Abstract
This article uses Theodor Adorno's ideas on the role of the artwork and Walter Benjamin's philosophy of history and his concept of ‘Eingedenken’ to examine the types of memory and the modes of remembering the Holocaust in Anne Duden's novel, <i>Das Judasschaf</i> (1985). It focuses on the complex re-figuring of quotations, images, Renaissance paintings, and documentary materials in order to assess the politics of montage and the presenting of documents which interrupt the flow of the narrative. Analysis of the use of some contemporary historiographical concepts such as identification, empathy and ‘the gap’ feeds into the reading of Duden's text. The argument centres on non-empathetic remembrance rather than identification with the victims as a more useful way of understanding the types of memory in the text.