Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds.Max Silverman is Professor of Modern French Studies at the University of Leeds.

"Concentrationary Art is invariably intellectually exhilarating to read, and is hard to put down. It puts forward a new and cogent aesthetic theory in its analysis not only of the wartime `concentrationary', but also of the role of the survivor in a post-war world where traces of the same phenomena persist unseen in the everyday." Sue Vice, University of Sheffield"This is an authoritative, clear, and insightful book. The contributions to this excellent volume offer a novel take on the concentrationary and provide a wider understanding of post-Holocaust art." Kathryn Robson, Newcastle University

• List of IllustrationsAcknowledgementsIntroduction: Lazarus and the Modern WorldMax SilvermanPART I: LAZARUS AMONG USJean CayrolLazarean DreamsPreamblePrison DreamsConcentrationary DreamsSalvation DreamsDreams of the FuturePost-concentrationary DreamsLazarean LiteraturePART II: SITUATING CAYROL'S LAZAREANChapter 1. Lazarean Writing in Post-war FrancePatrick ffrenchChapter 2. The Perpetual Anxiety of Lazarus: The Gaze, the Tomb and the Body in the ShroudGriselda PollockPART III: READING WITH THE LAZAREANChapter 3. Concentrationary Art and the Reading of Everyday Life: (In)human Spaces in Chantal Akerman's Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)Max SilvermanChapter 4. Cinematic Work as Concentrationary Art in Laurent Cantet's Ressources Humaines (1999)Matthew JohnChapter 5. After Haunting: A Conceptualization of the Lazarean ImageBenjamin Hannavy CousenChapter 6. Lazarean Sound: The Autonomy of the Auditory from Hanns Eisler (Nuit et Brouillard, 1955) to Susan Philipsz (Night and Fog, 2016)Griselda PollockConcluding RemarksGriselda PollockIndex