{"created":"2021-03-01T06:36:12.701015+00:00","id":28151,"links":{},"metadata":{"_buckets":{"deposit":"b02696e9-d91c-4e40-869d-551d98178b87"},"_deposit":{"id":"28151","owners":[],"pid":{"revision_id":0,"type":"depid","value":"28151"},"status":"published"},"_oai":{"id":"oai:nagoya.repo.nii.ac.jp:00028151","sets":["326:521:2321:2413"]},"author_link":["91586","91587"],"item_1615768549627":{"attribute_name":"出版タイプ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_9_alternative_title_19":{"attribute_name":"その他のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"An Alternative Voice for the Holocaust : A Feigned Child Narrator in Imre Kertész's Fatelessness","subitem_alternative_title_language":"en"}]},"item_9_biblio_info_6":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2015-11-30","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"26","bibliographicPageStart":"1","bibliographicVolumeNumber":"48","bibliographic_titles":[{"bibliographic_title":"IVY","bibliographic_titleLang":"en"}]}]},"item_9_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"In 2002, Imre Kertész, a Hungarian Holocaust survivor was awarded the Nobel Prize in Literature. His first work, Sorstalanság, was written as a 'novel', according to the author, in 1973. However, the circumstances of the protagonist, Gyuri, are fairly similar to those of Kertész, himself, who was born in 1929 and deported to Auschwitz in 1944. Sorstalanság was translated from Hungarian into English, first as Fateless in 1992 and then as Fatelessness in 2004. Its delayed translation and the long interval between the original publication and acquisition of a larger reading public reflects the book's distinctiveness from the canonical Holocaust memoirs such as those by Primo Levi or Viktor Frankl. Andrea Reiter regards Fatelessness as an 'in-camp memoir' and claims that the child's perspective adopted by the author throughout the text has a strong defamiliarlizing effect. Through that effect, contemporary readers, saturated in various kinds of Holocaust representation, are given fresh insight into the Final Solution. The child's perspective, she argues, allows readers to interpret the narrative as ironic, impeding any anticipated sentimentalism and easy sympathy towards the protagonist. Robert Eaglestone, on the other hand, asserts that Fatelessness is a fiction because of the 'insights about the nature of fate' and the ways or the forms in which they are represented. Hillis Miller also analyses Fatelessness as a work of fiction and especially as 'fiction as testimony', finding performative enunciation in the novel that could be ascribed to testimony. Neither critic renders as much significance to the protagonist's child perspective as Reiter. While based on these narratological readings above, this paper seeks further distinctive qualities of Fatelessness in its development, rhetoric, and leitmotif to account for their specific effects on readers. The typical pattern of Holocaust memoirs is presented by Barbara Foley as four stages: 'innocence, initiation, endurance, escape'. In Fatelessness, however, the first stage of pre-Holocaust days is missing, and the narrative begins suddenly with the description of the day Gyuri has to see his father off to a labour camp. He seems to have no innocent past to long for. As to the second stage of initiation, he tries to pretend 'mundane' life is being maintained. During the endurance and survival stage, he allows himself to identify ·with the Nazi and then falls into the state of 'Muslims' at the bottom of his emaciation. His depiction of extreme frailty from the inside, supposed to be impossible, sounds unexpectedly convincing here because the author so tactfully utilizes the flexibility of fiction. The final part of escape or the stage of liberation and its aftermath is scattered with failed conversations between Gyuri and the people meeting him in his homeland. In the course of dysfunctional communication at this final stage, the leitmotif of Fatelesness seems to be voiced through the mouth of the young protagonist. It is, however, actually the ultimate knowledge the author has attained through his devastating experience during and after the Holocaust. The most unacceptable or problematic piece of his insight for Gyuri's acquaintances and readers alike is that prosecutors, bystanders, and victims equally have agency at any given moment. By that metric, even victims were not entirely passive while they were standing near the ramp, waiting to be selected by the Nazis. They were oriented towards annihilation by themselves