But I Live: Three Stories of Child Survivors of the Holocaust . Charlotte Schallié
But I Live: Three Stories of Child Survivors of the Holocaust . Charlotte Schallié
复制标题
但我还活着：大屠杀儿童幸存者的三个故事。
DOI：
10.1093/hgs/dcad039
复制
发表时间：
2023
影响因子：
0.3
通讯作者：
Aarons V
中科院分区：
文献类型：
--
作者：
Aarons V
“死亡每天都在我们身边，”拉文斯布吕克和贝尔根-贝尔森的幸存儿童埃米·阿贝尔（Emmie Arbel）解释道（第95页），“人们在死去......这就是生活，这是我唯一知道的事情。我们知道，每一天，我们都可能死去。你和它一起生活”（第105页）。阿贝尔对她在集中营经历的坦率描述是经历过大屠杀的儿童幸存者提供的四个证词之一，他们的第一手描述是这本非凡的故事集的核心。死亡的存在与生存的意愿相对立，构成了本书中收集的儿童幸存者的叙述，并创造了贯穿每个故事的主题张力。这些令人震惊的证词也为大屠杀的巨大破坏提供了一个全景。作为陷入种族灭绝机器恐怖的普通儿童的个人叙述，它们反映了纳粹对人类的攻击的残酷性。但我活着是一个独特的构思和结构的工作，探索新的可能性，大屠杀代表在历史上的一个时刻，将看到直接幸存者证词的结束。它的特点是多体裁，复调分层的观点和表现形式，组织幸存者，图形艺术家和学者之间的深入参与对话，谁，在音乐会上，唤起，调解，并考虑创伤的过去。这本书的重点是对四名儿童幸存者的采访，他们现在已经成年，向三位平面艺术家讲述了他们的经历，这些艺术家重新激活并重新记录了他们的记忆，作为精美的视觉见证。这里的独特之处在于一系列艺术模式，这些模式渲染和视觉表现记忆，将访谈塑造成关于损失、恐惧、独创性、抵抗和生存意志的叙事。这些记忆在三本“图画小说”中被重述，每一本都是独立的故事，但也是描绘种族灭绝景观的集体的一部分。第一个故事由大卫·谢弗（David Schaffer）讲述，由美籍以色列漫画家米里亚姆·利比基（Miriam Libicki）绘制，描述了9岁的罗马尼亚犹太人大卫在德涅斯特河左岸森林中躲藏的经历。在整个故事中，利比斯基，在她的特点水彩渲染，聚光灯大卫的眼睛，从而强调了可怕的景观通过一个孩子的日益增长的危险意识。
“Death was among us every day,” explains Emmie Arbel, a child survivor of Ravensbrück and Bergen-Belsen (p. 95);“People were dying…. And that was the life, that was the only thing I knew. We knew that every day, we can die. You live with it”(p. 105). Arbel’s starkly candid account of her experience in the concentration camps is one of four testimonies given by child survivors who lived through the Holocaust, and whose firsthand accounts are at the heart of this remarkable collection of stories. The presence of death set against the will to live frames the narratives of the child survivors collected in this volume and creates the thematic tension that threads its way through each story. These stunning testimonies also provide an opening for a panoramic view of the widescale devastation of the Holocaust. As individual narratives of ordinary children caught in the horrors of the machinery of genocide, they reflect the enormity of the Nazi assault on humanity. But I Live is a uniquely conceived and structured work that explores new possibilities for Holocaust representation at a moment in history that will see the end of direct survivor testimony. It is distinguished by its multigenre, polyphonic layering of perspectives and forms of representation, organizing a deeply engaging dialogue among survivors, graphic artists, and scholars, who, in concert, arouse, mediate, and reckon with the traumatic past. The book focuses on interviews with four child survivors, now adults, recounting their experiences to three graphic artists, who reanimate and reinscribe their memories as beautifully illustrated visual testimony. Distinctive here is the range of artistic modes that render and visually represent memory, graphically shaping interviews into narratives of loss, fear, ingenuity, resistance, and the will to survive. These memories are retold in three “graphic novels,” each an independent story in its own right, but also part of a collective that illustrates the landscape of genocide. The first story, narrated by David Schaffer and illustrated by American-Israeli comics artist Miriam Libicki, depicts the experience of nine-yearold David, a Romanian Jew in hiding in the forests of Transnistria. Throughout the story, Libicki, in her characteristic watercolor rendition, spotlights David’s eyes, thus emphasizing the terrifying view of the landscape through a child’s growing awareness of danger.