Abstract
The article examines diverse relations between Cynthia Ozick’s The Shawl and the final distich of Paul
Celan’s “Deathfugue,” which the American writer chose as an epigraph to her Holocaust prose. An
intertextual analysis of both texts (which relate to each other in a midrash-like manner) demonstrates
the existence of numerous parallels in the language and imagery used by both authors, as well as
their identifiable references to the motif of “Death and the Maiden,” which can be found in German
paintings (Grien, Deutsch) and music (Bach, Schubert, Wagner).
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