Provider: - Institution: - Data provided by Europeana Collections- v zborniku je predstavljeno dvoletno delo raziskovalnega tabora na planini Golte in njeni okolici.- 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
Auschwitz Shulamith Lev-Aladgem
Marking Evil,
05/2015, Letnik:
21
Book Chapter
The discourse of the Holocaust, like any discourse, is dynamic and transformative. The growing distance from the historical moment accelerates this process, which is currently generating new and ...contested Holocaust narratives. This ongoing making of meaning out of the term “ Holocaust” is also due to its explosive evocative power, encapsulating the incommensurate and ultimate cruelty. The discursive appropriation of the Holocaust has expanded lately , taking a new global direction that focuses on new forms of suffering and genocides. This new ethics and practice of the Holocaust constitutes it as a supervalue appropriated worldwide for self and communal identity
Provider: - Institution: - Data provided by Europeana Collections- Bleiweisov spomenik iz tonalita z obeliskom je izdelalo graško kamnoseško podjetje Grein. Podstavek je iz domačega kamna izdelal ...ljubljanski kamnosek Vinko Čamernik. Okoli spomenika je bila ograja iz kovanega železa. Janez Bleiweis, ki se je rodil 1808 v Kranju in umrl 1881 v Ljubljani, je imel mnogo funkcij in bil precej izobražen: bil je doktor medicine, magister porodništva in veterinar, postavil je temelje slovenskega veterinarstva. Bil je tudi aktiven politik, vodilna osebnost političnega tabora staroslovencev. Na nagrobnem spomeniku je nevedenih polno njegovih funkcij in častnih naslovov: tako je bil častni meščan Ljubljane ter drugih mest in trgov, častni občan številnih občin in član mnogih učenih društev, deželni poslanec, tajnik cesarsko kraljeve kmetijske družbe, urednik Kmetijskih in rokodelskih novic, predsednik Matice Slovenske in ljubljanske čitalnice, vitez raznih redov in druge funkcije. Na podstavku je napis: Edino, kar nas teši v bolesti, je zavest, da ves narod slovenski z nami vred plače na Tvojej gomili in da bodeš živel večno v srcu njegovem. (Povzeto po: M. Piškur, S. Žitko: Ljubljansko Navje. Ljubljana, 1997.)- 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
Provider: - Institution: - Data provided by Europeana Collections- 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
Provider: - Institution: - Data provided by Europeana Collections- Bilo je suuper. Zopet se vidimo drugo leto!- 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
Provider: - Institution: - Data provided by Europeana Collections- Skupinska fotografija. Zeleni mladi raziskovalci, rdeči mentorji in vodstvo!- 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
Provider: - Institution: - Data provided by Europeana Collections- Zoologi so nekaj svojega časa namenili pravim kostem.- 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
Drawing perhaps on the conventions of the "Western" genre and the master narrative of the vast, unpopulated wilderness that acts as the "screen" on which these dramas are played out, Martin Kagel ...determines the setting to be in what is now the state of Arizona and concludes that the play takes place in what is "in reality ... nevertheless a no man's land." 52 The territories of what is now the state of Arizona were originally home to southwestern Pueblo, Navaho and Hopi tribes. To these peoples, the West was not, by any means, a "no man's land." But, the "Indian" portrayed by the character of Rotgesicht describes himself as the descendant of a "Cherokee Chief" (WuR 23). 53 While the 1830 Indian Removal Act did legally permit the US government to forcibly dislocate approximately 17,000 Cherokee about 1,500 miles west of their southeastern territories in a death march that has since become known as the Trail of Tears, this pogrom displaced them only as far west as what is today the state of Oklahoma. One German reviewer displaces the geographic location several hundred miles further west to the "California desert." 54 Were this the case, the "Cherokee" Indian portrayed here would have found himself several thousand miles from home. Becker identifies the geographic location as "on route sixty-six ... uber irgendeinem Death Valley am sudlichen Arsch der neuen Welt, im alten Indianerland." 55 This comment, as much as any other, reveals the precipitous gap between the "American Indian" and European/Euroamerican understanding of the location of culture in the West: the notions of irgendein or "just any old" Death Valley and "altes Indianerland" are completely alien and even hostile to an indigenous view of the land in the territories at issue here. The term "Indian land" designates a geographic territory which encompasses not only the entire bounds of what is now the "United States," but also of what is today called "Canada." More properly, this territory is identified as "Turtle Island," and, from a Native American perspective, it is here that the world begins, not where it ends. Paul Kruntorad and Jack Zipes come closest, geographically, in identifying the site as New Mexico - an interpretation supported by the prominence in the text of the cities of Albuquerque and Santa Fe. They both lie within the current bounds of New Mexico's borders. But George Tabori does not specify the location of the actual confrontation between the characters - neither in the short story version, "Weissman und Rotgesicht," nor in the English language original "Weisman and Copperface," nor in the stage directions to the German Weisman und Rotgesicht: Ein judischer Western. The reader/viewer is left to his own devices and the limits of his own imagination in determining precisely where in the world this duel in the "desert" takes place. The tension created by the conjunction of Biblical and "frontier" metaphors at this "desert" site might be seen as an intentionally gross exaggeration of the trope of geographic disorientation designed to elicit critical reflection on the myth of the "vast, unpopulated wilderness" or "no man's land."