without knowing. This particular notion was reinforced after the war, when the author happened to see photos taken by an SS soldier depicting victims with meek, cooperative faces exiting the boxcar at Birkenau. Thus, the enigmatic title Fatelessness came into being as a significant leitmotif, meaning that they are not yielding to what fate will do to them, but they them1selves act as fate, making something happen even if it is fatal to them. This idea also works as an alternative notion to such as those suggested in authentic memoirs. In addition to the generic or thematic features above, the protagonist's excessive repetition of the phrase 'naturally' also acts as an effective device to control readers' responses. This seemingly adolescent phrase was originally adopted from a letter actually written by his detested stepmother. The word is filled with the author's negative emotion towards her. Readers are confused, rejected, or irritated by this phrase just like the journalist who urges Gyuri to account for 'the hell of the camps'. As Eaglestone suggests, readers of the Holocaust representations are demanded to understand the suffering through their identification with those who suffered. This identification, however, muse be intrinsically impossible as readers and authors as sufferers, in reality, have nothing in common. Kertész, expecting easy or misled sympathy from the outsiders, should feel the need to impede their problematic commitment without suspending his ultimate purpose of imparting the legacy of the Holocaust. In Fatelessness, the child narrator has such a strong defamiliarizing impact with its peculiar perspective and ironic narration as to reduce the saturation effect infecting contemporary readers. It also works as a practical impediment to sentimentalism and easy sympathy triggered more easily by children as vulnerable beings. However, the distinctive features of development, leitmotif, and rhetoric of Fatelessness have further dimension of consequences imposed on readers. Kertész, behind the artificially recollected figure of his younger self, strategically tries to blur readers' sense of the genre and to disrupt their expectations about the progress, occasionally incorporating his own mature voice and ideas. The author himself definitely knows that readers are influenced especially by the genres of preceding canonical Holocaust representations, some of which involuntarily induce inappropriate identification from readers. Therefore, Kertész tries to elicit or produce other modes of reading by narrating in an alternative voice he exclusively attained during and after the Holocaust.","subitem_description_language":"en","subitem_description_type":"Abstract"}]},"item_9_publisher_32":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"名古屋大学英文学会","subitem_publisher_language":"ja"},{"subitem_publisher":"The society of english literature and linguistics Nagoya University","subitem_publisher_language":"en"}]},"item_9_select_15":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_select_item":"publisher"}]},"item_9_source_id_7":{"attribute_name":"ISSN（print）","attribute_value_mlt":[{"subitem_source_identifier":"0914-2266","subitem_source_identifier_type":"PISSN"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"open access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_abf2"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"河野, 哲子","creatorNameLang":"ja"}],"nameIdentifiers":[{"nameIdentifier":"91586","nameIdentifierScheme":"WEKO"}]},{"creatorNames":[{"creatorName":"Kono, Tetsuko","creatorNameLang":"en"}],"nameIdentifiers":[{"nameIdentifier":"91587","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2019-05-27"}],"displaytype":"detail","filename":"ivy_48_1.pdf","filesize":[{"value":"881.4 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"ivy_48_1.pdf","objectType":"fulltext","url":"https://nagoya.repo.nii.ac.jp/record/28151/files/ivy_48_1.pdf"},"version_id":"7c1bc0bf-0420-4f8a-a488-df047f0225e8"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"ホロコーストの新たな語り : イムレ・ケルテースFatelessnessにおける<子ども>の語り手","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"ホロコーストの新たな語り : イムレ・ケルテースFatelessnessにおける<子ども>の語り手","subitem_title_language":"ja"}]},"item_type_id":"9","owner":"1","path":["2413"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2019-05-27"},"publish_date":"2019-05-27","publish_status":"0","recid":"28151","relation_version_is_last":true,"title":["ホロコーストの新たな語り : イムレ・ケルテースFatelessnessにおける<子ども>の語り手"],"weko_creator_id":"1","weko_shared_id":-1},"updated":"2023-01-16T04:20:31.992447+00:00"}