Doktorarbeit: Komik und Holocaust

Komik und Holocaust

Satirische und groteske Erzählstrategien bei Martin Amis, Tova Reich und Jáchym Topol im Spiegel der öffentlich-medialen deutschen Erinnerungskultur

POETICA – Schriften zur Literaturwissenschaft, volume 165

Hamburg , 434 pages

ISBN 978-3-339-11894-3 (print)
ISBN 978-3-339-11895-0 (eBook)

about this book

deutsch english

The combination of Holocaust and humor is a controversial and provocative combination, which has remained under ‘suspicion’ of trivializing the Holocaust and mocking the victims. For this reason, connecting humor to the Holocaust topic is usually regarded as a poorly suited literary method for ’appropriate’ Holocaust remembrance. However, the constant publication of new comic Holocaust fictions has been forcing a debate on this type of Holocaust remembrance for decades.

In this study, the author examines the target objects, the forms and the functions of satirical and grotesque narrative strategies in the contemporary Holocaust novels Interessengebiet (2015) by Martin Amis, Die Teufelswerkstatt (2010) by Jáchym Topol and Mein Holocaust (2008) by Tova Reich, as well as the relationship between these novels and the German public-media memory culture.

The book offers a well-founded overview of common satire and grotesque theories and juxtaposes satire, grotesque and comedy to highlight relationship. It takes a critical look at the term „memory culture“ and traces the memory culture development in Germany. In this context, the book also explores the phenomenon of dark tourism, which has received little attention in Germany to date, in particular the aspects of authenticity and souvenirs. The analysis of the novels is done with the help of microtext analyses.

With the present study, the author makes a decisive contribution to closing a significant research gap, since satirical and grotesque narrative strategies in newer Holocaust fictions such as the above-mentioned ones, in contrast to older Holocaust novels, have not been sufficiently researched until the publication of this monograph. The same applies to the reception of these more recent comic Holocaust novels in Germany and thus to their relationship to the German public-media memory culture.

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