Dva lica mistifikacije: predstavljanje Holokausta u delima "A Survivor from Warsaw" Arnolda Šenberga i "Different Trains" Stiva Rajša
Two faces of mystification: the representation of the Holocaust in Arnold Schoenberg's "A Survivor from Warsaw" and Steve Reich's "Different Trains"
Апстракт
U radu se razmatraju pristupi različitih medija predstavljanju Holokausta, s posebnim osvrtom na umetničku muziku u 20. veku. Prateći podelu koju Majkl Rotberg (Michael Rothberg) predlaže na dva gledišta na mogućnosti predstavljanja Holokausta: realističko i antirealističko (2000), analiziramo dela "A Survivor From Warsaw" (1947) Arnolda Šenberga i "Different Trains" (1988) Stiva Rajša. Cilj rada je da ukaže na to kako umetnička muzika reflektuje i participira u dominantnim istorijskim i savremenim diskursima predstavljanja i razumevanja Holokausta, posebno diskursa "herojstva" i "neizrecivosti".
The paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg’s "A Survivor From Warsaw" (1947) and Steve Reich’s "Different Trains" (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of "heroism" and "non-representability".
Кључне речи:
Holokaust / Arnold Šenberg / Stiv Rajš / umetnička muzika / politike sećanja / Holocaust / Arnold Schoenberg / Steve Reich / art music / politics of memoryИзвор:
Muzikologija, 2022, 32, 183-198Издавач:
- Beograd : Muzikološki institut Srpske akademije nauka i umetnosti
Колекције
TY - JOUR AU - Mevorah, Vera PY - 2022 UR - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2587 AB - U radu se razmatraju pristupi različitih medija predstavljanju Holokausta, s posebnim osvrtom na umetničku muziku u 20. veku. Prateći podelu koju Majkl Rotberg (Michael Rothberg) predlaže na dva gledišta na mogućnosti predstavljanja Holokausta: realističko i antirealističko (2000), analiziramo dela "A Survivor From Warsaw" (1947) Arnolda Šenberga i "Different Trains" (1988) Stiva Rajša. Cilj rada je da ukaže na to kako umetnička muzika reflektuje i participira u dominantnim istorijskim i savremenim diskursima predstavljanja i razumevanja Holokausta, posebno diskursa "herojstva" i "neizrecivosti". AB - The paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg’s "A Survivor From Warsaw" (1947) and Steve Reich’s "Different Trains" (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of "heroism" and "non-representability". PB - Beograd : Muzikološki institut Srpske akademije nauka i umetnosti T2 - Muzikologija T1 - Dva lica mistifikacije: predstavljanje Holokausta u delima "A Survivor from Warsaw" Arnolda Šenberga i "Different Trains" Stiva Rajša T1 - Two faces of mystification: the representation of the Holocaust in Arnold Schoenberg's "A Survivor from Warsaw" and Steve Reich's "Different Trains" DO - 10.2298/MUZ2232183M SP - 183 EP - 198 VL - 32 ER -
@article{ author = "Mevorah, Vera", year = "2022", abstract = "U radu se razmatraju pristupi različitih medija predstavljanju Holokausta, s posebnim osvrtom na umetničku muziku u 20. veku. Prateći podelu koju Majkl Rotberg (Michael Rothberg) predlaže na dva gledišta na mogućnosti predstavljanja Holokausta: realističko i antirealističko (2000), analiziramo dela "A Survivor From Warsaw" (1947) Arnolda Šenberga i "Different Trains" (1988) Stiva Rajša. Cilj rada je da ukaže na to kako umetnička muzika reflektuje i participira u dominantnim istorijskim i savremenim diskursima predstavljanja i razumevanja Holokausta, posebno diskursa "herojstva" i "neizrecivosti"., The paper discusses the approaches of different media to Holocaust (re)presentation, with special reference to art music in the 20th century. Following the classification proposed by Michael Rothberg on two possible perspectives for representing the Holocaust: realistic and anti-realist (2000), we analyse two compositions: Arnold Schoenberg’s "A Survivor From Warsaw" (1947) and Steve Reich’s "Different Trains" (1988). The aim of the paper is to point out how artistic music reflects and participates in the dominant historical and contemporary discourses of Holocaust representation, especially the discourses of "heroism" and "non-representability".", publisher = "Beograd : Muzikološki institut Srpske akademije nauka i umetnosti", journal = "Muzikologija", title = "Dva lica mistifikacije: predstavljanje Holokausta u delima "A Survivor from Warsaw" Arnolda Šenberga i "Different Trains" Stiva Rajša, Two faces of mystification: the representation of the Holocaust in Arnold Schoenberg's "A Survivor from Warsaw" and Steve Reich's "Different Trains"", doi = "10.2298/MUZ2232183M", pages = "183-198", volume = "32" }
Mevorah, V.. (2022). Dva lica mistifikacije: predstavljanje Holokausta u delima "A Survivor from Warsaw" Arnolda Šenberga i "Different Trains" Stiva Rajša. in Muzikologija Beograd : Muzikološki institut Srpske akademije nauka i umetnosti., 32, 183-198. https://doi.org/10.2298/MUZ2232183M
Mevorah V. Dva lica mistifikacije: predstavljanje Holokausta u delima "A Survivor from Warsaw" Arnolda Šenberga i "Different Trains" Stiva Rajša. in Muzikologija. 2022;32:183-198. doi:10.2298/MUZ2232183M .
Mevorah, Vera, "Dva lica mistifikacije: predstavljanje Holokausta u delima "A Survivor from Warsaw" Arnolda Šenberga i "Different Trains" Stiva Rajša" in Muzikologija, 32 (2022):183-198, https://doi.org/10.2298/MUZ2232183M . .