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Pоstmemory and narrative strategies in the novel “Gorgone” by Mira Otašević
No full textRad analizira roman “Gorgone” Mire Otašević kroz koncept postmemorije Merijen Herš, uz interdisciplinarno povezivanje sa filozofsko-estetskim pristupima traumi Holokausta (Adorno, Liotar, Agamben). Roman se tumači kao hibridni, postmemorijski tekst u kome narativne strategije poput intertekstualnosti, metafikcionalnosti i mitske strukture - sa motivom Gorgona kao ključnim semiotičkim čvorištem - služe za artikulaciju posredovanog svedočenja i etičkog vida pamćenja. Kroz ovakvu analizu, delo Mire Otašević pokazuje da postmemorija nije samo oblik kulturne transmisije već i kritička praksa otpora dominantnim narativima zaborava. Rad time doprinosi razumevanju književnosti kao prostora za preispitivanje simboličkih i političkih dimenzija sećanja u postholokaust kulturi.This paper analyzes the novel "Gorgone" by Mira Otašević through Marianne Hirsch’s concept of postmemory, combined with an interdisciplinary engagement with philosophical and aesthetic approaches to the trauma of the Holocaust (Adorno, Lyotard, Agamben). The novel is interpreted as a hybrid postmemorial text in which narrative strategies such as intertextuality, metafictionality, and mythical structure - with the
Gorgon motif as a key semiotic node serves to articulate mediated testimony and an ethical form of remembrance. Through this analysis, Mira Otašević’s work demonstrates that postmemory is not merely a form of cultural transmission but also a critical practice of resistance to dominant narratives of forgetting. The paper thus contributes to the understanding of literature as a space for re-examining the symbolic and political
dimensions of memory in post-Holocaust culture
Đorđe Lebović and Holokaust : the novel “Semper idem”
No full textRad prikazuje pregled glavne ideja romana “Semper idem” Đorđa Lebovića kao autentično i autobiografsko svedočanstvo o stradanju Jevreja, traumi logora i nemogućnosti bekstva od prošlosti. Kroz opšti prikaz tema, simbolike i likova, rad prikazuje kako Lebović gradi priču o stalnom vraćanju - o krugu sećanja, ćutanja i odgovornosti. Prikazuje se i na kontekst nastanka romana u svetlu društvenih previranja devedesetih godina na prostoru bivše Jugoslavije.This paper presents an overview of the main ideas in "Semper idem" by Đorđe Lebović, highlighting it as an authentic and autobiographical testimony about the suffering of Jews, the trauma of the concentration camp, and the impossibility of escaping the past. Through a general presentation of the themes, symbolism, and characters, the paper shows how Lebović constructs a narrative of constant return - a circle of memory, silence, and responsibility. It also sheds light on the context in which the novel was written, set against the backdrop of the social turmoil of the 1990s in the former Yugoslavia
The ethical layer of Kiš’s literary palimpsest
No full textPolazeći od uvida o „etičkom sloju Kišovog književnog palimpsesta”, ovaj rad razmatra na koji način Danilo Kiš u svojim proznim delima povezuje poetiku i etiku, odnosno kako se angažman intelektualca u vremenima političke represije, nacionalizma i istorijskog falsifikovanja reflektuje u samom tekstu. Kišov otpor svakoj redukciji književnosti na sociološki ili ideološki instrument ne isključuje, već naprotiv, afirmiše duboko etičko načelo koje prožima njegovo stvaralaštvo. Analizirajući prozu poput “Časa anatomije”, “Peščanika” i “Grobnice za Borisa Davidoviča”, rad osvetljava Kišovu poziciju pisca kao svedoka i čuvara istine, ali i kao samosvesnog autora koji insistira na složenosti umetničke forme. Posebna pažnja posvećena je intertekstualnim strategijama i konstrukciji književnog palimpsesta kao načina da se odupre ideološkoj manipulaciji i kolektivnom zaboravu. U tom kontekstu, Kiš se pojavljuje kao model angažovanog intelektualca čija etika proizilazi iz poetike, a ne iz direktne političke poruke.Starting from insights into “the ethical layer of Kiš’s literary palimpsest”, this paper examines how Danilo Kiš connects poetics and ethics in his prose and how the engagement of the intellectual in times of political repression, nationalism, and historical falsification is reflected in the structure of his literary texts. Kiš’s resistance to reducing literature to a sociological or ideological tool does not exclude but rather affirms a deeply ethical principle that permeates his work. By analyzing works such as "The Anatomy Lesson", "The Hourglass", and "A Tomb for Boris Davidovich", the paper sheds light on Kiš’s position as a writer who acts both as a witness and a guardian of truth, while also insisting on the complexity of artistic form. Special attention is given to intertextual strategies and the construction of the literary palimpsest as a way of resisting ideological
manipulation and collective oblivion. In this context, Kiš emerges as a model of the engaged intellectual whose ethics arise from poetics rather than from direct political messaging
Komparativni pregled cionističkog pokreta u Hrvatskoj i Srbiji do početka Drugog svetskog rata
No full textThe Zionist movement in the area of the former Yugoslavia first appeared at the beginning of the 20th century. It emerged first in Croatia, where attorney Hugo Spitzer founded the Zionist Society in his home city of Osijek and started publishing the Zionist magazine, Židovska smotra, and organised several Zionist congresses (in Osijek, Slavonski Brod, and Zemun) in order to connect Jews not only within Austria-Hungary but also from the neighbouring Kingdom of Serbia. After the end of the First World War, the centre of the Zionist movement moved from Osijek to Zagreb and Belgrade. Although the Zionist movement was better organised in Zagreb, where all major Zionist institutions were situated, by the 1930s it spread more and more to Serbia and Belgrade. Through an analysis of contemporary press and available literature, the authors will discuss the influence of Croatian Zionists on Zionists in Serbia and vice versa and the spread of Zionist movement in the interwar period.Istorija cionističkog pokreta u Jugoslaviji ostala je uglavnom neistražena tema, iako postoje radovi koji se pretežno bave cionističkim pokretom u Zagrebu. Autori su kao izvore koristili pored objavljene literature i časopise "Židovska smotra" i "Židov", kao i cionističke brošure iz tog perioda. Cionistički pokret se najpre pojavio u Hrvatskoj, gde je Hugo Špicer osnovao Cionističko društvo u Osijeku, pokrenuo izdavanje cionističkog časopisa "Židovska smotra" i organizovao nekoliko cionističkih kongresa s ciljem povezivanja Jevreja ne samo u okviru Austro-Ugarske, već i sa susednom Kraljevinom Srbijom. Među prvim članovima cionističkog pokreta iz Beograda bili su David ben Moše Alkalaj i njegova supruga Rahela, kao i David Albala. Iako je cionistički pokret bio bolje organizovan u Zagrebu i na teritorijama bivše Habzburške monarhije, gde su bile smeštene sve ključne cionističke institucije, osnivanje nove države posle 1918. godine doprinelo je širenju cionističkog pokreta širom celog kraljevstva. Položaj Beograda i širenje cionizma tokom 1930-ih u Beogradu i Srbiji predstavljali su jedan od najvažnijih trendova cionističkog pokreta u godinama pred početak rata, kao i njegovu sve veću popularnost među sefardskom jevrejskom zajednicom, koja je bila dominantna u Beogradu i Srbiji. Analizom savremene štampe i literature, autori razmatraju uticaj cionizma na jevrejske zajednice u Hrvatskoj i Srbiji, kao i razvoj cionističkih ideja, institucija i aktivnosti u obe sredine. Kroz analizu savremene štampe i literature, autori će ispitati uticaj cionizma na jevrejske zajednice u Hrvatskoj i Srbiji, zajedno sa razvojem cionističkog pokreta i njegovim dostignućima do početka rata 1941. godine.Web stranica časopisa "Istorija 20. veka" (the journal "History of the 20th Century" website) [https://istorija20veka.rs/home-page/
MIRA: a long-standing mystery from the Shoah, suddenly solved!
