izvlecki_borec_608-6..

BOREC 608-611 

Avtorski izvleček UDK 821.163.6 

Erik Mrak 

PARTIZANSKA 

Zgodbo Partizanska je Erik Mrak posvetil svojima dedkoma – v spomin in 

kot odgovor na razna politična prerekanja, upravljanja z mrtvimi in razstavljanja 

živih: »Nekako mi je že prekipelo od vseh predpisanih barvnih kombinacij: 

rdeči, črni, beli... Meni so se vedno vsi zdeli ljudje. Vzel sem svoja dedka, ki sta 

oba že preminila, in del njiju oživel sredi gozda... Oba sta dala skozi koncentracijska 

taborišča... 

Pri obeh sem videl v očeh tisti ne-obstoj ... takrat, ko sta razlagala. Pravzaprav 

je razlagal le očetov oče, mamin ni o tem nikoli spregovoril. A tisto v očeh 

je bilo vidno. 

Nekaj sem vedel še zelo mlad: oba sta enkrat že umrla. V drugo je bilo samo 

konec sanj... A jih na pustijo na miru. Vse mrtve nesmiselne vojne. Vlečejo 

ven koščke različnih barv in nam mahajo pred očmi. Prerekajo se, kdo ima 

bolj prav, kdo ima bolj sijoč nagrobni kamen, kdo višjega, bolj zasluženega ..., 

a mrtve – mrtve pustijo tam, kjer so... Ne oživijo jih s pogledom in srcem ... v 

tišini. Tako kot je poljub dveh zaljubljencev tih. Tih navzven in poln navznoter. 

In prav tak, ljubeči dotik ustnic potrebujejo vsi nesmiselno mrtvi in ne-umrljivi, 

živeči in smrtni. Slovenci.« 

K zgodbi je dodana likovna priloga, jedkanice Apolonije Simon (Trojica, 

Nekje, Pokrajina, Prebujanje, Množica, Sam, Par, Par nekje, Sam nekje), ki jih 

je umetnostna zgodovinarka Simona Zorko v spremni besedi k likovni prilogi 

označila kot »Izgubljena telesa« (v razvoju avtoričinega slikarstva lahko opazujemo 

težnjo po abstrahiranju podobe in prehod v notranje svetove; telesa 

na objavljenih grafikah so odhajajoča – gledamo jih v hrbet ali s strani, kako 

koračijo v sublimno praznino podobe, saj je prostor – predvsem pa telesa/torza 

– le nakazan, reduciran na konturo). 

366

REVIJA ZA ZGODOVINO, ANTROPOLOGIJO IN KNJIŽEVNOST 

Author’s abstract UDC 821.163.6 

Erik Mrak 

THE PARTISAN STORY 

Erik Mrak has dedicated this story to his two grandpas. It represents his answer 

to various political arguments about the situation in Slovenia during WWII, 

as well as to manipulations with the dead and de-constructing of the living ones: 

“I was somehow boiled with rage from all prescribed colour combinations: red, 

black, white... I’ve always seen them as people. I took my two grandpas, both 

have already died, and made part of them alive again in the midst of the forest... 

Both have passed through the Nazi concentration camps... 

Whenever they talked about their war experiences, I noticed that non-existence 

in their eyes... Actually, it was only my father’s father who spoke, the 

mother’s one had never even spoken a word about it. But the glimpse in their 

eyes was there. 

I knew something from my early age: both have already died once. The second 

time was only the end of the dreams. But the dead are still not left alone. 

All those dead and senseless wars. And then the guarrellers take out pieces of 

different colours and wave them in front of our eyes. They argue who is more 

right, who has more gleamy tombstone, whose is higher, more deserved..., but 

the dead, the dead are left where they are... They are not revived with a look and 

heart ... in silence, like a kiss of lovers, which is always silent. Silent outwards, 

and full inwards. And exactly such loving touch of lips is needed by all nonsensically 

dead and undeadly, living and mortal Slovenes.” 

The Partisan story is illustrated by graphics-etchings by Apolonija Simon 

(Trinity, Somewhere, The Landscape, Awakening, The Crowd, Alone, Pair, Pair 

Somewhere, Alone Somewhere), which have been denoted as “Lost Bodies” by 

Simona Zorko, art historian and the author of the accompanying text (in the development 

of Simon’s painting, an aspiration towards abstraction of image and 

passage to inner worlds can be observed; the bodies on published graphics are 

in state of leaving – we are looking them at their backs or from the side, as they 

are marching into the sublime emptiness of presented images, so that the space 

– and above all the body/torso – is only indicated, reduced to contour lines). 

