Abstract
This paper discusses recurrent debates over whether there are limits in representing the experience of the Sonderkommando in Auschwitz, with particular reference to art by the survivor David Olère and László Nemes’ Saul Fia (Son of Saul). It argues that whilst those Sonderkommando who sought to represent the ‘heart of hell’ were acutely aware of the limits of representation, they remained resolutely committed to communicating that reality; and concludes that whilst Son of Saul cannot, and does not seek to, fully represent the ‘heart of hell,’ it nevertheless offers an important creative and provocative exploration of aspects of that experience.
Original language | English |
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Pages (from-to) | 131-146 |
Number of pages | 16 |
Journal | Holocaust Studies: A Journal of Culture and History |
Volume | 27 |
Issue number | 1 |
Early online date | 21 Jun 2019 |
DOIs | |
Publication status | Published - 2021 |
Keywords
- Auschwitz
- Laszlo Nemes
- Son of Saul
- David Olere