Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...

asistički kliše o nasilnom muslimanskom
fanatiku predstavio globalnoj javnosti.
Umjesto toga, on otvara prostor imaginacije
tako što mučeniku daje da koristi jezik
smrti koji je legitimisan u domenu bajki
i priča o nestvarnom. Kada Šeherezada
pripovijeda te priče, ona pokušava sebe da
spasi od smrti, što stvara tenziju nasuprot
navodnom počinitelju u liku mučenika.
Yael Bartana se u radu Mary Koszmary iz
2008. godine bavi pitanjem zamjene u
postnacionalnoj eri. U empatičnom govoru
mladić u savršenom poslovnom odijelu
(neki Poljaci mogli bi u njemu prepoznati
Sławomira Sierakowskog, sociologa
posvećenog ponovnom oživljavanju lijeve
politike u Poljskoj) poziva tri miliona
Jevreja – a to je broj Jevreja koji su živjeli
u Poljskoj prije holokausta – da se „vrate“
u zemlju jer su potrebni Poljskoj. Govor
razotkriva utopističku sliku nove Evrope,
koja prevladava mržnju i rado prihvata
raznolikosti, istovremeno izokrećući
nacionalističku ideologiju cionizma.
Govornik se služi propagandnim jezikom
iz Drugog svjetskog rata, zaodijevajući
time svoju pomirljivu poruku u jezik rata i
dominacije. Naslov u prevodu glasi „noćne
more” i doprinosi sumnjama u istinitost
jezika.
U video radu If You Could Speak Swedish iz
2001. godine Esra Ersen prikazuje kurs jezika
za imigrante u Švedskoj. Ali, nešto je tu
drugačije, jer polaznici kursa ne uče, kao
što je uobičajeno, rečenice koje govore o
životu, istoriji i tradiciji Švedske. Umjesto
toga, Ersenova je zamolila da svaki od njih
kaže švedskom narodu ono što bi želio.
Njihovi odgovori odnosili su se na vlastiti
zavičaj, poput Iraka ili Rumunije. Izvorno
su bili napisani na materinjim jezicima,
ali ih je nakon toga preveo profesionalni
prevodilac, te su ih naposlijetku autori
samo pročitali, ovoga puta na švedskom.
tion and mutual support of visual language
and the spoken word that have become
all too familiar in recent broadcasts, and
through which the racist cliché of the
violent Muslim fanatic was manifested in
the world public. Instead he opens up the
space of imagination by having the martyr
use a language of death that is legitimated
in the realm of fairy tales and surreal
stories. When Scheherazade was narrating
these tales, she was following the intention
to save herself from execution, which creates
a tension with the alleged perpetrator
in the figure of the martyr.
Yael Bartana, Mary Koszmary, 2008, deals
with the issue of replacement in a post-national
era. In an emphatic speech, a young
man in a perfect business suit, (some
Polish people might recognize him as
Slawomir Sierakowski, a sociologist committed
to re-establishing left wing politics
in Poland) is calling upon three million
Jews - the number of Jews, who lived in Poland
before the Holocaust - to “return” to
the country, because Poland needs them.
The speech unveils a utopian image of a
new Europe that overcomes hatred and
embraces diversity in addition to inverting
the nationalist ideology of Zionism.
The man uses the propaganda language of
WWII, and by this dresses his conciliatory
message into a language of warfare and
domination. The title means “nightmares”
in English and contributes to the doubts
about the truthfulness of the speech.
In her video If You Could Speak Swedish,
2001, Esra Ersen shows a language course
for immigrants in Sweden. But something
is different; the language students are not
learning, as usual, sentences that tell about
the life, history and traditions in Sweden.
Instead Ersen has asked what each of them
would like to say to Swedish people. Their
answers have to do with their own respec-