critical works with detailed biographical knowledge. Further broad meta-commentary on Sebald scholarship can be found in Jonathan Long’s valuable bibliographical essay included in the volume W.