No full textOvo je priča o Miri, djevojčici sa „židovskim znakom” na odjeći, koju su tijekom niza godina vidjeli gotovo svi autori koji se bave poviješću Šoaha. Poznata je to, ikonička, čudom sačuvana fotografija, zapravo niz od tri fotografije snimljene jedna za drugom iz tri rakursa. Kamera je vjerno zabilježila lik bezazlene, nježne djevojčice, njezinu ljupku krhkost, ali je tijekom svih sljedećih desetljeća ostalo neodgovoreno pitanje koje sam i sama sebi postavljala: što se dogodilo s tom djevojčicom, zna li joj se barem ime? Bila je to sve dosad jedna od neodgonetnutih tema: tko je djevojčica sa „židovskim znakom” na odjeći. Doživjela sam veliku profesionalnu i ljudsku nagradu i čast: otkrila sam kraj, i to sretan kraj jedne čudesne i dosad nepoznate priče.This is the story of Mira, the girl at the famous, iconic, miraculously preserved photograph, in fact, a series of three photographs taken one after the other from the different angles. The camera faithfully recorded the figure of this innocent, gentle young girl, her lovely fragility. But throughout the following decades the question, which I also often asked myself, remained unanswered: what happened to that girl? Is at least her name known to anyone? It has been one of the unsolved topics until now. The „sign” on her clothes itself obviously belongs to the area and time of the Nazi-collaborating Ustasha regime of the Independent State of Croatia (NDH, April 1941-May 1945). I recently discovered the end, and a happy one, to a miraculous and previously unknown story about the girl with the „Jewish sign” on her clothes.Link na tekst na engleskom jeziku [https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/3270
Avram Fredi Altarac in the Roda theater [opening of the exhibition of the Jewish historical museum of the Federation of Jewish Communities of Serbia]
No full textOtvaranje izložbe „Avram Fredi Altarac u Rodinom pozorištu“, autorke Barbare Panić, održano je u sredu, 5. novembra u 13 sati, u Jevrejskom kulturnom centru. Izložba donosi priču o jevrejskom dečaku Avramu Frediju Altarcu, jednom od najtalentovanijih glumaca u beogradskom Povlašćenom pozorištu za decu i omladinu „Roda“. Pozorište „Roda“ nastalo je 1937. godine na inicijativu pisca Branislava Nušića. Od drugih dečjih teatara razlikovalo se po tome što su likove dece glumila deca, dok su uloge odraslih tumačili profesionalni glumci. Na poslednjim „okupacijskim“ predstavama, u septembru i oktobru 1941. godine, Avrama Fredija Altarca više nije bilo na sceni - svoje drugove posmatrao je iza kulisa. Stradao je 1944. godine u logoru Aušvic.The opening of the exhibition "Avram Freddi Altarac in the Roda Theatre", by Barbara Panić, was held on Wednesday, November 5, at 1 pm, in the Jewish Cultural Centre. Avram Fredi Altarac, a Jewish boy and one of the most gifted actors in Belgrade's Privileged Theatre for Children and Youth "Roda," is the subject of the exhibition. The "Roda" theatre was founded in 1937 on the initiative of the writer Branislav Nušić. It differed from other children's theatres in that children's characters were played by children, while the roles of adults were played by professional actors. Avram Fredi Altarc was not on stage during the final "occupation" performances in September and October 1941; instead, he watched his comrades in the background. He died in 1944 in the Auschwitz camp.Trajanje 25:23 minuta (duration 25:23 minutes).YouTube link: [https://www.youtube.com/watch?v=nXX7bGCQCYc]Predavanje Barbare Panić o Rodinom pozorištu, koje je održano u okviru aktivnosti „Zoom Šabata“, u organizaciji Jevrejske opštine Beograd 1.oktobra 2021. godine videti preko linka [https://jevrejskadigitalnabiblioteka.rs/handle/123456789/3342]The