Uncanny survivors and the Nazi beast: Monstrous imagination in See under: Love

In the past three decades, as writers have grappled with the legacy of the Holocaust and its aftermath, figures of the uncanny—such as ghosts, monsters, and mythic beings—have consistently appeared as salient metaphors in Holocaust fiction. As symbols of the vexed relationship between Jewish past and present, monstrous creatures demand that readers examine what it means to be human in a post-Holocaust universe, a universe that has exhibited an extreme capacity for inhumanity. This essay examines David Grossman’s See Under: Love—especially its renowned first chapter, “Momik”—as one of the most effective Holocaust narratives to employ a monster motif. The “Nazi Beast” and eerie survivors in the novel self-consciously call into question the strategies writers and readers use when wrestling with ideas about postwar trauma. By exploring the ethical and aesthetic implications of Momik’s “Beast” this essay also asks what is gained or lost by using such an overdetermined symbol as the monster to grapple with the equally problematic constructions of both perpetrators and traumatized survivors

On Eforgan's Leslie Howard: The Lost Actor

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Uncanny survivors and the Nazi beast: Monstrous imagination in See under: Love

In the past three decades, as writers have grappled with the legacy of the Holocaust and its aftermath, figures of the uncanny—such as ghosts, monsters, and mythic beings—have consistently appeared as salient metaphors in Holocaust fiction. As symbols of the vexed relationship between Jewish past and present, monstrous creatures demand that readers examine what it means to be human in a post-Holocaust universe, a universe that has exhibited an extreme capacity for inhumanity. This essay examines David Grossman’s See Under: Love—especially its renowned first chapter, “Momik”—as one of the most effective Holocaust narratives to employ a monster motif. The “Nazi Beast” and eerie survivors in the novel self-consciously call into question the strategies writers and readers use when wrestling with ideas about postwar trauma. By exploring the ethical and aesthetic implications of Momik’s “Beast” this essay also asks what is gained or lost by using such an overdetermined symbol as the monster to grapple with the equally problematic constructions of both perpetrators and traumatized survivors

Ercc1 Deficiency Promotes Tumorigenesis and Increases Cisplatin Sensitivity in a Tp53 Context-Specific Manner

KRAS-mutant lung adenocarcinoma is among the most common cancer entities and, in advanced stages, typically displays poor prognosis due to acquired resistance against chemotherapy, which is still largely based on cisplatin-containing combination regimens. Mechanisms of cisplatin resistance have been extensively investigated, and ERCC1 has emerged as a key player due to its central role in the repair of cisplatin-induced DNA lesions. However, clinical data have not unequivocally confirmed ERCC1 status as a predictor of the response to cisplatin treatment. Therefore, we employed an autochthonous mouse model of Kras-driven lung adenocarcinoma resembling human lung adenocarcinoma to investigate the role of Ercc1 in the response to cisplatin treatment. Our data show that Ercc1 deficiency in Tp53-deficient murine lung adenocarcinoma induces a more aggressive tumor phenotype that displays enhanced sensitivity to cisplatin treatment. Furthermore, tumors that relapsed after cisplatin treatment in our model develop a robust etoposide sensitivity that is independent of the Ercc1 status and depends solely on previous cisplatin exposure. Our results provide a solid rationale for further investigation of the possibility of preselection of lung adenocarcinoma patients according to the functional ERCC1- and mutational TP53 status, where functionally ERCC1-incompetent patients might benefit from sequential cisplatin and etoposide chemotherapy. (C)2016 AACR