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Towards Dasa Drndic's poetics of postmemory: the figure of the narrator
Get PDFJedan od formativnih elemenata poetike postmemorije "Holokaust romana" Daše Drndić jeste narativno višeglasje. U radu se višeglasju pristupa iz perspektive narativnih instanci, naročito kohezivne narativne figure - figure naratora arheologa-arhivatora-kustosa. Interpretativni fokus jeste na ovoj figuri u romanu "Sonnenschein", te njenim narativnim strategijama i afektivno-etičkim učincima u sklopu stvaranja i refleksije traumatskih narativa i njihovog pozicioniranja u kontekst savremenih politika kulture pamćenja.One of the formative elements of the post-memory poetics of the "Holocaust novel" by Daša Drndić is heteroglossia. In the paper, I have approached the poetics of heteroglossia from the perspective of narrative instances, especially the cohesive narrative figure of the archaeologist-archivist-curator narrator. A privileged interpretative focus is on this narrative figure in the novel "Sonnenschein" and its strategies and affective-ethical effects in the context of the disruption, production, and reflection of traumatic narratives and their positioning in the context of contemporary memory culture.Zbornik je rezultat istraživanja u okviru Studija Holokausta koje se pod pokrovitelјstvom Claims Conference (Conference on Jewish Material Claims Against Germany) izvode na Univerzitetu u Kragujevcu.The collection of papers is the result of research within Holocaust Studies, which are conducted at the University of Kragujevac under the support of the Claims Conference (Conference on Jewish Material Claims Against Germany)
The meaning (and consequences) of using a photograph of a Holocaust victim's body in a fashion magazine
Get PDFPrimarna namera ovog istraživanja ogleda se u iznalaženju i raskrivanju smisla fotografija mrtvih, izgladnelih i unakaženih tela žrtava Holokausta u modnom magazinu „Vogue” (izdanje iz 1945. godine), te i posledica koje su se, iz toga, vremenom razvile. Kroz rad ćemo, prateći način odnošenja prema telu žrtve kroz decenije koje su usledile nakon ratne katastrofe, sagledavati i kako je, duboko skriven ispod denotativnog, ko- notativni semantički i smisaoni potencijal tih fotografija izbio na kulturno-diskurzivnu površinu i postao deo konstituisanja posthumanističkog principa odnošenja prema biću. U toj ćemo nameri poći od načina na koji se fotografija odnosi prema stvarnosti, te, shodno Virilioovoj, Bartovoj i Fluserovoj demistifikaciji fotografskog okulara, doći do zaključaka povodom uticaja slike tela žrtve u modnom magazinu na način poimanja Holokausta danas.The primary purpose of this research is to find and reveal the meaning of photographs of dead, starved and disfigured bodies of Holocaust victims in “Vogue” fashion magazine (edition from 1945), and the consequences that developed over time. Through the work, following the manner of treating the victim's body through the decades that followed the war disaster, we will look at how, deeply hidden under the denotative, connotative semantic and meaningful potential of those photographs, emerged the cultural and discursive surface and became part of the constitution of the post-humanist principle of treatment towards being. With that intention, we will start from the way photography relates to reality, and, according to Virilio's, Barth's and Flusser's demystification of the photographic eyepiece, reach conclusions regarding the influence of the image of the victim's body in a fashion magazine on the way the Holocaust is understood today.Zbornik je rezultat istraživanja u okviru Studija Holokausta koje se pod pokrovitelјstvom Claims Conference (Conference on Jewish Material Claims Against Germany) izvode na Univerzitetu u Kragujevcu
A bit of a stolen story
Get PDFMichael Gyarmathy je došao na svet kao Miklós Ehrenfeld, u gradiću na severu Mađarske, Balassagyarmatu, tamo uz granicu sa Slovačkom, onda kad je i taj kraj pripadao austrougarskom carstvu. Njegove roditelje, Mariju i Saula su znali po proizvodnji sira. Imali su devetoro dece i mada je porodica bila toliko brojna, od dobro uhodanog posla se pristojno živelo. Toliko dobro da su za crtanje darovitog Miklósa posle mature poslali u Budapest, gde je u Visokoj školi za primenjenu umetnost otkrivao tajne keramike, grafike i na posletku scenografije. Ispite je na vreme polagao i pošto je diplomirao oprobao se u uglednim pozorišnim kućama prestonice, u Király Theater, Budapest Operetta Theater, Budai Színház társulata i Városi Színház. Konačno mu je u Pesti Színház ponuđena velika prilika, da radi scenografiju za operetu „Dínom-dánom“, za koju je muziku komponovao njegov manje-više vršnjak, Joseph Hajos, novosadski izbeglica radi školovanja u Wieni, posle žitelj Berlina, u kom je stekao evropsku slavu. Libretista