367


Avtorski izvleček UDK 821.163.6–1 ’’1941/1945’’ 

Marija Stanonik 

SLOVENSKA PESEM V VROČI AFRIKI – 

PESMI ANDREJA PERŠIČA 

Kako težka je bila usoda Slovencev v 20. stoletju, še posebej med drugo svetovno 

vojno, se pretresljivo vidi tudi iz pesnjenja v tem času: koroškega Slovenca 

Janeza Pernata iz Bistrice v Podjuni (1908–2002) je kot obveznika v nemški 

vojski vodila pot daleč na sever Evrope, kjer je napisal nekaj imenitnih pesmi, 

od katerih je vsaj ena vredna svetovnih antologij. Nasproti njemu, ki ga je na 

ladji Oldenburg oblivalo ledeno Severno morje, imamo za skrajno južno točko 

medvojnega pesnjenja Andreja Peršiča (1913–), doma iz Gornje Trebuše na Primorskem, 

ki je po prvi svetovni vojni pripadla Italiji. Kot vojak italijanske vojske 

je prepotoval Afriko in Azijo. Njegove pesmi so nastajale v vročini Bližnjega 

vzhoda, v osrčju starodavne kulture, sredi puščavskega peska v Egiptu in tedanji 

Palestini oziroma današnjem Izraelu, v času, ko je prestopil – tako kaže – v 

tedanjo jugoslovansko kraljevo vojsko, leta 1943. To je doslej edini znan primer, 

da je pisal pesmi tudi njen vojak. 

Pesmi Andreja Peršiča so izredno dragocen zgodovinski dokument. Doslej 

nismo imeli evidentiranega pesnjenja med slovenskimi vojaki v italijanski 

vojski, ki je bivakirala na Bližnjem vzhodu. Avtor je bil že od malega odtrgan 

od sistematične duhovne kulture v slovenskem jeziku, kot vojak v Palestini in 

Egiptu pa še toliko bolj; verjetno je zaradi tega njegov besedni zaklad nekako 

omejen, kar se vidi v ponovitvah nekaterih besednih zvez, enakih pridevnikov 

itn. Preseneča, da nasproti germanizmom tako rekoč ni italijanizmov. Toda 

pomanjkljiv pravopis ter besedni zaklad sta malenkost nasproti pristnemu domoljubju 

in veliki notranji moči Andreja Peršiča, saj kljub težavam upa v dobro 

in nikoli ne zapade v surovost – niti v izrazu niti v iskrenem čustvu. Nekatere 

pesmi izpričujejo avtorjevo lepo ustvarjalno nadarjenost. Teme 30 objavljenih 

pesmi so vojaščina, domovina, pesem, narava, ljubezen. 

368


Author’s abstract UDC 821.163.6–1 ’’1941/1945’’ 

Marija Stanonik 

SLOVENE POEM IN HOT AFRICA – 

POEMS OF ANDREJ PERŠIČ 

How hard was the fate of Slovenes in the 20th century, especially during 

WWII, can be seen in poetry of that time: Carinthian Slovene Janez Pernat 

from Bistrica in Podjuna (1908–2002) was mobilised by German army and sent 

to far northern part of Europe, where he wrote some eminent poems, of which 

at least one is worthy of world anthologies. On the other side of him, who was 

poured by icy Northern Sea on the ship Oldenburg, there is Andrej Peršič (1913–) 

from Gornja Trebuša in Primorska region (which after the WWI became part of 

Italy), who can be taken as southern point of mid war poetry. As a soldier of Italian 

army he travelled Africa and Asia. His poems have been taking shape in the 

heat of the Middle East, in the heart of ancient culture, in the midst of desert sands 

in Egypt and the then Palestine, today’s Israel, in the time when he changed sides, 

in 1943 – so it seems – to Yugoslav Royal army. This is so far the only known 

case that poetry was written by it’s soldier, too. 

