Članek prikaže, kako se z osebnim spominom najlaže približamo kolektivnemu spominu. Takšno je tudi sporočilo francoskega umetnika Christiana Boltanskega (roj. l. 1944). Njegove instalacije sugerirajo ...tragično usodo žrtev druge svetovne vojne, in sicer tako, da so na njih razstavljeni predmeti, ki vzbudijo empatijo do kolektivnih spominov na osebni ravni prek čustvenega spomina (nošena oblačila, stare fotografije in knjige itd.). Na drugi strani platna nemškega slikarja Anselma Kieferja (prav tako roj. l. 1944) spomine na drugo svetovno vojno obudijo na podlagi kolektivnih (germanskih) mitov in osebnih spominov na povojni čas. V zadnjem delu članka avtorica obravnava opus slovenskega slikarja Zorana Mušiča (1909–2005), zlasti serijo del Nismo poslednji (1970–1987), ki jih je umetnik ustvaril na podlagi svojih bolečih izkušenj v koncentracijskem taborišču Dachau. Članek se zaključi z razmislekom o simbolni vrednosti umetnosti, o tem, ali simbolno vrednotenje neke umetnine zmanjšuje njeno konkretno vrednost.
Provider: - Institution: - Data provided by Europeana Collections- Dokument predstavlja vabilo na otvoritev razstave Slovenci v nemških koncentracijskih taboriščih. Otvoritev bo v sredo, 29. januarja ...2020, ob 19.30 v ali Občinske knjižnice Jesenice. Razstavo bo predstavila avtorica dr. Monika Kokalj Kočevar iz Muzeja novejše zgodovine Slovenije. Namenjena je počastitvi mednarodnega dneva spomina na žrtve holokavsta, ki se obeležuje 27. januarja. - All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
To stand up against Nazi ideas of biologized “ethnicity” and antisemitism required a heroic disposition in individuals who did not allow themselves to have their basic humanity destroyed by such ...ideologies, even as the latter were backed by formidable political and religious power and sweepingly popular beliefs. The men and women presented in the first part of the book have already been recognised as Righteous Among Nations for their brave humanitarian acts during WWII, a title bestowed by the Yad Vashem World Center for Holocaust Research, Education, Documentation and Commemoration. Part Two brings the stories about people who were also saving Jews that were not recognised as Righteous yet, but some among them are candidates.
To stand up against Nazi ideas of biologized “ethnicity” and antisemitism required a heroic disposition in individuals who did not allow themselves to have their basic humanity destroyed by such ...ideologies, even as the latter were backed by formidable political and religious power and sweepingly popular beliefs. The men and women presented in the first part of the book have already been recognised as Righteous Among Nations for their brave humanitarian acts during WWII, a title bestowed by the Yad Vashem World Center for Holocaust Research, Education, Documentation and Commemoration. Part Two brings the stories about people who were also saving Jews that were not recognised as Righteous yet, but some among them are candidates.
This is a meditation on memory and on the ways in which memory has operated in the work of writers for whom the Holocaust was a defining event. It is also an exploration of the ways in which fiction ...and drama have attempted to approach a subject so resistant to the imagination. Beginning with W. G. Sebald, for whom memory and the Holocaust were the roots of a special fascination, Bigsby moves on to consider those writers Sebald himself valued, including Arthur Miller, Anne Frank, Primo Levi and Peter Weiss, and those whose lives crossed in the bleak world of the camps, in fact or fiction. The book offers a chain of memories. It sets witness against fiction, truth against wilful deceit. It asks the question who owns the Holocaust - those who died, those who survived to bear witness, those who appropriated its victims to shape their own necessities.
Dežela senc Luthar, Oto; Pogačar, Martin
2015
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The Land of Shadows was first conceived as a complementary resource for History classes in Slovenian high schools. It served to complement to the patchy Holocaust teaching resources. It consists of ...two parts: the first part features a historical overview of anti-Semitism and eventually the Holocaust in Europe, which is followed by an account of the situation in Slovenia. The authors relied on the life-story of Mrs Erika Fürst, one of the Holocaust survivors from Prekmurje, Slovenia. In creating a compelling and touching narrative, the authors used visual material from the archives and from various publications depicting the period and the problematic, notably excerpts from two graphic novels: Art Speigelman’s Maus, Jason Lutes’ Berlin.
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