operete je bio Imre Harmath. „Dínom-dánom“ je postigla izuzetan uspeh i nalazila se na repertoaru više od sto puta, a raskošna scenografija, postavljena na rotirajuću pozornicu je gledaocima pružala utisak da su u bioskopu i da prate kakav zvučni film.Michael Gyarmathy was born as Miklós Ehrenfeld, in a small town in the north of Hungary, Balassagyarmat, along the border with Slovakia, when that region also belonged to the Austro-Hungarian Empire. His parents, Maria and Saul, were known for producing cheese. They had nine children and even though the family was so large, they made a decent living from their well-established business. So good that they sent the gifted Miklós to Budapest for drawing after graduation, where he discovered the secrets of ceramics and graphics, and finally set design at the College of Applied Arts. He passed his exams on time and after graduating, he tried out in the capital's prestigious theatres, the Király Theater, the Budapest Operetta Theater, the Budai Színház társulata and the Városi Színház. Finally, he was offered a great opportunity at Pesta Színház, to work on the scenery for the operetta "Dínom-dánom", for which the music was composed by his more or less peer, Joseph Hajos, a refugee from Novi Sad to study in Vienna, then a resident of Berlin, where he acquired European glory. The operetta's librettist was Imre Harmath. "Dínom-dánom" was an exceptional success and was in the repertoire more than a hundred times, and the lavish scenography, placed on a rotating stage, gave the audience the impression that they were in the cinema and watching a sound film.Michel Giarmathi je rođen kao Miklos Ehrenfeld, 23. januara 1908. godine u Balassagiarmatu. Preminuo je 30. oktobra 1996. godine u Parizu (Michel Giarmathi was born Miklos Ehrenfeld on January 23, 1908 in Balassagiarmat. He died on October 30, 1996 in Paris)
How to theorize the Holocaust?
Get PDF"Godine 2017. obeležavalo se pet stotina godina Reformacije, pet vekova otkako je Martin Luter, 1517. godine, na portalu dvorske crkve u Vitenbergu obznanio devedeset pet teza usmerenih protiv Rimokatoličke crkve. Nije ovde reč o tome šta se posle zbilo, to je manje-više poznato ili, možda bolje, o tome svako već ima svoj sud. Kao i o drugim pitanjima vere, reklo bi se. Reč je ovde o tome da je tom prilikom, ili za tu priliku, oformljen jedan poseban odbor Evangelističke crkve koji je, između ostalog, zakazao za 26. maj te 2017. godine, u Vajmaru, diskusiju na temu 'Gde je bog bio u Buhenvaldu?'...
Jewish cultural heritage in the Republic of Serbia and its preservation
Get PDFRad se bavi jevrejskim kulturnim nasleđem u Republici Srbiji. Jedan segment posmatra muzejsko, a drugi nepokretno nasleđe. Muzejsko nasleđe je predstavlјeno kroz sadržaj malobrojnih zbirki Jevrejskog istorijskog muzeja u Beogradu, jedinog jevrejskog muzeja u Srbiji, čije su zbirke mukotrpno formirane posle Holokausta. U radu se navode objašnjenja o vrsti i značenju nekih predmeta, kao reprezentativnih uzoraka koji svedoče o jednoj viševekovnoj, drugačijoj kulturi na tlu Srbije, prihvaćenoj i ukloplјenoj u dominantno okruženje. Nepokretno nasleđe je predstavlјeno kroz objekte i lokalitete koji su utvrđeni za nepokretna kulturna dobra, kao i deo njih koji ne spadaju u tu grupu. Pažnja je usmerena i na problematiku njihovog nestanka, očuvanja i obnove. Na kraju je dat i osvrt na jevrejsko nasleđe na Kosovu i Metohiji.The paper deals with Jewish cultural heritage in the Republic of Serbia. One part looks at museum heritage and the other at immovable heritage. Museum heritage is presented through the content of the few collections of the Jewish Historical Museum in Belgrade, the only Jewish museum in Serbia, whose collections were painstakingly formed after the Holocaust. 'The paper provides explanations about the type and meaning of some items, as representative samples that bear witness to a centuries-old, different culture on the soil of Serbia, accepted and integrated into the dominant environment. Immovable heritage is represented through objects and localities that have been determined as immovable cultural heritage, as well as a part of them that does not belong to that group. A focus is also placed on the issue of their disappearance, preservation and restoration. At the end, an overview of Jewish heritage in Kosovo and Metohija is given.Naučni skupovi / Srpska akademija nauka i umetnosti ; knj. 224. Predsedništvo ; knj. 21
"Письма Гильды Дайч" Александра Зографа
