Abstract
<p class="Abstract">Such cultural experiences have a possibility to be embedded
 in a memory of one generation. But there are mostly in form of traumatic
 experiences. And then, we learn that these memories could be transferred onto
 their children, or we could say it as “post generation”. In the novel <i>Dora Bruder</i>, such things happen when the
 author, Patrick Modiano, plays his attribute in composing genres to arrange and
 transfer his message. The story mainly concerns as the narrator try to find a
 missing girl named Dora Bruder. She was gone in 1941, or in the moment when
 Nazi was occupying France. This research aims to discover the relationship
 between the role of genre on emerging the message, particularly the traumatic
 ones by using the concept of genre and postmemory. From the analysis we
 conclude that Modiano use genres to transfer his message traumatic. It exists
 in form of the impression of absence. From the sensation of absence, he
 continues to transmit consecutively another impression of hollow, doubt, and
 also hope. For transferring his message and memory, Modiano mixes real
 documents and his fiction. He manifest them by constructing a story of another
 person and narrating it from the first-person point of view. He uses this
 technique to identify himself, because the “shared idea” of one’s could be
 related with another’s.</p>
Highlights
Parlant l’Holocauste, cela ne veut dire seulement pas qu’on parlant la guerre, mais aussi le traumatisme qui se fossilise au corps des survivants
Damamme-Gilbert (2015) continue que si notre parole sur ses romans vient de seulement un genre rigide, on ne peut jamais rencontrer la plus intense discussion
Expliquant par Gratton (2004), que des photographies en fait sont les ressources fragmentaires et le fond de construction de travail de post mémoire
Summary
Parlant l’Holocauste, cela ne veut dire seulement pas qu’on parlant la guerre, mais aussi le traumatisme qui se fossilise au corps des survivants. Cité de Eva Hoffman (2004), l’écrivain et en même temps l’un des post générations ; pour elle et les gens qui sont nées après cela, le monde émerge de laquelle et ne vient jamais de l’utérus de ses mères. Parmi les productions culturelles consistent les problèmes de la seconde guerre surtout de l’Holocauste en France, Modiano souvent a été cite comme un personnage majeur dans le processus de confrontation avec le passé obscur de l’Occupation (Damamme-Gilbert, 2015). Damamme-Gilbert (2015) continue que si notre parole sur ses romans vient de seulement un genre rigide, on ne peut jamais rencontrer la plus intense discussion. Elle nous offre que chaque concept diffèrent veut nous aider d’examiner mieux les œuvres de Modiano, dans ce contexte, Dora Bruder
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