This article
examines Daša Drndić's
April in Berlin
(
April u Berlinu
, 2007), alongside
the author’s other Holocaust novels, as literary responses to historical
revisionism and outright denialism of ...the Holocaust in Croatia, which had
emerged into the political and cultural mainstream during the War of
Independence (1991-1995) and has persisted into the post-war period. Since the
historical legacy of the Fascist NDH in Croatia has been de-traumatized, it no
longer represents a crisis of historical consciousness, which would entail a
confrontation with the violent past as well as a painful transformation of
national identity and the political space in which this identity is
articulated. In contrast to de-traumatization, as an ethnocentric strategy that
normalizes the nation’s fascist crimes, Drndić’s novels stage a shocking
confrontation with the shards of the violent past. Through both their
innovative graphic layout and interdiscursive textuality—which combines
historiographical narration with avant-garde fictional and artistic devices,
words with image—Drndić’s novels function as literary archives and monuments,
and archives
as
monuments, intended
to disturb, disrupt, and jolt the reader into awareness of traumatic history, laying
bare the ideological mechanisms of political control and bringing the bodies of
victims to our doorstep.
Ovaj tekst analizira
April u Berlinu
(2007) te ostale romane o Holokaustu hrvatske
spisateljice Daše Drndić kao književne odgovore na povijesni revizionizam
Drugog svjetskog rata i Holokausta u Hrvatskoj, proces koji se ustalio kao
jedan od dominantnih političkih i kulturnih struja za vrijeme Domovinskog rata
(1991-1995), no koji također ustraje u poslijeratnom razdoblju. Budući da je
povijesno naslijeđe fašističke NDH detraumatizirano, ono više ne predstavlja
krizu povijesne svijesti, koja bi zahtijevala suočavanje s nasilnom prošlošću
kao i bolnu transformaciju nacionalnog identiteta te političkog i kulturnog
prostora u okvirima kojeg se taj identitet artikulira. Naspram
detraumatizacije, kao etnocentrične strategije koja normalizira fašističke
zločine nacije, romani Daše Drndić predstavljaju šokantno suočavanje s
krhotinama nasilne prošlosti. Putem inovativne grafičke obrade i
interdiskurzivne tekstualnosti, koja kombinira historiografsku naraciju s
avangardnim književnim i umjetničkim postupcima,
romani Daše Drndić funkcioniraju kao književni arhivi i spomenici, odnosno
arhivi-spomenici, koji žele uznemiriti čitatelje i osvijestiti prekrivenu ili
normaliziranu traumatičnu prošlost.
This interdisciplinary series addresses the relation between media and cultural memory. Its publications study how media construct, store, and disseminate memory. The series' focus is on different ...media and technologies, such as text and image, the cinema and the new digital media, on transmediality, intermediality, and remediation, as well as on the social (and increasingly transnational and transcultural) contexts of mediated memory. The aim of the series is to provide a vibrant international platform for research and scholarly exchange in the field of media and memory studies. Manuscripts submitted to the series are peer reviewed by expert referees.
This article analyzes Regards from Serbia (2007), a comic strip diary by Aleksandar Zograf, a Serbian underground cartoonist, as an instance of the alternative, anti-nationalist oppositional media ...space during the Yugoslav War. Drawing on comics scholarship and Walter Benjamin's philosophy of history, the article explores Zograf's use of the fantastic and surreal aesthetics to depict the political spectacle of Serbian nationalism during the 1990s, a historical time which Zograf imagines as a collective dream or, alternatively, a nightmarish mass hallucination. The visual diary spans the entire decade of the 1990s, a period of war, privation and authoritarian rule in Serbia: from the internationally imposed sanctions in the early 1990s to the overthrow of the Serbian strongman, Slobodan Milošević, following the U.S led NATO-bombing campaign. By examining the overall narrative progression of the comics diary and the use of surrealist themes, I view Zograf comics as site of dialectical images that critically reframe both the political rhetoric of Milošević's nationalist regime as well as international mass media representations of the Yugoslav Wars of the 1990s.
Ovaj tekst analizira April u Berlinu (2007) te ostale romane o Holokaustu hrvatske
spisateljice Daše Drndić kao književne odgovore na povijesni revizionizam Drugog
svjetskog rata i Holokausta u ...Hrvatskoj, proces koji se ustalio kao jedan od
dominantnih političkih i kulturnih struja za vrijeme Domovinskog rata (1991-1995),
no koji također ustraje u poslijeratnom razdoblju. Budući da je povijesno naslijeđe
fašističke NDH detraumatizirano, ono više ne predstavlja krizu povijesne svijesti, koja
bi zahtijevala suočavanje s nasilnom prošlošću kao i bolnu transformaciju nacionalnog
identiteta te političkog i kulturnog prostora u okvirima kojeg se taj identitet artikulira.
Naspram detraumatizacije, kao etnocentrične strategije koja normalizira fašističke
zločine nacije, romani Daše Drndić predstavljaju šokantno suočavanje s krhotinama
nasilne prošlosti. Putem inovativne grafičke obrade i interdiskurzivne tekstualnosti,
koja kombinira historiografsku naraciju s avangardnim književnim i umjetničkim
postupcima, romani Daše Drndić funkcioniraju kao književni arhivi i spomenici,
odnosno arhivi-spomenici, koji žele uznemiriti čitatelje i osvijestiti prekrivenu ili
normaliziranu traumatičnu prošlost.
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