This article analyzes the relationship between Holocaust trauma and firsthand poetic testimonies through the lens of literary acoustics. Specifically, it explores the work of three Jewish poets, Stanisław Wygodzki, Ilona Karmel, and Stanisław Jerzy Lec, who wrote in Polish of their tragic experiences in the Nazi camps. The article compares these poetical works to involuntary flashbacks composed of haunting sounds that recall trauma and violence and applies the concept of thantosonics to these auditory memories. In particular, the author notes the importance of trains as not only an auditory motif, but also as the metrical underpinning of the verses, and as a point of juxtaposition against sounds of innocence in the Holocaust soundscape. Furthermore, the article also explores the imagery of folk dance as a kind of danse macabre, as well as instances of involuntary sonic identification with the perpetrators.

中文翻译：

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机车的隆隆声、创伤性的尖叫声和凡人之舞：大屠杀声音所困扰的第一手诗意证言

本文通过文学声学的视角分析了大屠杀创伤与第一手诗意见证之间的关系。具体来说，它探讨了三位犹太诗人斯坦尼斯瓦夫·维戈兹基、伊洛娜·卡梅尔和斯坦尼斯瓦夫·耶日·莱克的作品，他们用波兰语写下了自己在纳粹集中营的悲惨经历。文章将这些诗意作品与由令人回想起创伤和暴力的令人难以忘怀的声音组成的不自觉的闪回进行了比较，并将幻音的概念应用于这些听觉记忆。作者特别指出了火车的重要性，它不仅作为听觉主题，而且作为诗句的韵律基础，以及作为与大屠杀音景中纯真的声音并置的点。此外，文章还探讨了民间舞蹈作为一种恐怖之舞的意象，以及与肇事者不自觉的声音认同的实例。