Auschwitz as hermeneutic rupture, differend, and image 'malgre tout': Jameson, Lyotard, Didi-Huberman

Begins with a critique of how two classic elaborations of the postmodern condition - by Frederic Jameson and Jean-Francois Lyotard - deploy Auschwitz as a transitive symbol of hermeneutic impasse or of an absolute limit to thought and representation. The second part of the essay explores a polemic between, on one side, the art historian Georges Didi-Huberman and, on the other, Claude Lanzmann about the photographic representability of the Shoah that arose around a 2001 Paris exhibit of photographs of concentration camps.