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dc.contributor.authorSchabas, Julia
dc.date.accessioned2017-09-01T18:27:58Z
dc.date.available2017-09-01T18:27:58Z
dc.identifier.urihttp://hdl.handle.net/10222/73286
dc.description.abstractMarianne Hirsch’s concept of Holocaust “postmemory” provides a theoretical framework for the children of Holocaust survivors to understand and explore their inherited memories of trauma and loss. In this thesis I place Anne Michaels’s post-Holocaust novel, Fugitive Pieces (1996) in dialogue with Hirsch’s theory of postmemory, and explore not only how the novel participates in a kind of postmemorial project, but that in doing so it deals with the complications of appropriating the memories of others. In particular, I look at the novel’s second narrator, Ben, as most complexly engaging with postmemory through his cooptation and replication of the life and story of the first narrator, Jakob. By addressing these obstacles of postmemory in its risks for appropriation, I ultimately claim that Michaels’s novel argues for a postmemorial project that is guided by love and intimacy as a way of ethically and productively working through both inherited and experienced trauma.en_US
dc.language.isoenen_US
dc.subjectCanadian literatureen_US
dc.subjectHolocausten_US
dc.subjectPostmemoryen_US
dc.title“We’re never ourselves until we contain two souls”: Holocaust Postmemory and Intimacy in Anne Michaels’s Fugitive Piecesen_US
dc.date.defence2017-08-31
dc.contributor.departmentDepartment of Englishen_US
dc.contributor.degreeMaster of Artsen_US
dc.contributor.external-examinern/aen_US
dc.contributor.graduate-coordinatorDr. Alice Brittanen_US
dc.contributor.thesis-readerDr. Dorota Glowackaen_US
dc.contributor.thesis-readerDr. Erin Wunkeren_US
dc.contributor.thesis-supervisorDr. Carrie Dawsonen_US
dc.contributor.ethics-approvalNot Applicableen_US
dc.contributor.manuscriptsNot Applicableen_US
dc.contributor.copyright-releaseNot Applicableen_US
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