Literature and the Holocaust have a complicated relationship. This isn't to say, of course, that the pairing isn't a fruitful one—the Holocaust has influenced, if not defined, nearly every Jewish writer since, from Saul Bellow to Jonathan Safran Foer, and many non-Jews besides, like W.G. Sebald and Jorge Semprun. Still, literature qua art—innately concerned with representation and appropriation—seemingly stands opposed to the immutability of the Holocaust and our oversized obligations to its memory. Good literature makes artistic demands, flexes and contorts narratives, resists limpid morality, compromises reality's details. Regarding the Holocaust, this seems unconscionable, even blasphemous. The horrors of Auschwitz and Buchenwald need no artistic amplification.
<span>Researching must involve documentation.
</span>It's A.) True :)
Answer:
Hello. You did not enter the answer options, but I can help you by saying that Beowulf is not immediately welcome at De*mark, because he is a foreigner, armed and unknown to the guards.
Explanation:
As soon as he arrives at De * mark, Beowulf is not readily welcomed by the guards who present a quick hostility that ends as soon as Beowulf presents himself and shows that he is an honorable and peaceful man.
This is because Beowulf is a foreigner, unknown to guards who do not know if he wants to do the kingdom any harm. In addition it is possible to see that Beowulf is armed, which increases the mistrust of the guards.
B:Midnight, iceberg
D:Discovered, catastrophe
I’m sorry I don’t know 100% but I believe it’s the last one !!!! I’m sorry
