Abstract
ABSTRACTIn July/August 1946, American psychologist David Pablo Boder visited displaced persons (DP) camps in France, Switzerland, and Germany, where he recorded audio-interviews with recent concentration camps inmates. In 1948, Boder proposed for publication a selection of interviews recorded verbatim, together with a brief historical survey and a detailed analysis of one of the interviews from his selection. For his analysis, Boder chose the Formalist methodology of textual reading. Evidently inspired by interest in the phenomenon of the sounding word in turn-of-the-century Russian culture, he believed that the collections of victims’ audio-testimonies would be perceived, using today’s terminology, as multi-media art of the catastrophe. This article focuses on the aesthetic component of Boder’s project, namely, his interpretation of victims’ testimonies from the point of view of literature as art, while also analyzing his concept of the particular aesthetic value of the testimonies and their broader relevance.
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