lecture by Barbara Panić on Roda's theatre, which took place on October 1, 2021, as part of the Jewish community of Belgrade's "Zoom Shabbat" event, is available via [https://jevrejskadigitalnabiblioteka.rs/handle/123456789/3342]Izložbu Barbare Panić o Avramu Frediju Altarcu koji je bio mladi glumac u Rodinom pozorištu, videti preko linka [https://jevrejskadigitalnabiblioteka.rs/handle/123456789/3343]Barbara Panić’s exhibition about Avram Fredi Altarac, a young actor at the Roda Theatre, can be viewed at the following link: [https://jevrejskadigitalnabiblioteka.rs/handle/123456789/3343
Pomiędzy językami i słowami
No full textThe review presents "Sa druge strane pesme. Antologija poljskih jidiš pesnikinja" [On the Other Side of the Poem: An Anthology of Polish Yiddish Women Poets], selected and translated by Biserka Rajčić, published by Presing in Mladenovac in 2024. The review analyzes how the translation of Yiddish poetry into Serbian, through Polish translations, affects the transmission of linguistic nuances and cultural context. The text highlights the distance of the Serbian translations from the original texts and the resulting shifts in meaning, while also emphasizing the anthology’s potential to inspire broader engagement with Yiddish literature and women’s poetic voices within the (post)Yugoslav cultural sphere.U recenziji je predstavljena knjiga „Sa druge strane pesme. Antologija poljskih pesnikinja“ [Sa druge strane pesme: Antologija poljskih pesnikinja na jidišu], koju je odabrala i prevela Biserka Rajčić, a objavila izdavačka kuća „Presing“ u Mladenovcu 2024. godine. Recenzija analizira kako prevođenje jidiš poezije na srpski jezik, kroz poljske prevode, utiče na prenošenje jezičkih nijansi i kulturnog konteksta. Tekst ističe udaljenost srpskih prevoda od originalnih tekstova i rezultujuće promene u značenju, istovremeno naglašavajući potencijal antologije da inspiriše šire angažovanje sa jidiš književnošću i ženskim pesničkim glasovima unutar (post)jugoslovenske kulturne sfere.Recenzja przedstawia antologię "Sa druge strane pesme. Antologija poljskih jidiš pesnikinja" [Po drugiej stronie wiersza. Antologia polskich poetek jidysz], w wyborze i przekładzie Biserki Rajčić, opublikowaną przez wydawnictwo Presing w Mladenovacu w 2024 roku. Recenzja analizuje, jak przekład poezji jidysz na język serbski za pośrednictwem przekładów polskich wpływa na przekaz niuansów językowych i kontekstu kulturowego. Tekst wskazuje na dystans serbskich przekładów wobec oryginalnych utworów i wynikające z tego przesunięcia znaczeń, a jednocześnie podkreśla potencjał antologii do inspirowania szerszego zainteresowania literaturą jidysz oraz kobiecymi głosami poetyckimi w (post)jugosłowiańskiej sferze kulturowej
Upamiętnianie kultury, tradycji i dziedzictwa żydowskiego poza Europą Zachodnią. Wprowadzenie do sekcji tematycznej
No full textThe fourteenth issue of "Colloquia Humanistica" reflects on the evolving role of Jewish heritage in Central and Southeastern Europe, focusing on contemporary forms of commemorating Jewish culture, history, and memory in the region. The articles address two significant research challenges: the dominant position of Holocaust memory in academic and cultural discourse and the insufficient inclusion of local perspectives. The presented case studies reveal the complex tensions between memory and politics, presence and absence, and national and transnational narratives. Jewish heritage is portrayed here as a field of dynamic and ambiguous negotiations, shaped both by institutions and by grassroots initiatives as well as everyday remembrance practices.