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Chapitre d'ouvrage

Babi Yar : le récit poétique et musical contre l'effacement

Résumé : The place that the massacre of Babi Yar (Kiev, 1941) occupied (or did not occupy) in what we are accustomed to calling today the Soviet collective (public, state) memory, bears witness to an erasure that took place on three occasions and whose successive stages can be summarised as follows: erasure of the Jews of Kiev, erasure of the traces and places of the erasure, erasure of the memory of the witnesses to the erasure. Some twenty years after Babi Yar, in order to re-inscribe the event in Soviet culture and memory, the poet Yevgeny Yevtushenko and the composer Dmitri Shostakovich became the interpreters (the voices, in the literal sense of the word) of a genocidal episode which, having been constantly denied, nevertheless remains the monad of the Shoah as a whole in the territories of the former USSR. They succeeded in fighting the violence of the erasure by giving it a sonorous form: the clash of the verses, then the clash of the music came to tear the veil of silence that surrounded Babi Yar, thus allowing an activation of the prosthetic memory.
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Contributeur : Catherine Géry <>
Soumis le : jeudi 4 février 2021 - 14:51:23
Dernière modification le : mercredi 17 février 2021 - 03:25:43
Archivage à long terme le : : mercredi 5 mai 2021 - 19:02:31


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  • HAL Id : hal-03131581, version 1



Catherine Géry. Babi Yar : le récit poétique et musical contre l'effacement. Marie-Caroline Saglio-Yatzimirsky. Violence et Récit. Dire, traduire, transmettre le génocide et l’exil, Hermann, 2020. ⟨hal-03131581⟩



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