Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).Additional informationNotes on contributorsArleen IonescuArleen Ionescu is Tenured Professor of English Literature and Critical Theory at Shanghai Jiao Tong University. Her major research interests are in the fields of Modernist prose, Critical Theory, Memory Studies, Holocaust and Trauma Studies. Her work on James Joyce and related aspects of Modernism, Maurice Blanchot, Jacques Derrida, Samuel Beckett as well as on various aspects of historical trauma has appeared in James Joyce Quarterly, Journal of Modern Literature, Joyce Studies Annual, Memory Studies, Oxford Literary Review, Paragraph, Parallax, Partial Answers, SLOVO, and Style, among others. She is joint Editor-in-Chief of Word and Text â A Journal of Literary Studies and Linguistics. Her books include Romanian Joyce: From Hostility to Hospitality (Peter Lang, 2014), The Memorial Ethics of Libeskindâs Berlin Jewish Museum (Palgrave, 2017) and, co-edited with Maria Margaroni, Arts of Healing: Cultural Narratives of Trauma (Rowman and Littlefield International, 2020). Email: anionescu@sjtu.edu.cnNotes1 Cowley, âIntroduction,â xvii.2 See, for instance, LaCapra, âTrauma, Absence, Loss,â 723.3 Rothberg, The Implicated Subject, 1.4 Agnew, âAn Introduction,â 327.5 Agnew, âHistoryâs Affective Turn,â 300.6 Erickson, âThe Real Movie,â 108.7 Laqueur, âThe Holocaust Museum,â 31.8 Perry, âThe Holocaust Is Present,â 173.9 See LaCapraâs development in Writing History, Writing Trauma, 91â94.10 Adorno, âCultural Criticism and Society,â 34; also 70, 73.11 Adorno, Negative Dialectics, 362.12 Ionescu, Memorial Ethics, 49.13 Zimmerman, âManifesto for a Ludic Century,â 19, 20.14 See, among others, Young, âThe Holocaust as Vicarious Past;â Mandel, âThe Story of My Death;â Loman, âThe Canonization of Maus.â15 Hirsch, Family Frames, 13.16 Chapman and Linderoth, âExploring the Limits of Play,â 149.17 Feinstein, âPushing the Limits of Artistic Representation,â 726.18 See the artistâs webpage on the Tateâs website at https://www.tate.org.uk/art/artists/zbigniew-libera-13716.19 Kleeblatt (ed.), Mirroring Evil.20 van Alphen, âPlaying the Holocaust,â 77. See also Janisz, âAtrocity and Aesthetics;â Feinstein, âZbigniew Liberaâs Lego Concentration Camp;â Young, The Stages of Memory, 147â148.21 Ionescu, Memorial Ethics, 164.22 Chapman, Digital Games as History, 222.23 Anable, Playing with Feelings, xii.24 Pötzsch, âSelective Realism.â25 McKeand, âVideogamesâ Portrayal of the HolocaustâŠâ26 Ibid. See also Pfister, ââOf Monsters and Menââ for a discussion of the ânaive distinction between âevilâ Nazis and normal German soldiersâ in Call of Duty: WWII.27 Rohrbough, âRacist Computer Games.â See also âVideo Game Uncovered.â28 See the list of prohibited games in âRacist Groups Use Computer Gaming to Promote Hateâ.29 Galloway, âSocial Realism in Gaming.â30 Waxman, âVideo Games May Be Key to Keeping World War II Memory Alive.â31 See Gardner, âDoes a VR Auschwitz Simulation Cross an Ethical Line?;â de Jong, âWitness Auschwitz?;â and, more generally, Lebovic, âThe âVirtualâ Future of Holocaust EducationâŠâ32 See Webster, ââImagination Is the Only EscapeââŠ;â Parker, âInside Controversial Game.â33 Kansteiner, âTransnational Holocaust Memory,â 313.34 Frasca, âEphemeral Games,â 181 and 177.35 Langer, Admitting the Holocaust, 80.36 Levi, The Drowned and the Saved, 2430â2456. See also Spargo, âSophieâs Choice,â 153; Tessman, Moral Failure, 162.37 Rothberg, The Implicated Subject, 38.38 Langer, Versions of Survival, 72.39 See Sicart, Beyond Choices, especially âDefining Ethical Gameplay,â 5â25. Sicart had already explored the notion and experience of âethical gameplayâ in The Ethics of Computer Games and âDigital Games as Ethical Technologies,â the latter offering the most concise definition: âBy ethical gameplay I am referring to the experience of a game by an agent that takes choices based on moral principles, rather than instrumental ones.â (105).40 Ć isler, âAttentat 1942.â41 See Ć isler, âContested Memories of WarâŠ;â Pötzsch and Ć isler, âPlaying Cultural Memory.â42 See Anable, Playing with Feelings, 131â134.43 Ć isler, âAttentat 1942.â44 Ibid.45 Laub, âBearing Witness,â in Felman and Laub, Testimonies, 71.46 Lothe, Suleiman and Phelan, âIntroduction,â 3.47 Felman and Laub, âForward,â in Testimony, xiv.48 Laub, âAn Event Without a Witness,â 75.49 Ibid., 76.50 Ibid., 76.51 Trezise, Witnessing Witnessing, 9.52 For this notion, see Hirsch, Family Frames; Hirsch, The Generation of Postmemory; Schwab, Haunting Legacies, passim.53 Richardson and Schankweiler, âIntroduction,â 237.54 Caruth, Unclaimed Experience; LaCapra, Representing the Holocaust.55 Goldberg, Trauma in First Person, 39.56 Laub, âAn Event Without a Witness,â 78â79.57 Charles Games, Attentat 1942 (Prague: Charles University, Czech Academy of Sciences, 2017), from which all subsequent quotations are also derived.58 Caruth, Unclaimed Experience, 92, 91.59 For a synthesis of these debates, see Ionescu, âForgiving as Self-Healing?â60 See Goldberg, âAn Interview with Professor Dominick LaCapra.â61 Caruth, âA Record That Has Yet to Be Made,â 49.62 Sirlin, William Styronâs Sophieâs Choice, 16.63 Ibid., 16.