Četrnaesti broj „Colloquia Humanistica“ osvrće se na razvojnu ulogu jevrejskog nasleđa u Centralnoj i Jugoistočnoj Evropi, fokusirajući se na savremene oblike obeležavanja jevrejske kulture, istorije i sećanja u ovom regionu. Članci se bave sa dva značajna istraživačka izazova: dominantnim položajem sećanja na Holokaust u akademskom i kulturnom diskursu i nedovoljnim razmatranjem lokalnih perspektiva. Predstavljene studije slučaja otkrivaju složene tenzije između sećanja i politike, prisustva i odsustva, nacionalnih i transnacionalnih narativa. Jevrejsko nasleđe je ovde predstavljeno kao polje dinamičnih i dvosmislenih pregovora, oblikovano i institucijama i inicijativama na nivou građana, kao i svakodnevnim praksama sećanja.Czternasty numer „Colloquia Humanistica” podejmuje refleksję nad zmieniającą się rolą dziedzictwa żydowskiego w Europie Środkowej i Południowo-Wschodniej, koncentrując się na współczesnych formach upamiętniania kultury, historii i pamięci żydowskiej w tym regionie. Artykuły odnoszą się do dwóch istotnych wyzwań badawczych: dominującej pozycji pamięci o Zagładzie w dyskursie akademickim i kulturowym oraz niedostatecznego uwzględnienia lokalnych perspektyw. Przedstawione studia przypadków ukazują złożone napięcia między pamięcią a polityką, obecnością a nieobecnością, narracjami narodowymi i ponadnarodowymi. Dziedzictwo żydowskie ukazane jest tu jako pole dynamicznych i niejednoznacznych negocjacji, kształtowane zarówno przez instytucje,
jak i oddolne inicjatywy oraz codzienne praktyki pamięci.Link na celi broj časopisa (Link to the full issue): [https://journals.ispan.edu.pl/index.php/ch/en/issue/view/171
The path to the Holocaust - Nazi ideology and the rise of Nazism
No full textPredavanje Nade Banjanin Đurićič „Put do Holokausta - nacistička ideologija i uspon nacizma“ je drugo predavanje prvog kursa pod nazivom "Uvod u Holokaust" koji se realizuje u okviru projekta „Holokaust u zemljama bivše Jugoslavije“. Ovaj projekat je prvi ovakav projekat u regionu i ima za cilj da pruži dublje razumevanje Holokausta na prostoru bivše Jugoslavije, podstakne kritičko mišljenje, promoviše toleranciju i empatiju, kao i da istakne konstantnu važnost obrazovanja o Holokaustu u regionu. Projekat se sastoji od četiri zasebna online kursa sa po tri predavanja i jednog šestodnevnog seminara uživo, koji se organizuje nakon završetka četvrtog kursa u Beogradu i Skoplju. Svi kursevi, kao i seminar, bave se temom Holokausta i antisemitizma na prostoru bivše Jugoslavije. Svaki od četiri online kursa obuhvata dragocena opšta znanja iz pomenutih tematskih okvira, ali i fokus na pojedine delove regiona i iskustvo Holokausta u njima.Nada Banjanin Đuričić's lecture "The path to the Holocaust – Nazi ideology and the rise of Nazism" is the second lecture of the first course entitled "Introduction to the Holocaust", which is being realised within the project "Holocaust in the countries of the former Yugoslavia". This project is the first of its kind in the region and aims to deepen understanding of the Holocaust within the former Yugoslavia, encourage critical thinking, promote tolerance and empathy, and emphasise the ongoing importance of education about the Holocaust in the area. The project includes four online courses, each with three lectures, and one six-day live seminar, organised after the end of the fourth course in Belgrade and Skopje. All courses, as well as the seminar, address the topic of the Holocaust and anti-Semitism in the former Yugoslav territory. Each of the four online courses provides valuable general knowledge from the specified thematic frameworks, with a particular focus on certain parts of the region and their experiences of the Holocaust.Trajanje 1:55:40 minuta (duration 1:55:40 minutes).Projekat realizuje organizacija Haver Srbija u saradnji sa Fondom za Holokaust Jevreja iz Makedonije, uz podršku Claims Conference. Koordinatori projekta su Tamara i Aleksandar Stojanović. (The project is implemented by the Haver Serbia organization in cooperation with the Holocaust Fund of the Jews from Macedonia, with the support of the Claims Conference. The project coordinators are Tamara and Aleksandar Stojanović).YouTube link [https://www.youtube.com/watch?v=VXG9pFqVvi0&list=PLhnejJShQmj6qZbBOZJmuu-BK74Qp4JVQ&index=16
