{"id":7372,"date":"2025-04-30T16:20:51","date_gmt":"2025-04-30T23:20:51","guid":{"rendered":"https:\/\/dornsife.usc.edu\/cagr\/?page_id=7372"},"modified":"2025-04-30T16:20:52","modified_gmt":"2025-04-30T23:20:52","slug":"liliane-weissberg","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/cagr\/profiles\/liliane-weissberg\/","title":{"rendered":"Liliane Weissberg"},"content":{"rendered":"\n\n\n\n\n \n \n\n\n\n\n\n\n\n
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\n\n \n Teaching Fellow<\/span>\n\n\n<\/div>\n \n \n
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\n Liliane Weissberg\n <\/h2>\n\n\n<\/div>\n \n \n
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2015-2016 Rutman Research and Teaching Fellow<\/p>\n

Liliane Weissberg<\/span>\u00a0is the Christopher H. Browne Distinguished Professor in the School of Arts & Sciences, and Professor of German and Comparative Literature at the University of Pennsylvania. Among her more recent book publications are:\u00a0<\/span>Affinit\u00e4t wider Willen? Hannah Arendt, Theodor W. Adorno und die Frankfurter Schule<\/span>\u00a0(2011);\u00a0<\/span>\u00dcber Haschisch und\u00a0<\/span>Kabbalah<\/span>. Gershom Scholem, Siegfried Unseld und das Werk von Walter Benjamin<\/span>\u00a0(2012); (<\/span>with<\/span>\u00a0Karen\u00a0<\/span>Beckman<\/span>),\u00a0<\/span>On Writing\u00a0<\/span>With<\/span>\u00a0<\/span>Photography<\/span>\u00a0(<\/span>2013)\u00a0<\/span>Juden<\/span>. Geld. Eine\u00a0<\/span>Vorstellung<\/span>. Frankfurt\/M: Campus Verlag (2013);\u00a0<\/span>M\u00fcnzen<\/span>,\u00a0<\/span>H\u00e4nde<\/span>,\u00a0<\/span>Noten<\/span>, Finger: Berliner\u00a0<\/span>Hofjuden<\/span>\u00a0und die\u00a0<\/span>Erfindung<\/span>\u00a0<\/span>einer<\/span>\u00a0<\/span>deutschen<\/span>\u00a0<\/span>Musikkultur<\/span>\u00a0(2018); (with Andreas Kilcher),\u00a0<\/span>Nachtr\u00e4glich<\/span>,\u00a0<\/span>grundlegend<\/span>? Der\u00a0<\/span>Kommentar<\/span>\u00a0<\/span>als<\/span>\u00a0<\/span>Denkform<\/span>\u00a0in der\u00a0<\/span>j\u00fcdischen<\/span>\u00a0<\/span>Moderne<\/span>\u00a0von Hermann Cohen bis Jacques Derrida<\/span>\u00a0(2018). Weissberg has taught as a visiting professor at universities in the United States, Germany, Austria, and Switzerland. Within the field of Holocaust Studies, Weissberg has been particularly interested in the relationship of memory and material culture, and the problem of witnessing.<\/span>\u00a0<\/span>\u00a0<\/span>\u00a0<\/span><\/p>\n

As she began preparing a new course \u2014 \u201cWitnessing, Remembering, and Writing the Holocaust\u201d \u2014 Professor Weissberg wanted to\u00a0<\/span>show\u00a0<\/span><\/i>Holocaust survivors as they told their stories. Words printed on a page could never capture the subtle gestures, inflections and pauses available in watching survivors tell their stories. Integrating testimony into her course let her and her students try to answer: How do we witness? What do we remember and choose not to remember? What do we then articulate? Professor Weissberg wants her students to think about the lifelong impact of genocide. \u201cYou may survive the war,\u201d she said, \u201cbut how will you survive your memories?\u201d\u00a0<\/span>\u00a0<\/span><\/p>\n

A few of her<\/span>\u00a0book publications\u00a0<\/span>include<\/span>:<\/span>\u00a0a critical edition of Hannah Arendt’s\u00a0<\/span>Rahel Varnhagen: The Life of a Jewess<\/span><\/i>\u00a0(1997),\u00a0<\/span>Cultural Memory and the Construction of Identity<\/span><\/i>\u00a0(with Dan Ben-Amos, 1999) and<\/span>\u00a0<\/span>Romancing the Shadow: Poe and Race<\/span><\/i>\u00a0(with J. Gerald Kennedy, 2001)<\/span>.<\/span>\u00a0<\/span><\/p>\n\n\n\n<\/div>\n \n <\/div>\n\n <\/div>\n\n\n\n <\/div><\/div>\n\n\n\n\n\n \n \n \n\n\n\n\n\n\n\n

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