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WHAT’S HAUNTING MICHAEL ZEV GORDON? POSTMEMORY AND THE LIMITS OF REPRESENTATION IN GORDON’S A KIND OF HAUNTING
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Abstract
This article explores the extent to which Michael Zev Gordon’s
A Kind of Haunting
is a work of postmemory, a concept defined and refined by Marianne Hirsch to describe memories inherited by the generations that follow one that has experienced great collective trauma. I complicate some of the claims around the efficacy of music as a site of postmemorial aesthetics by considering the limits of musical representation in Gordon’s work via theories of spectacle and orientalism.
Title: WHAT’S HAUNTING MICHAEL ZEV GORDON? POSTMEMORY AND THE LIMITS OF REPRESENTATION IN GORDON’S
A KIND OF HAUNTING
Description:
Abstract
This article explores the extent to which Michael Zev Gordon’s
A Kind of Haunting
is a work of postmemory, a concept defined and refined by Marianne Hirsch to describe memories inherited by the generations that follow one that has experienced great collective trauma.
I complicate some of the claims around the efficacy of music as a site of postmemorial aesthetics by considering the limits of musical representation in Gordon’s work via theories of spectacle and orientalism.
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