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La mise en fiction de la Shoah dans la Danse de Gengis Cohn de Romain GARY, Inglourious Basterds de Quentin TARANTINO et The Passenger de Mieczyslaw WEINBERG

Abstract : "Only those who knew Auschwitz know what it was. Others will never know it. " This truth proclaimed by Elie Wiesel summarizes the impossibility of representing to oneself what the victims of Nazism, whether Jewish, Gypsy, homosexual or political opponents, endured. Indeed, if we can not imagine their tribulations how can we imagine representing them? This question was the one that presided over the emergence of the concept of irrepresentability, defended notably by Claude Lanzmann, a concept that soon became an injunction that condemned any undertaking of fictionalizing the Holocaust. However, despite the forbidden or perhaps because of these prohibitions, artists, Prometheus of modern times, basically transgressive and free have seized this subject that has become unavoidable. Not a year goes by without a Holocaust-themed work being produced. All are not worthwhile, some even use the infatuation of the public for the period of the Second World War to give depth to their work that is sorely lacking. But some bring a new light, instill an original and uplifting thought while avoiding the stumbling block that constitutes the indecency, it is the case of the works which we chose to study. As Yosef Yerushalmi puts it: "The Holocaust has already attracted more historical research than any other event in Jewish history, but I have no doubt that the image that emerges from it, far from being forged on the an anvil of the historian, be melted in the crucible of the novelist ". It is this crucible that we wish to explore through our comparative analysis of Romain Gary's Genghis Cohn's Dance, Quentin Tarantino's Inglourious basterds and Mieczyslaw Weinberg's The Passsenger. This study aims to highlight the progressive shift of the real to the fiction that artists put in place in their works and analyze it to reveal the issues. Then to highlight the fictional artifices used by artists as revelators and to emphasize their contributions to the theme of the Holocaust, and finally to contemplate the omnipotence of art which, at the time of its advent, acquires absolute freedom, power as it allows him to bring out characters from beyond the grave, to symbolically summon those who have escaped and to put to death Hitler and all that he represents, the time of fiction. If these daring ventures are jubilant, they are no less revealing. Indeed, they emphasize, in negative, our helplessness in the face of the horror of reality. Because as Laurent Binet says in HhhH: " History is the only real fatality : it can be re-read in all directions, but we can not rewrite it. "
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Esther Grimalt. La mise en fiction de la Shoah dans la Danse de Gengis Cohn de Romain GARY, Inglourious Basterds de Quentin TARANTINO et The Passenger de Mieczyslaw WEINBERG. Linguistique. Université d'Avignon, 2019. Français. ⟨NNT : 2019AVIG1195⟩. ⟨tel-02497033⟩



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