English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Taking off from Paul Ricoeur's book  Soi-même comme un autre (Oneself as Another) , this essay discusses two kinds of identification in Modiano's relation to Dora: identification as appropriation, where the writer "assimilates" Dora's story in order to explore his own relation to his parents, especially his father; and identification as empathy, where the writer underlines the differences between his and Dora's stories and also seeks to come to a historical understanding of what happened to her. In that process, he also evokes the fate of other Jews who, like Dora and her family, were deported from France. I conclude that this kind of empathetic identification leads to mourning, which is the realization that the death of a person has left (as Jacques Lacan puts it) a "hole in the real.

"Oneself as Another": Identification and Mourning in Patrick Modiano's Dora Bruder