Abstract
The literature on representing the concentration camp complex of Mittelbau-Dora and the adjacent underground rocket factory Mittelwerke is so large that comprehensive approaches to the topic need a broad methodological framework. We propose a model that distinguishes between fictional, historiographical, and what we tentatively term “traumatographical” modes of writing on the subject. Focusing on the Dora -related passages in Thomas Pynchon's Gravity's Rainbow (1973), we show that privileging one of these modes at the cost of the others leads to a one-sided depiction of the historical referent. Every individual representation should therefore situate itself in relation to the other two modes of representation.
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