Peršič’s poems are also a very precious historical document. So far there 

was no kept record of writing a poetry among the Slovene soldiers in Italian 

army stationed in the Middle East. Peršič was from young age torn away from 

systematic cultural education in Slovene language, as a solider in Palestine and 

Egypt even more; that’s probably why his vocabulary is rather limited, which is 

seen in repetitions of certain idioms, same adjectives etc. Surprisingly, there are 

no Italianisms against Germanisms. But inadequate spelling and insufficient 

vocabulary are mere trifle compared to genuine patriotism and enormous inner 

strength of Andrej Peršič, since despite the difficulties he hopes for the good 

and never falls in brutality – neither in expression nor in sincere emotion. Some 

poems testify author’s beautiful creative talent. The themes of 30 published 

poems are soldiering, homeland, poem, nature, love. 

369


Avtorski izvleček UDK 179.8:490.547.2 

Cvetka Hedžet Tóth 

REFLEKSIJE O TRPLJENJU ZARADI INDUSTRIJE SMRTI 

Ob stoti obletnici rojstva dveh nemških filozofov Theodorja W. Adorna 

(1903–1969 [2003]) in Hansa Jonasa (1903–1993 [2003]) članek govori o tem, 

kako reflektirati trpljenje in množično umiranje v nekdanjih fašističnih koncentracijskih 

taboriščih. Auschwitz simbolizira industrijo smrti, ko ljudje umirajo 

anonimno, ne da bi bili vpisani v knjigo življenja. Članek pri tem upošteva še 

nekaj imen zunaj filozofske stroke, ki podobno kot filozofija kritično razmišljajo 

o ideji nesmrtnosti. Ta je zaradi grozot holokavsta iz novejše kulture domala 

izginila. Iz potrebe dati trpljenju spregovoriti tudi tam, kjer najbolj boli, izhaja 

izrecna prepoved poveličevanja trpljenja. Kljub ohromljeni metafizični potrebi 

zaradi Auschwitza članek izpostavlja številna stališča različnih avtorjev, ki 

ohranjajo človekovo potrebo po transcendenci kot njegovo najbolj antropološko 

bistvo. Deležnost na ideji večnosti, vnos v knjigo življenja anonimnih in nemih 

žrtev, je med drugim skupno teoretsko izhodišče tistih, ki se ukvarjajo s pojavom 

tega, kar se je zgodilo, s holokavstom, in kar bi se dejansko sploh nikdar 

ne smelo zgoditi. Članek zato tudi opozarja na nov kategorični imperativ, o 

katerem razmišljajo v besedilu omenjeni avtorji, namreč, naj se Auschwitz nikdar 

več ne ponovi, kajti spet bi se lahko. Iz soočenja s pojavom industrije smrti 

izhajajo zelo konkretne zahteve glede etike, ki se mora odreči vsakršnemu represivnemu 

mehanizmu, zato da ne bi bila sama vir represije in da ne bi učinkovala 

kot teror. Precejšen del članka zato povzema stališča iz dela Dialektika razsvetljenstva 

(1947), s katerim Theodor W. Adorno in Max Horkheimer opozarjata 

na »potlačeni upor prepovedane narave«. V imenu pojma napredka je naša kultura 

izrinila naravo, jo ponižala in degradirala, celo etika je bila onenaravljena, 

in po Nietzschejevih predvidevanjih človeštvo to dejstvo tragično preplačuje. 

370


Author’s abstract UDC 179.8:490.547.2 

Cvetka Hedžet Tóth 

REFLEXIONS ON SUFFERING BECAUSE OF THE 

INDUSTRY OF DEATH 

On the occasion of the hundredth anniversary of the birth of two German 

philosophers, Theodor W. Adorno (1903–1969 [2003]) and Hans Jonas (1903– 

1993 [2003]), the present article dwells on how to reflect on the hardships and 

mass deaths in the Fascist concentration camps of the time. Auschwitz symbolizes 

the industry of death, with people dying anonymously without their names 

being entered in the book of life. The article additionaly takes into account certain 

names from outside philosophy that share with it critical reflection on the 

idea of immortality, the idea that almost vanished from recent culture because 

of the horrors of the Holocaust. It is out of the need to enable suffering to talk 

even where it hurts the most that derives the express prohibition on the gloricication 

of suffering. Despite the metaphysical need being made lame because 

of Auschwitz, the article highlights numerous views of different authors that 

preserve man’s need for transcendence as but his most anthropological essence. 