No full textBased on the letters of Hilda Deitch, a rare primary written source written by the victims of the Holocaust in the German military-occupation zone "Serbia", Aleksandar Zograf creates a graphic novel dedicated to the killed members of the Jewish communities. Through a comparative analysis of Zograf’s work and the graphic novel "Maus" by Art Spiegelman, the article sheds light on the problems the aforementioned two artists face when recreating historical events, as well as the ways in which they represent those events without losing the credibility of the agony of the victims and the crimes committed during the Holocaust. Both artists believe that the goal of such graphic novels must be, at the same time, an attempt to prevent the loss of memory and to recreate it so that is capable of communicating with readers.Na osnovu pisama Hilde Dajč, retkog primarnog pisanog izvora nastalog iz ruke žrtava Holokausta u nemačkoj vojno-okupacionoj zoni "Srbija", Aleksandar Zograf je izradio grafičku novelu posvećenu stradalim članovima jevrejskih zajednica. Komparativnom analizom Zografovog dela i grafičke novele "Maus" Arta Špigelmana članak osvetlјava probleme s kojima se pomenuta dva umetnika suočavaju prilikom rekreiranja istorijskih događaja, kao i načine na koje iste te događaje reprezentuju tako da stradanje žrtava i počinjeni zločini tokom Holokausta ne izgube na verodostojnosti. Oba umetnika smatraju da cilј ovakvih grafičkih novela mora biti, istovremeno, pokušaj sprečavanja gubitka sećanja i njegovog rekreiranja sposobnog da komunicira sa čitaocima.На основании писем Гильды Дайч, одного из редких первичных источников, написанных рукой жертвы Холокоста в немецкой оккупационной зоне "Сербия" Александр Зограф создал графическую новеллу, посвященную пострадавшим членам еврейских сообществ. С помощью сравнительного анализа труда Зографа и графической новеллы "Маус" Арта Шпигельамна в статье освещаются проблемы, с которыми два вышеупомянутых художника сталкиваются при восстановлении исторических событий, а также способы, которыми эти события показаны без утери достоверности страдания жертв и преступлений, совершенных на протяжении Холокоста. Оба художника считают, что целью таких графических новелл одновременно должны быть попытка предотвращения исчезновения памяти и способность творчества вступать в общение с читателями
Italija i Holokaust: italijanski dželati
No full textThe inevitable part of historiography is cherry-picking the good from the bad; Italy is no exception. When we think of Italy and its role in the Second World War, we do not equate it with the role it played in the Holocaust. The Italian state and society have created the Second World War culture of remembrance, focusing on the study of Resistance while completely neglecting the study of Fascism. And it is precisely these commonly mistaken notions of Italy’s complicity in the Holocaust or for some lack thereof that Professor Simon Levis Sullam explored in his book “The Italian Executioners: The Genocide of the Jews of Italy.” In the introduction of the book David I. Kertzer has written: “An important part of Italians’ ability to distance themselves from this past has been the creation of the myth of the “good Italian.” Levis Sullam shows that this myth was constructed very early, beginning in the final months of the war, as Italians quickly remade their identities to cast themselves on the side of the war’s victors. In this convenient narrative, Italians had only positive feelings for their Jewish fellow citizens. All of the horrible things done to the Jews were the work of the evil Germans, notwithstanding the Italians’ heroic efforts to protect them.”Nezaobilazni deo istoriografije je prebiranje dobrog od lošeg; Italija nije izuzetak. Kada pomislimo na Italiju i njenu ulogu u Drugom svetskom ratu, ne poistovećujemo je sa ulogom koju je imala u Holokaustu. Italijanska država i društvo stvorili su kulturu sećanja na Drugi svetski rat, fokusirajući se na proučavanje otpora, a potpuno zanemarujući proučavanje fašizma. I upravo ove često pogrešne predstave o učešću Italije u Holokaustu ili zbog nekog nedostatka iste, istraživao je profesor Simon Levis Sullam u svojoj knjizi „Italijanski dželati: Genocid Jevreja Italije“. U uvodu knjige David I. Kertzer je napisao: „Važan deo sposobnosti Italijana da se distanciraju od ove prošlosti je stvaranje mita o „dobrom Italijanu“. Levis Sulam pokazuje da je ovaj mit konstruisan veoma rano, počevši od poslednjih meseci rata, pošto su Italijani brzo prepravljali svoje identitete da bi se stavili na stranu pobednika rata. U ovom zgodnom narativu, Italijani su gajili samo pozitivna osećanja prema svojim jevrejskim sugrađanima. Sve užasne stvari koje su učinjene Jevrejima bile su delo zlih Nemaca, bez obzira na herojske napore Italijana da ih zaštite.”Događaj u organizaciji ShoahLab: Laboratorija za izučavanje Holokausta IFDT (ShoahLab event: IFDT Holocaust Research Laboratory).Predavanje održano 15. maja 2023. godine preko Zoom platforme od 16 časova, (the lecture was held on May 15, 2023, via the Zoom platform from 4 p.m.).Trajanje 1:25:52 minuta (duration 1:25:52 minutes)YouTube link [https://www.youtube.com/watch?v=eKMThsVXtL4&list=PLxYbh6oD_DS2QDilhLI_NziJWYyq8mfac&index=3
