Jewish Digital Library
    • English
    • Српски
    • Српски (Serbia)
  • English 
    • English
    • Serbian (Cyrillic)
    • Serbian (Latin)
  • Login
View Item 
  •   Jewish Digital Library
  • Holokaust (Šoa) [The Holocaust (Ha-Shoah)]
  • Holokaust (ShoahLab)
  • View Item
  •   Jewish Digital Library
  • Holokaust (Šoa) [The Holocaust (Ha-Shoah)]
  • Holokaust (ShoahLab)
  • View Item
JavaScript is disabled for your browser. Some features of this site may not work without it.

Rock’n’roll i Holokaust

Rock’n’roll and Holocaust

Thumbnail
2022
full text (1.895Mb)
Authors
Kostić, Jovana D.
Contributors
Melić, Katarina
Nešić Pavković, Milena
Bošković, Dragan
Article (Published version)
Metadata
Show full item record
Abstract
„Rock’n’roll i Holokaust”, tekst u kome se sve već dogodilo, ali i u kome se sve tek treba dogoditi, budući da živimo u „odsustvu svake prave prisutnosti” (Džejmson 1974: 145), ima želju, ma koliko ona bila neostvariva, da se "oslobod[i] od obaveze započinjanja” (Fuko 2019: 7). On, međutim, ipak mora „započeti” i pokušati da, u nekom jeziku i diskursu, kaže nešto o ideologijama, Holokaustu i rock’n’roll-u: Belsen was a Gas Sex Pistols-a, Puppets Lenarda Koena, No Love Lost Joy Division-a.
“Rock’n’roll and Holocaust” represents, on one hand, a text in which everything has already happened and, on the other, a text in which everything is yet to happen because we, if we are to believe Jameson, live in the absence of any true presence. Moreover, this paper has a Focauldian desire to liberate itself from the obligation of commencing. It, however, has to “commence” and, with some language and discourse, attempt to say something about ideologies, Holocaust and rock-n-roll: Sex Pistols’ Belsen was a Gas, Leonard Cohen’s Puppets, Joy Division's No Love Lost.
Keywords:
Holokaust / Rock’n’roll / Belsen was a Gas / Sex Pistols / Puppets / Leonard Koen / No Love Lost / Joy Division
Source:
Holokaust, sećanje, kultura. 1, 2022, 59-66
Publisher:
  • Kragujevac : Filološko-umetnički fakultet
Note:
  • Istraživanje sprovedeno u radu finansiralo je Ministarstvo prosvete, nauke i tehnološkog razvoja Republike Srbije (Ugovor o realizaciji i finansiranju naučnoistraživačkog rada NIO u 2022. godini broj 451 -03-68/2022 14/ 200198).

ISBN: 978-86-80596-13-6

[ Google Scholar ]
Handle
https://hdl.handle.net/21.15107/rcub_jdb_2373
URI
https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2373
Collections
  • Holokaust (ShoahLab)
  • NLI 3
Topic
Holokaust (Šoa) [The Holocaust (Ha-Shoah)]
TY  - JOUR
AU  - Kostić, Jovana D.
PY  - 2022
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2373
AB  - „Rock’n’roll i Holokaust”, tekst u kome se sve već dogodilo, ali i u kome se sve tek treba dogoditi, budući da živimo u „odsustvu svake prave prisutnosti” (Džejmson 1974: 145), ima želju, ma koliko ona bila neostvariva, da se "oslobod[i] od obaveze započinjanja” (Fuko 2019: 7). On, međutim, ipak mora „započeti” i pokušati da, u nekom jeziku i diskursu, kaže nešto o ideologijama, Holokaustu i rock’n’roll-u: Belsen was a Gas Sex Pistols-a, Puppets Lenarda Koena, No Love Lost Joy Division-a.
AB  - “Rock’n’roll and Holocaust” represents, on one hand, a text in which everything has already happened and, on the other, a text in which everything is yet to happen because we, if we are to believe Jameson, live in the absence of any true presence. Moreover, this paper has a Focauldian desire to liberate itself from the obligation of commencing. It, however, has to “commence” and, with some language and discourse, attempt to say something about ideologies, Holocaust and rock-n-roll: Sex Pistols’ Belsen was a Gas, Leonard Cohen’s Puppets, Joy Division's No Love Lost.
PB  - Kragujevac : Filološko-umetnički fakultet
T2  - Holokaust, sećanje, kultura. 1
T1  - Rock’n’roll i Holokaust
T1  - Rock’n’roll and Holocaust
SP  - 59
EP  - 66
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2373
ER  - 
@article{
author = "Kostić, Jovana D.",
year = "2022",
abstract = "„Rock’n’roll i Holokaust”, tekst u kome se sve već dogodilo, ali i u kome se sve tek treba dogoditi, budući da živimo u „odsustvu svake prave prisutnosti” (Džejmson 1974: 145), ima želju, ma koliko ona bila neostvariva, da se "oslobod[i] od obaveze započinjanja” (Fuko 2019: 7). On, međutim, ipak mora „započeti” i pokušati da, u nekom jeziku i diskursu, kaže nešto o ideologijama, Holokaustu i rock’n’roll-u: Belsen was a Gas Sex Pistols-a, Puppets Lenarda Koena, No Love Lost Joy Division-a., “Rock’n’roll and Holocaust” represents, on one hand, a text in which everything has already happened and, on the other, a text in which everything is yet to happen because we, if we are to believe Jameson, live in the absence of any true presence. Moreover, this paper has a Focauldian desire to liberate itself from the obligation of commencing. It, however, has to “commence” and, with some language and discourse, attempt to say something about ideologies, Holocaust and rock-n-roll: Sex Pistols’ Belsen was a Gas, Leonard Cohen’s Puppets, Joy Division's No Love Lost.",
publisher = "Kragujevac : Filološko-umetnički fakultet",
journal = "Holokaust, sećanje, kultura. 1",
title = "Rock’n’roll i Holokaust, Rock’n’roll and Holocaust",
pages = "59-66",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2373"
}
Kostić, J. D.. (2022). Rock’n’roll i Holokaust. in Holokaust, sećanje, kultura. 1
Kragujevac : Filološko-umetnički fakultet., 59-66.
https://hdl.handle.net/21.15107/rcub_jdb_2373
Kostić JD. Rock’n’roll i Holokaust. in Holokaust, sećanje, kultura. 1. 2022;:59-66.
https://hdl.handle.net/21.15107/rcub_jdb_2373 .
Kostić, Jovana D., "Rock’n’roll i Holokaust" in Holokaust, sećanje, kultura. 1 (2022):59-66,
https://hdl.handle.net/21.15107/rcub_jdb_2373 .

DSpace software copyright © 2002-2015  DuraSpace
About JDB | Send Feedback

OpenAIRERCUB
 

 

All of DSpaceTopicsAuthorsTitlesKeywordsThis topicAuthorsTitlesKeywords

Statistics

View Usage Statistics

DSpace software copyright © 2002-2015  DuraSpace
About JDB | Send Feedback

OpenAIRERCUB