Shared reflection on the idea od eternity, record in the book of life of the anonymous 

and silent victims represent among other things the common theoretical 

starting point of those who deal with the event that happened – Holocaust – but 

in fact should never really have happened. 

It is for this reason that the article also points out a new categorical imperative 

contemplated by the authors referred to in the text, viz. that Auschwitz 

must never become a reality again, because it just could. It is from facing the 

phenomenon of the industry of death that derive very concrete demands regarding 

ethics that has to renounce any kind of repressive mechanism, in order for 

itself not to turn into a source of repression and act like terror. A substantial part 

of the article therefore summarizes the views expressed in the work Dialectic 

of Enlightenment (1947), in which Theodor W. Adorno and Max Horkheimer 

call attention to “the repressed rebellion of tabooed nature”. It is a fact that in 

the name of the concept of progress our culture drove nature out, humiliating it 

and degrading it, and even ethics was stripped of its natural underpinnings; as 

Nietzsche predicted, the human race is now paying a tragically exorbitant price 

for this state of affairs. 

371


Avtorski izvleček UDK 323.13(430)–053.2 

Nebojša Dragosavac 

LEBENSBORN – ČLEN V ZAROTAH MOLKA 

Nacistično organizacijo Lebensborn je 12. decembra 1935 ustanovil Heinrich 

Himmler, njen cilj pa je bila »proizvodnja« čim večjega števila otrok arijskega 

porekla. Na začetku so le spodbujali rodnost in v svoje domove sprejemali 

neželene zunajzakonske otroke, kasneje pa so celo organizirali »parjenje« esesovskih 

oficirjev z ženskami primerne rasne kakovosti in od leta 1942 zaradi 

hudih izgub na frontah otroke kar ugrabljali, tudi iz držav, katerih prebivalci so 

bili »rasno manjvredni«. Medvojna skrivnostnost, ki se je držala te organizacije 

– na zunaj so jo namreč prikazovali kot porodnišnico –, se je nadaljevala tudi 

po njej, pri tem pa so zavestno sodelovali (med vojno predvsem finančno) tudi 

zahodni zavezniki, saj naj bi razkritje posledic Lebensbornovega delovanja 

povzročilo nepopravljivo škodo. Tako so na primer Lebensborn na nürnberških 

procesih označili za zgolj porodnišnico in skrb za ženske, torej so mu dali celo 

pozitiven, humanitarni predznak. Večina ugrabljenih otrok se ni nikoli vrnila 

domov, težave so imeli celo tisti, ki so jih njihovi starši ali sorodniki s pomočjo 

mednarodnih organizacij našli pri krušnih starših v Nemčiji. 

Avtor ob celostni predstavitvi Lebensborna (njegove geneze, strukture, metod 

delovanja, prikaza posameznih zgodb ukradenih otrok) umesti to organizacijo 

tudi v širši družbeno-politični kontekst ter pokaže neposredno ali posredno 

vpletenost tudi drugih držav v to zaroto molka in aktualizira tematiko ob analizi 

vrste pojavov neonacizma v Evropi in ZDA. 

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Author’s abstract UDC 323.13(430)–053.2 

Nebojša Dragosavac 

LEBENSBORN – THE LINK IN CONSPIRACIES 

OF SILENCE 

The Nazi organization Lebensborn was established on 12th December 1935 

by Heinrich Himmler, with goal to “produce” as many Aryan children as possible. 

At the beginning this organization only stimulated fertility and accepted 

unwanted illegitimate children into their homes, but later even “mating” of SS 

officers with females of suitable racial qualities were organized there. From 

1942 onwards, due heavy losses on all fronts, some children were simply kidnapped, 

even from the countries, of which inhabitants were deemed “racially 

inferior”. The war-time secrecy that was characteristic for this organization – it 

was presented as maternity-hospital to outside world – continued after the war 

with collaboration (during the war above all financial) even of Western allies, 

supposedly due to the fact that irreparable damage would be caused if the consequences 

of Lebensborn activities would have been revealed. In this light, on 

Nürnberg trials Lebensborn was characterized only as a maternity-ward and 

women care, so even a positive humanitarian note was given to it. Vast majority 

of kidnapped children had never returned to their homes, difficulties had even 

those, whose parents or relatives had, with help of international organizations, 

found them at their adoptive parents in Germany. 

