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7.4.3 A Scrap of Time, part 3

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大屠杀：欧洲犹太人的灭顶之灾

加州大学圣克鲁兹分校

4.6（131 個評分） | 14K 名學生已註冊

The Holocaust: The Destruction of European Jewry is an adaptation of an on-campus course that has been co-taught by Murray Baumgarten, Distinguished Professor of English and Comparative Literature (Literature Department), and Peter Kenez, Professor Emeritus (History Department), for over 20 years at UC Santa Cruz. In this course, you will explore the Holocaust from the overlapping perspectives of literature and history—through memoirs, historical documents, poetry, documentary footage, filmic representations, and novels. You will expand your knowledge of the literature of the Holocaust, Eastern and Western European Jewish communities, the origins and development of antisemitism, the establishment of labor and extermination camps, resistance movements, and the Holocaust as a problem for world history. There is more than one way to take this course: You can complete all of the activities (and earn a Verified Certificate) or only the activities that are most interesting to you. Whatever you choose to do, we encourage you to find a havruta (a study partner) in your community or in the Coursera community so that you can experience the course in a more interactive and meaningful way.

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4.6（131 個評分）

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JB

Mar 05, 2017

Took this course for job purposes. It is great for everyone, although I believe that people with some background in comparative literature will benefit from it the most,

KN

Jun 20, 2016

Dark and disturbing though the course material is, this course is an absolute must for all who are interested in the Shoah and the depths of mans' inhumanity.

從本節課中

Deportation and extermination

In this module Profs. Baumgarten and Kenez discuss the Holocaust in Western Europe, the complex history of Hungary, Imre Kertész’s Fatelessness, and Ida Fink’s A Scrap of Time.

7.4.1 A Scrap of Time, part 18:52

7.4.2 A Scrap of Time, part 215:09

7.4.3 A Scrap of Time, part 310:59

7.4.4 A Scrap of Time, part 410:21

7.4.5 A Scrap of Time, part 510:49

教學方

Murray Baumgarten
Distinguished Professor of English & Comparative Literature
Peter Kenez
Professor Emeritus

腳本

So the problem of these stories is how do you get people to talk.

Now you may remember that early in the quarter I talked about.

Jewish writing, and quoted a friend who said

that Jewish writing is two Jews talking,

that literature written by Jews is about a narrator and

a listener, and those of you interested in linguistics and

computers know that there is a signal and

that which receives the signal, right, and we could play with that.

So, I'm proposing that A Scrap of Time is,

even more than Facebook, it's dynamic.

And so I was toying with this.

I said, should we call it Jews' Book?

And that time in the Jews Book' family album Is both dynamic,

it's changing all the time, and also is a scrap of time,

so it involves us in more than listening, and touching, and seeing.

And so

his collection of stories asks us, what is a scrap of time?

And she says right away it's measured not in months,

not this was a beautiful month of May But

after the first [FOREIGN], action, or the second, or

the third, or after the children were brought out, right?

And murdered.

And there's a whole longer story.

I think it's the third story in the book called Behind The Hedge.

You may remember Behind The Hedge as the story of

a servant and an old woman, and

neither of them is Jewish, and they're talking about

the garden that was planted and what is behind the hedge.

There's a hedge.

It provides some kind of shelter and then there's the flowers and

the old woman is thinking about it, and she's dependent upon

her servant Agafia, and

she says, we have to think about this.

There's also a little moment when The Nazis are there and

this is a nice house with a garden, but somehow the servant has

figured out a way to keep the Nazis from requisitioning the house.

There's just a little moment there,

you should see if you can find out how she does this.

The servant gets out and about and

sees things, the owner, whose husband has died, is in a wheelchair and

she's dependent on the servant to tell her what is happening.

So again we have now a bystander and a witness, and

remember, this is probably all taking place in different parts of Poland,

and, as Peter has told us, the Nazis put their death camps in Poland

because they didn't care that the Poles would know about this.

So we have lots of bystanders, lots of witnesses.

And Agathea tells about going

to get some flour, and suddenly

realizing the horse on the cart

knows something bad is happening.

She stops and

then they hear the shots.

They wait.

They suddenly realize where they're sitting they can see things,

and one of things they see is a very beautiful young girl,

young Jewish girl, and as is, the way the Nazis did it,

everybody takes off their clothes,

they dig their grave, and the young girl is so beautiful,

that the soldier who was told to kill her, can't do it.

So we suddenly see, she sees, Agafia sees, that another man rushes over and

pushes the soldier aside and kills the young girl, and Agafia says,

and she had little fingers and you see them as she falls into the grave.

Why is Agafia telling her patron, her boss about this?

Because they both remember that, a day before,

the boss in her wheelchair was out there looking at the garden and

suddenly she sees this young girl, Lying,

she says, half naked behind the hedge,

and the young girl behind the hedge.

She's 15, is making love with a young boy,

and this older woman yells at them,

and says, at your age!

How could you do this?

The young girl said she's sorry, but

the older woman yells at her again, whereupon the young girl answers and says,

the only thing we're allowed to do is to be killed.

This is very direct, and it's this young girl whom the servant sees killed.

This is very direct narration, very direct story telling,

but we know who's telling it and to whom.

The story is called Behind The Hedge.

These stories deserve

the kind of analysis that poetry gets.

In fact,

I tell people when I teach poetry, you should memorize poetry.

Perhaps one of these stories should be memorized by you.

Perhaps they will be burned into your consciousness and

you will have memorized them whether you know it or not.

So, these stories are dynamic,

they're snapshots,

as I said, they are all kinds

of different stories.

There's a diary story, there's a memoir story, there's a history.

Some of them are religious.

Some are existential but all of them in some ways are bildungsromans

about how some character got crystallized and as bildungsroman,

there's somebody speaking in the story to somebody else,

but there's also somebody speaking to us, and

there's a bystander and a witness and a speaker.

So my hypothesis, and it's up to you to tell me

if it was really too many late nights, or too many early mornings.

Do these stories make us, the reader,

who are the receivers of these stories, into witnesses?

And then if this is the Jews' Book Facebook,

Are these stories in some ways selfies, right?

You all know what a selfie is.

You do it all the time.

But these are stories of us.

That Agafia's boss is very upset because this could be her.

She too could be condemned to death.

And maybe she knows that in the Nazi program, after the Jews, the Poles.

So, these stories, then,

are stories that are addressed to us, the reader.

In what way does the reader become a witness?

And so I've now proposed something to you

that's very much what you know in your daily lives.

The witness is someone who is inscribed in the story,

and the story then is a self-picture.

In this dynamic way.

Well, I think I should give you

some more possible examples.

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