The afterword compares A Survivor from Warsaw to Nathan Rapoport's Warsaw Ghetto Monument, two Holocaust memorials created in the late 1940s that place a high premium on intelligibility and representation. They have each been criticized for reasons both aesthetic and ethical. This brief afterword argues that the reason A Survivor has been interpreted as both catastrophic and redemptive, both kitschy and profound, and as susceptible to all of the interpretations noted in this book is because some of the musical means Schoenberg used to ensure intelligibility deploy the rhetoric of nineteenth-century musical monumentality. As Alexander Rehding has shown, the big gestures and grand effects of musical monumentality can cut both ways, evoking mixed feelings in the listener.
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