The author with integral presentation of Lebensborn (its genesis, structure, 

operating methods, review of individual stories of kidnapped children) puts this 

organization in broader socio-political context as well, and shows direct or indirect 

involvement of other countries in this conspiracy of silence and actualizes 

this topic with analysis of series of Neonazi appearances in Europe and USA. 

373


Avtorski izvleček UDK 77.03:355.01 

Uroš Hočevar 

AGONIJA SMISLA – VOJNA REPORTAŽNA FOTOGRAFIJA 

»I fucked up! I killed!« pravi »vo taksi« Aleksandar Kirkov, lik uspešnega fotoreporterja 

v makedonskem filmu iz leta 1994 Pred dežjem. »Odločil sem se. Moj 

fotoaparat je ubil moža.« – Fotografije, ki jih je režiser Milčo Mančevski uporabil 

kot osrednjo negibno točko, okoli katere zavrti krog zgodovine v filmu Pred 

dežjem, dodatno potrjujejo našo tezo vztrajanja v umiranju. Aleksandar Kirkov 

v sebi nosi značilnosti najvidnejših vojnih fotografov in njegove znamenite tri 

fotografske podobe nas vodijo naravnost v Saigon leta 1968. Najprej Aleksandra 

primerjamo z Robertom Capo, vendar je veliko pomembnejša očitna vzporednica 

z Eddijem Adamsom, ki je posnel enega najslavnejših strelov v zgodovini 

fotografije in vojne. Aleksandar svoje podobe raztrga, še pred dežjem, medtem 

ko Eddie Adams za fotografsko podobo eksekucije osumljenca VC v Saigonu 

prejme Pulitzerjevo nagrado (tako kot Aleksandar Kirkov) in močno pripomore 

k odločnejšemu protivojnemu vzdušju ameriške javnosti in s tem končanju 

skrajne agonije smisla. 

Diametralno nasprotna vietnamski je zalivska vojna – vojna, ki je pravzaprav 

ni, ne obstaja. Obstaja v svetu virtualne realnosti digitalnih signalov in na televizijskem 

zaslonu. Sovražnika ni, ker je izginil. Ostale so samo pike na radarskih 

zaslonih, vojna se kaže neverjetno čisto, je prava parada higieničnega. »Fotogenično« 

belino pa je pretrgalo le nekaj fotografij. Navzlic ostremu nadzoru nad 

mediji je v javnost pricurljalo nekaj fotografskih podob, ki kažejo »izginulega« 

sovražnika. 

Nadaljnje diametralno nasprotje, tj. med Vietnamom in Zalivom, najde 

svojo sredino v balkanskih vojnah v devetdesetih letih. Čeprav smo vsi bili v 

Vietnamu in nihče v Zalivu, smo na Balkanu vsi bili in zopet nismo bili. Vojna 

kot taka je v omenjenih vojnah pokazala drugačen, doslej neznan obraz, ki si 

ga je Van Creveld kljub vsemu upal napovedovati. Veliko različnih strani, prej 

nelegitimne sile so nenadoma postale legitimne in obratno: prej legitimne so 

naenkrat proglasili za nelegitimne. Sledi higieničen napad, ki »čisti« in pomotoma 

povzroča t. i. »kolateralno škodo«. 

Ne glede na vse pa je fotografijam vedno skupna ena sama točka – dokaz. 

374


Vsaka posebej in vse skupaj dokazujejo, da se na prizorišču gledališča sveta 

nekaj dogaja. Potrjujejo dogajanje kot neizprosno krutost prizorišča, kot neponovljivost. 

Namreč vse, kar se je na sceni gledališča sveta dogajalo, je zapustilo 

sled v obliki dokaza, ki ni nič drugega kot vojna fotografija. Toda gledališče sveta, 

ki je po Artaudu gledališče krutosti, še zdaleč ni nevarno, saj se je prizorišče 

pred »neukimi« vsiljivci zavarovalo s pomočjo enega najmlajših orodij tiskanih 

(v zadnjem času tudi elektronskih) medijev, tj. s fotografijo kot neprebojnim 

»četrtim zidom«. 

