Devant la douleur des femmes
The title, a variation on Susan Sontag’s regarding the pain of others, is meant as an homage to Sontag and as an extension of her searing critique of war photography and its reflexive objectification of suffering, its conversion of victims into objets d’art. But why, in particular, the pain of wome...
保存先:
| 主要な著者: | , |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
2026
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| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | The title, a variation on Susan Sontag’s regarding the pain of others, is meant as an homage to Sontag and as an extension of her searing critique of war photography and its reflexive objectification of suffering, its conversion of victims into objets d’art. But why, in particular, the pain of women Holocaust victims here? Because we have finally begun to amass a large and profound critical literature on gender and the Holocaust, which, alongside Sontag’s work on photography, might help us look at how and why the public gaze of photographers, curators, historians, and museumgoers continues to turn women into objects of memory, idealized casts of perfect suffering and victimization, and even emblems of larger Jewish suffering during the Holocaust. In this essay, the author explores our relationship to these hardened idealizations of women in the arts of Holocaust memory, for he has found that in ”regarding the pain of women,” we often split these women off from their own lives and deaths, their own stories and experiences.
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