Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Ciało, trup, śmierć w utworze Götz i Meyer Davida Albahariego

View through CrossRef
Body, corpse and death in David Albahari’s Gotz and MeyerThe article investigates the broadly understood record of Jewish death that emerges from the text of the Serbian prose writer David Albahari. Emphasizing the dominance of economy in the Nazi system, the author indicates those procedures described in Albahari’s book which justify such an assessment e.g. human reification, the body as debris, technical syntax used by German officials. Additionally, these considerations on death representation are supplemented with an endeavor to establish the Belgrade dwellers’ attitude towards the fortunes of the Jews. According to the author, the novel explicitly marks the spatial opposition enclosure vs. opening, the camp vs. the city center that is reinforced by the river, which during World War II divided the capital into Zemun belonging to the Independent State of Croatia, also the place where the camp was situated and Belgrade’s Serbian center. This demarcation intensifies the victims’ feelings of separation and loneliness, at the same time enabling the capital’s dwellers to occupy a comfortable position of bystanders.  Telo, mrtvac, smrt u romanu Gec i Majer Davida AlbaharijaRad se bavi vidovima smrti u romanu Gec i Majer Davida Albaharija. Pokazuje mehanizme koje potvrđuju opštepoznatu činjenicu da je u nacističkom sistemu dominirala ekonomija. U te mehanizme se ubrajaju, između ostalih: reifikacija čoveka, tretiranje tela kao otpada i tehnička leksika koju upotrebljavaju nemački funkcioneri. Analiza uključuje i pokušaj odgovora na pitanje kakav je bio odnos stanovnika Beograda prema sudbini Jevreja. Istraživanje pokazuje prostornu opoziciju zatvoren i otvoren prostor, logor i centar grada. Nju naglašava reka koja je za vreme Drugog svetskog rata delila srpsku prestonicu na Zemun, gde je bio smešten logor, a koji je pripadao NDH, i srpski centar Beograda. Ova granica je vezana za osećaj separacije i usamljenost žrtava, s jedne starne, i udobnost i bajstander-efekat stanovnika prestonice, s druge strane
Title: Ciało, trup, śmierć w utworze Götz i Meyer Davida Albahariego
Description:
Body, corpse and death in David Albahari’s Gotz and MeyerThe article investigates the broadly understood record of Jewish death that emerges from the text of the Serbian prose writer David Albahari.
Emphasizing the dominance of economy in the Nazi system, the author indicates those procedures described in Albahari’s book which justify such an assessment e.
g.
human reification, the body as debris, technical syntax used by German officials.
Additionally, these considerations on death representation are supplemented with an endeavor to establish the Belgrade dwellers’ attitude towards the fortunes of the Jews.
According to the author, the novel explicitly marks the spatial opposition enclosure vs.
opening, the camp vs.
the city center that is reinforced by the river, which during World War II divided the capital into Zemun belonging to the Independent State of Croatia, also the place where the camp was situated and Belgrade’s Serbian center.
This demarcation intensifies the victims’ feelings of separation and loneliness, at the same time enabling the capital’s dwellers to occupy a comfortable position of bystanders.
  Telo, mrtvac, smrt u romanu Gec i Majer Davida AlbaharijaRad se bavi vidovima smrti u romanu Gec i Majer Davida Albaharija.
Pokazuje mehanizme koje potvrđuju opštepoznatu činjenicu da je u nacističkom sistemu dominirala ekonomija.
U te mehanizme se ubrajaju, između ostalih: reifikacija čoveka, tretiranje tela kao otpada i tehnička leksika koju upotrebljavaju nemački funkcioneri.
Analiza uključuje i pokušaj odgovora na pitanje kakav je bio odnos stanovnika Beograda prema sudbini Jevreja.
Istraživanje pokazuje prostornu opoziciju zatvoren i otvoren prostor, logor i centar grada.
Nju naglašava reka koja je za vreme Drugog svetskog rata delila srpsku prestonicu na Zemun, gde je bio smešten logor, a koji je pripadao NDH, i srpski centar Beograda.
Ova granica je vezana za osećaj separacije i usamljenost žrtava, s jedne starne, i udobnost i bajstander-efekat stanovnika prestonice, s druge strane.

Related Results

Dlaczego śmierć nie jest taka zła?
Dlaczego śmierć nie jest taka zła?
Celem artykułu jest próba odpowiedzi na pytanie o to, dlaczego śmierć nie jest taka zła. Autor twierdzi, że śmierć niekoniecznie musi być aż tak zła, jak to opisują Thomas Nagel cz...
Karl Otto Götz: Kontaktstellen
Karl Otto Götz: Kontaktstellen
In seinem Nachruf stellt Peter Tepe seine persönlichen Berührungspunkte mit Karl Otto Götz dar. In Stichworten: Bewerbung an der Kunstakademie Düsseldorf, weil Götz zu dieser Zeit ...
Smrt kao dvostruki eksces u poeziji Darka Cvijetića
Smrt kao dvostruki eksces u poeziji Darka Cvijetića
Death as a double excess in poetry of Darko CvijetićThe paper deals with the treatment of the theme of death in the poetry of the contemporary Bosnian author Darko Cvijetić. The au...
Polskie epizody w tzw. sprawie Hansa Davida z Miłakowa. Przyczynek do sposobu fałszowania dokumentów w trzeciej i czwartej dekadzie XV wieku
Polskie epizody w tzw. sprawie Hansa Davida z Miłakowa. Przyczynek do sposobu fałszowania dokumentów w trzeciej i czwartej dekadzie XV wieku
Przedmiotem artykułu są wybrane aspekty sporu Hansa Davida z Miłakowa z zakonem krzyżackim w Prusach. Wysuwał on roszczenia finansowe bazujące na rzekomych długach zakonu wobec jeg...
Karl Otto Götz als Psychologe
Karl Otto Götz als Psychologe
Karin Götz (als Malerin Rissa) stellt aufgrund ihrer Erinnerungen genauer als bisher dar, wie Götz‘ Visual Aesthetic Sensitivity Test (VAST) entstanden ist und welche Ziele er dami...
Karl Otto Götz as Psychologist
Karl Otto Götz as Psychologist
Based on her recollections, Karin Götz (as the painter Rissa) describes with hitherto unprecedented detail how Götz arrived at his Visual Aesthetic Sensitivity Test (VAST) and what...
Ciało na powierzchni obrazu
Ciało na powierzchni obrazu
Kosińska omawia książkę Pauliny Kwiatkowskiej Somatografia. Ciało w obrazie filmowym (2011). Kwiatkowska, przywołując koncepcje Gilles’a Deleuze’a (kino obrazu-ruchu, kino obrazu-c...
Crassorum umbrae. Pamięć o Marku Licyniuszu Krassusie w Farsalii Lukana
Crassorum umbrae. Pamięć o Marku Licyniuszu Krassusie w Farsalii Lukana
Triumwir Marek Licyniusz Krassus nie należy z pewnością do najważniejszych bohaterów Farsalii Lukana. To jednak on jest pierwszą w utworze postacią wymienioną z nazwiska, a kilkana...

Back to Top