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In Disappearing Traces, Dorota Glowacka examines the tensions between the ethical and aesthetic imperatives in literary, artistic, and philosophical works about the Holocaust, in a search for new ways to understand the traumatic past and its impact on the present. She engages with the work of leading 20th-century philosophers and theorists, including Levinas, Benjamin, Lyotard, and Derrida, to consider the role of language in the construction and transmission of traumatic memories; the relation between self-identity and the act of bearing witness; and the ethical implications of representing trauma. Glowacka's work draws on a wide range of discourses and disciplines, bringing into conversation various genres of writing and artistic production. It reveals the need to find innovative idioms and new means of engaging with the past, and to create alliances between different disciplines and modes of representing the past that transform and transcend existing paradigms of representation.
It is every person's--particularly every parent's--worst nightmare. For a loved one to walk out through the front door and never to return is one of the most heartbreaking, terrifying, and harrowing experiences someone can go through. Not to know the fate of a person close to you is simply agonizing--did they choose to disappear, were they involved in an accident, or did something even worse befall them? Every day, staggering numbers of people go missing. Most return within 72 hours but there many are never seen again. Some are students who take off to distant countries without telling their parents and then disappear; some are husbands who have left to come to terms with their own problems; some are runaways, others missing parents. In this compelling book, journalist Rose Rouse is granted exclusive access to the mothers, brothers, sons, wives, sisters, and daughters of those who have vanished without trace. Rouse shares in the turmoil that they have endured in their quest to be reunited with those who have disappeared from their lives. These are amazing stories of people who have moved heaven and earth to find their loved ones.
Without Trace is an informative and heart-stopping read by Barry Cummins, the bestselling author of Missing, back with more cases of Ireland's disappeared — men, women and children who have vanished without trace while going about their normal lives. What happened to two young boys who vanished in Belfast while waiting for a bus in 1974? Where is Trevor Deely, last seen walking in Dublin in December 2000? What happened to Dutch woman Leidy Kaspersma, last seen walking in Co. Kerry on a summer's day in 1978? In Without Trace Barry Cummins profiles these and other cases of people who have vanished across Ireland in the last four decades. He also explores dozens of cases of unidentified bodies which lie in graveyards and morgues from Donegal to Wexford. He examines ongoing efforts to find the bodies of IRA victims buried in secret graves in Monaghan, Meath and Louth, and delves into the cases of people abducted, murdered and secretly buried by Ireland's criminal gangs. And there are many other types of cases in this intriguing book, from a twenty-year campaign by the family of one missing woman to get answers about her case, to the amazing story of one missing Irishman's return 'from the grave' in England. Without Trace: Table of Contents - Predator - IRA Disappeared - Hidden Bodies - Two Boys - Unidentified Bodies - For the Record—Priscilla Clarke - Missing in Kerry - Trevor - Mystery in Mayo - Limerick's Missing Men - Missing from Darndale - Failure to Find Bodies - Stranger than Fiction
Many books focus on issues of Holocaust representation, but few address why the Holocaust in particular poses such a representational problem. David Patterson draws from Emmanuel Levinas's contention that the Good cannot be represented. He argues that the assault on the Good is equally nonrepresentable and this nonrepresentable aspect of the Holocaust is its distinguishing feature. Utilizing Jewish religious thought, Patterson examines how the literary word expresses the ineffable and how the photographic image manifests the invisible. Where the Holocaust is concerned, representation is a matter not of imagination but of ethical implication, not of what it was like but of what must be done. Ultimately Patterson provides a deeper understanding of why the Holocaust itself is indefinable—not only as an evil but also as a fundamental assault on the very categories of good and evil affirmed over centuries of Jewish teaching and testimony.