By Michael Mack
While many different post-Holocaust Jewish thinkers - together with Derrida - have targeting a refusal of totality and social gathering of 'otherness', the poet and highbrow Franz Baermann Steiner (1909-1952) combines this emphasis with an equivalent rigidity at the 'need' for convinced jointly said limits. subsequent to the broader importance of this publication for discussions of Holocaust experiences when it comes to present theoretical and social matters, it's going to additionally provide a brand new interpretation of Elias Canetti's paintings. this can be the 1st specific exam of Steiner's anthropology and philosophy and its relation to the paintings of his shut highbrow buddy Canetti.
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Extra info for Anthropology as Memory: Elias Canetti’s and Franz Baermann Steiner’s Responses to the Shoah
Canetti, Die Blendung (p. 36, note 94), p. 96. 108 2. «112 One for all and all for one is exactly the kind of slogan Nazis used to nihilate their personality and immerse themselves in the »all« of the crowd. The chiasmus of the »one for all and all for one« construction stresses the lack of any distinction between the members of the crowd. Kien, who so despised the >masses< on the street, turns into a mass-organizer within the walls of his library, and even when he angrily calls pedestrians a >mob<, he actually creates it by using the word.
98 Kien indeed identifies with Christ, though as a savior of books rather man. His martyrdom testifies exclusively to the absolutism of specialist scholarship. How further might one elaborate this notion of a default religiosity? Kien's secular religion results in a disgust with humanity. As a scholar who only looks for the truth, he can never look at people with whom he walks on the street. Although he actually walks along with these people, he strongly desires to dissociate himself from them completely.
M. : Lang 1994 (Europäische Hochschulschriften, Reihe 1; 1450), p. 34-35; and Hans Reiss: The Writer's Task. Some Reflections on Elias Canetti's Autobiography. In: Stevens / Wagner, Elias Canetti (p. 17, note 31), p. 45-58, p. 47. 2. Auto Da Fe as a Negative Poetics 33 Raphael Sorin that he wrote the novel under the impact of the upsurge of Nazism: Je sentais que des choses terribles se preparaient. Ce pressentiment fut confirme lors de mon sejours ä Berlin en 1928 et 1929. Je vis alors les marches et les bagarres entre les nazis et les socialistes.