Relativization and denial of the Holocaust
No full textPredavanje dr Dragane Stojanović “Relativizacija i poricanje Holokausta” je treće predavanje prvog kursa - Uvodni kurs koji se realizuje u okviru projekta "Holokaust i genocid nad Romima u zemljama bivše Jugoslavije - Edukacija posvećena regionu i istorijskom iskustvu 1941-1945." Ovaj projekat ima za cilj da širu javnost regiona upozna sa Holokaustom i genocidom nad Romima, pomoću 4 online kursa na maternjim jezicima, i seminara koji se održavaju u Beogradu i Skoplju. Predavanja obuhvataju istoriju jevrejskih i romskih zajednica, antisemitizam i anticiganizam/antiromsku diskriminaciju, kao i detaljnu obradu zločina nad Jevrejima i Romima počinjenih na prostoru Jugoslavije u Drugom svetskom ratu. Pojedina predavanja organizovana su u formi panela ili žive biblioteke. Projekat se takođe bavi i političkim zloupotrebama stradanja, kao i kulturom sećanja na žrtve i transgeneracijskom traumom. Koordinator projekta je Tamara Stojanović. Među predavačima su dr Milan Koljanin, prof. dr Đokica Jovanović, prof. dr Mišo Dokmanović, dr Milovan Pisarri, dr Danijel Vojak, dr Aleksandar Stojanović, dr Dragana Stojanović, dr Olga Manojlović Pintar, Dejan Marković i drugi.Dr. Dragana Stojanović’s lecture “Relativization and denial of the Holocaust” is the third lecture of the first course entitled “Introductory course,” which is being realized within the project "Holocaust and genocide against Roma in the countries of the former Yugoslavia - Education dedicated to the region and historical experience 1941-1945." This project aims to introduce the general public of the region to the Holocaust and the genocide against the Roma through 4 online courses in native languages, with seminars held in Belgrade and Skopje. Lectures cover the history of Jewish and Roma communities, anti-Semitism, anti-Gypsyism/anti-Roma discrimination, and a detailed examination of crimes against Jews and Roma committed on Yugoslav territory during WWII. Individual lectures are organized as panels or living libraries. The project also addresses political abuses of suffering, the culture of remembering victims, and transgenerational trauma. Tamara Stojanović is the project's coordinator. The lecturers include Dr. Milan Koljanin, Prof. Dr. Đokica Jovanović, Prof. Dr. Mišo Dokmanović, Dr. Milovan Pisarri, Dr. Danijel Vojak, Dr. Aleksandar Stojanović, Dr. Dragana Stojanović, Dr. Olga Manojlović Pintar, Dr. Dejan Marković, and others.Trajanje 1:51:21 minuta (duration 1:51:21 minutes).Projekat realizuju Haver Srbija kao nosilac projekta, u saradnji sa Memorijalnim centrom Fonda Holokausta makedonskih Jevreja i Forumom Roma Srbije uz finansijsku podršku IHRE - Međunarodne alijansa za sećanje na Holokaust. Koordinatori projekta su Tamara i Aleksandar Stojanović. (The project is implemented by Haver Serbia as the project holder, in partnership with the Memorial Center of the Holocaust Fund of Macedonian Jews and the Roma Forum of Serbia with the financial support of IHRA - International Holocaust Remembrance Alliance. The project coordinators are Tamara and Aleksandar Stojanović).YouTube link [https://www.youtube.com/watch?v=7bSFACdT0Bw&list=PLhnejJShQmj6qZbBOZJmuu-BK74Qp4JVQ&index=4