Max Aub: The Representation Of Life And Memory Deformation

Max Aub: the representation of life and memory deformation

The study that we will address in the subsequent pages of this thesis highlights the importance of the production and circulation of life representations and the deformation of the memory that occurred in the concentration fields. Essentially, if the intended is the construction of a collective memory that warns and is able to expose the voices of those who are no longer, the non -alive of Primo Levi. But that forged memory between spikes and crimes completes its testimonial value and its gaps with the recombination of the literary work: the magic labyrinth and the newspapers of Max Aub (1903 – 1972). A memory policy necessarily refers us to a policy of representation, to a memory of fiction;consequently to a memory of the file that becomes oblivion, which converges in a literary memory. Prior to any memoristic recovery, a discursive construction of the instant event is necessary. 

It is through the representation of life, the voices of the extermination field, of the collapse and the depersonalization of the subjectivity that occurs in the fields as the subject is built in the discourse. The enunciation of the testimony is granted a therapeutic function and the staging of an individual experience a collective-individual experience of another observer is linked, but what gives it legitimacy to the memory of the indelible is. AUB intends to generate a “awareness and denouncing” reaction trying to make the reader reflected in the victim and his prosopopeya.

The victim, only to represent the here and now, decontextualizing and deforming the outside. It seems as if at the moment when the subject begins to be linked as a effect of concentration dynamics, the story is loaded with subjectivity then novel, then magic labyrinth. Agamben in his trilogy Homo priest, analyzes the field as the regulator of the disconnection of several elements: the legal regime, the territory and the nudavid stripped of its political sense, on which the modern world is based. This is what he calls a state of exception. The concentration camp opens at the moment when the state of exception becomes a rule and politics is transformed into biopolitics. The fields produce the figure of the vagabundo or Julio Hoffman, (French countryside), located between the living and the dead, between subject and object, forcing us to rethink the traditional ethics and to review the testimonial complex. 

The experiential testimony such as the deferred testimony are responsible for the separation between the survivor, the Prosopopeya, the post -Memory, who narrates it and the language, testimoniating is to account for the radical process of that dislocation. In this way, a new subject is built so powerful as to refuse itself until the impossibility of using the "I" and its technology as a cultural artifact. Although we run the risk of dividing the experience showing each case as unique and emptying the social memory of its collective dimension, it is very difficult to stop testimoniating after the experience of such horror;To complete the Mudos Mox Aub interstices, it does so with the novel and the newspapers accrued in literature. Novel, poetry, diary and testimony are thus united in the same fight against atrocious reality and against what would be expected of a committed political discourse. For the oblique function of its testimony, Aubian literature manages to gather the survivor and the witness and, returning the word to those who have lost it, suggests in its own way what the testimony fails to say, becoming a testimony of the testimony, in archiveof the file and in the memory of oblivion. Where the prose explains, the newspaper includes and the magical labyrinth expands and propagates the memory. It has tried to expose the idea that the symbolic language of indirect or deferred testimony turns out to be, if not the only one, yes the best exit, of the labyrinth, which Max Aub finds to express his concentration experience. 

Poetry in Djelfa newspapers scares its particular demons and allows you to cope with, if we are allowed to use this verb, a completely hostile means for the human being. Even authors such as Semprún who opt for the autobiographical story recognize that the only possibility of partially conveying the quasi molecular substance of the ontological experience lies in artistic expression. This thesis will deal with field figures, memory deformation and life representations, since these topics irremediably guide us by the Urde September of an extremely complex conceptual network through the socio -political problem of concentration camps in the centuryXX and Max Aub, through his work, the magical labyrinth and the newspapers, is the galvanic thread of pain and the architect of, through his literature, to re -endow the man with memory and stolen humanity.

Keeping alive in the lethal space that we will account for in this thesis is not easy and makes the human or what remains of him, the lowest passions, the lowest passions. Luck and cruelty without limits are the passport for survival, "adapt or die" says the motto. The field has instituted a new form of death, contact with nothing. He strips the individual of his identity through a series of perfectly delineated mechanisms and that even causes a feeling of guilt and shame that brushes the sinister. In addition to the moral breakup, the confinement attends the destruction of its space and its time. Locked up, presence how they delete their past and leave no option to their future. They are dehumanized and dominated. The extreme conditions to which they are submitted, the forced labor and the violence that support their weak bodies encourage the ruin of the subject, the creation of the tramp, character in the French countryside despite the fact that h. Arendt sees in concentrational testimonies an acquired responsibility for such a savage. The exception relationship is not exclusive to regimes where the law has been suspended but is structural to any political regime. 

Fortunately, not everything was lost;Something in the most remote of the human being remains alive and makes the testimony and memory the basis of the recovery of the vanished humanity and even the opening of a world that has been flagelled by the entrance to the labyrinth and willing to repair theIt is so that Max Aub educates us that the only way to tell the unnameable is through literature. Literature plays a crucial role in the transmission of these events;Contrary to what can be thought or elucidated, "stetizing" horror does not subtract an apex of value to the narrated. Each subject addresses their experiences in a particular way, which gives rise to testimonies such as the cousin Levi to which the narration of the facts allows himVerosimilitude to the narrated, the magical labyrinth, the literaturized newspapers, have as much real burden as the effect of reality of the facts settled in the annals of the story.