Abstract
In reconfiguring the Otherness and radical evil of the Nazi Other in her post-Holocaust retelling, Louise Murphy appropriates a system of vampiric codes and signs, the semiotics of vampirism, to accomplish two goals: First, to underwrite the Oberführer's obsession with revitalizing his body and the fascist body politic. Second, to reveal the projective displacement inherent to the demonization of the Jews in the anti-Semitic Nazi racial ideology.
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