Judas, a novel by Amos Oz
No full textRoman Amosa Oza „Juda“ (2014) je u kritici opisan kao složeno i provokativno delo koje istražuje identitete, ljubav i izdaju. U našem radu pokušaćemo da ukažemo na postupke i strategije kojima Oz oblikuje svoj roman. Narativne strategije kojima se pisac poslužio omogućile su tematizaciju i promišljanje velikog toposa kulture/a - Jude. Pitanja vere, kao religijskog pojma i vernosti kao pojma koji označava međuljudske odnose kao i tumačenja tekstova kulture jesu središnji književni motivi romana „Juda“, ali je njihovo svojstvo takvo da konotativno nadilazi okvire fikcione strukture koja im je data.The paper points to the complex narrative procedures that were necessary for the
writer in the process of considering the motif of betrayal. Shifting the point of view from which the figure of Judas Iscariot is perceived, from a Christian to a Jewish context, in Oz’s novel results in loosening the boundaries of the discursive fields. The transposition of Judas Iscariot from the Christian to the Jewish context resulted in the re-semantization of the topos of the arch-traitor. In this way, and with other methods of deconstruction, Oz actualized the topic of betrayal in terms of contemporary Israeli history, posing complex questions of the value paradigm of today
Jedan život između jevrejstva i socijalizma
Get PDFIn five books, "We Survived: Yugoslav Jews on the Holocaust" (three of them translated into English), the testimonies of a small number of surviving members of the Jewish community about World War II were collected. The peculiarity of the circumstances in which the entire population of the Kingdom of Yugoslavia was found is reflected in the fact that at the beginning of the war, the country was occupied by five invaders: Germany, Italy, Bulgaria, Hungary, Albania and the fascist satellite formation, the so-called. The Independent State of Croatia. These circumstances also led to different ways of surviving and rescuing Jews from these areas. The Jewish Historical Museum of the Federation of Jewish Communities of Yugoslavia / Serbia published these books with the help of donations and volunteer work of the editorial board in which seven of nine members survived the Holocaust. These books are an extraordinary collection of tragic and dramatic experiences about unique choices - the struggle for life, dignity, and freedom in partisans; about concentration camps, about refugee life under constant threat, about help and friendships. They are also a good basis for exploring the Holocaust and the history of Jews from the former Yugoslavia. Each testimony is enriched with a series of photographs and together with the text, they make unique documentation material. As the suffering of Jews on the territory of the former Yugoslavia is poorly known to the general public, these books have the task of filling that space. They thus become a memorial for all the victims whose many names are found only in memory. One of those memories is "A life between jewery and socialism" by Livia Babić
Ukradena vekna spasila mi život
Get PDFIn five books, "We Survived: Yugoslav Jews on the Holocaust" (three of them translated into English), the testimonies of a small number of surviving members of the Jewish community about World War II were collected. The peculiarity of the circumstances in which the entire population of the Kingdom of Yugoslavia was found is reflected in the fact that at the beginning of the war, the country was occupied by five invaders: Germany, Italy, Bulgaria, Hungary, Albania and the fascist satellite formation, the so-called. The Independent State of Croatia. These circumstances also led to different ways of surviving and rescuing Jews from these areas. The Jewish Historical Museum of the Federation of Jewish Communities of Yugoslavia / Serbia published these books with the help of donations and volunteer work of the editorial board in which seven of nine members survived the Holocaust. These books are an extraordinary collection of tragic and dramatic experiences about unique choices - the struggle for life, dignity, and freedom in partisans; about concentration camps, about refugee life under constant threat, about help and friendships. They are also a good basis for exploring the Holocaust and the history of Jews from the former Yugoslavia. Each testimony is enriched with a series of photographs and together with the text, they make unique documentation material. As the suffering of Jews on the territory of the former Yugoslavia is poorly known to the general public, these books have the task of filling that space. They thus become a memorial for all the victims whose many names are found only in memory. One of those memories is "The stolen loaf saved my life" by Eva Arsenić