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 Volume 16/1: includes forum "Victorian Women Traveling"
 January 2018

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 June 2017

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 January 2017

 Volume 14/2: includes forum "Modern Jewish Spaces"
 June 2016

 Volume 14/1: includes forum Saul Bellow as a Novelist of Ideas
 January 2016

 Volume 13/2: includes forum Comics and the Canon

 Volume 13/1: includes forum The Ghetto as a Victorian Text

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 June 2014

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 Volume 11/2 includes Forum: Translating Philip Roth
 June 2013

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 Volume 9/2: Dickens: Uneasy Pleasures
 June 2011

 Volume 9/1
 January 2011

 Volume 8/2: British Women Writers
 June 2010

 Volume 8/1 includes forum The Ethics of Temporality
 January 2010

 Volume 7/2: Eyewitness Narratives
 June 2009

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 January 2009

 Volume 6/2: Narrative Knowing, Living, Telling
 June 2008

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 Volume 4/2: Narrative as a Way of Thinking
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 Quick Article Search

   Newest Articles

 Sounding Postmodernity
 Jarmila Mildorf

 Narrativity and Sound in German Radio Play Adaptations of Paul Austerís The New York Trilogy
 Till Kinzel

 Non-Sovereign Voices in Friederike Mayröckerís Aural Texts
 Inge Arteel

 Singing Thomas Pynchonís Gravityís Rainbow
 Anahita Rouyan

 Being Silent, Doing Nothing
 Agatha Frischmuth

 Musical Macrostructures in The Gold Bug Variations and Orfeo by Richard Powers; or, Toward a Media-Conscious Audionarratology
 A. Elisabeth Reichel

 New Modes of Listening
 Emily Petermann

 Narrating Sounds
 Jarmila Mildorf and Till Kinzel

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Updated Up To 18/01/2017
Volume 7, Number 2 (June 2009) : 201--12
Eye and I
Negotiating Distance in Eyewitness Narrative
Paul John Eakin
Rubric A: Eyewitness Narratives



Eyewitness narratives promise immediacy, the authority of you-are-there witness to the events of the past. Such narratives, however, whether those by comparatively removed witness-observers or those by more directly involved witness-participants, pose difficult problems of distance. How do the limits and possibilities of eyewitness experience contribute to working through the identity concerns that autobiographies typically engage? Revisiting history in their relational autobiographies, Passage to Ararat and Maus, Michael Arlen and Art Spiegelman look to eyewitness narrative to bridge the gap that separates them from their fathers. In her Holocaust memoir, Still Alive, by contrast, Ruth Kluger takes a darker view, exposing the manifold registers of distance -- linguistic, psychological, epistemological -- that complicate her own and any quest to stand at the eyewitness ground zero of biographical and historical knowledge.

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