Danes se reportažne fotografije vedno bolj približujejo umetniškim eksponatom 

in njihovi razstavni vrednosti, po W. Benjaminu, medtem ko njihovo funkcijo 

obveščanja večinoma prevzema televizijsko svetlobnohitrostno poročanje, 

ki ga skozi vojno, ki je pravzaprav ni, razlagata predvsem J. Baudrillard in P. Virilio, 

z oslikovljeno realnostjo pa se jima pridružuje še W. Welsch. Kljub vsemu 

pa ostaja odprto vprašanje: Kaj se bo v zadnji instanci zgodilo s fotografskimi 

podobami vojne, ki kljub vsemu so in ostajajo? 

375


Author’s abstract UDC 77.03:355.01 

Uroš Hočevar 

THE AGONY OF SENSE – WAR PHOTOGRAPHY 

“I fucked up! I killed!” says “vo taksi” (in taxi) Aleksandar Kirkov, an example 

of a successful photojournalist in the 1994 Macedonian movie Before the 

Rain. “I took sides. My camera killed a man.” 

The photos used by the director Milčo Mančevski as a central static point, 

around which he turns the course of history in the movie Before the Rain, additionaly 

confirm our thesis of endurance of dying. Aleksandar Kirkov signifies 

the characteristics of the most eminent war photographers and his famous three 

photographic images take us straight to Saigon in 1968. At first we compare 

Aleksandar Kirkov to Robert Capa, but much more important comparison is 

that with Eddie Adams, who took one of the most famous photos in the history 

of photography and war. Aleksandar tears up his photos before the rain, while 

Adams receives a Pulitzer prize (as does a character of Aleksandar Kirkov) for 

a photography of a VC sympatizer execution and thus strongly contributes to 

even stronger antiwar atmosphere within American public and, at the end, of 

the extreme agony of sense. 

Diametrally opposite of Vietnam is a Gulf war – the one that actually didn’t 

exist. It existsed in the world of virtual reality of digital signals and TV screens. 

There was no enemy, it had disappeared. What was left were dots on the radar 

screens. War appeared to be incredibly clean – like a parade of hygiene. “Photogenic” 

whiteness disrupted only a few photos. Despite strong media control 

public had an opportunity to see some photographic images that showed the 

disappeared enemy. 

Diametral opposition between Vietnam and Gulf war finds its centre in Balkan 

wars of the 90’s. Even though we were all present in Vietnam and weren’t 

in Gulf, we were all present and not at the same time in Balkan. War as such 

showed a different, so far unidentified face in these wars, which despite everything 

Van Cleveld dared to predict. Lots of various sides, the forces that were 

illegitimate before, were suddenly legitimate, and vice versa: the forces that 

were legitimate before, had suddenly been pronounced illegitimate. This was 

followed by a hygienic attack that “cleaned” and caused by mistake the so-called 

“collateral damage”. 

376


Nevertheless, all the photos have always one thing in common – they all 

represent the evidence. Each separately and all together prove there is something 

happening on the stage of the world theatre. They confirm the action as 

ruthless cruelty of scenery, as non-repeatnessness. Everything that happened 

on the stage of the world theatre left a mark in a form of an evidence which 

is no other than war photography. But the world theatre is the one of cruelty, 

according to Artaud, therefore it isn’t even remotely dangerous. The stage has 

protected itself from “ignorant” intruders with help of one of the youngest 

equipment of printed (lately also electronic) media, i.e. with photography as a 

bulletproof “fourth wall”. 

Today press photos tend to come closer and closer to art exhibits and their 

exhibitional value, according to W. Benjamin. On the other hand especially J. 

Baudrillard and P. Virilio explain how their informative function is mostly taken 

over by televisional lightspeed reporting, joined by W. Welsch with his explanation 

of inpictured realtity. And despite everything there remains an open issue: 

What will happen at the last instance with the photographic images of war 

which despite everything still exist? 

377


Avtorski izvleček UDK 930.85(560)’’1923/–’’ 

Jale Erzen 

MODERNIZACIJA IN KULTURNA POLITIKA 

Problematika državne podpore umetnosti in kulturna 

hegemonija v Turčiji po letu 1923 

Ker umetnost velja za najsvobodnejšo od vseh človeških dejavnosti, se o 

pojmu hegemonije v umetnosti ne razmišlja pogosto, pa tudi kot estetska in 

kritična kategorija ni bil razvit. S konceptom vpliva običajno opravimo, kot da 

gre zgolj za dobrodošlo in zaželeno okoliščino. Ko pa so prišle v dvajsetem stoletju 

v ospredje razprave o avtonomiji umetnosti, so začele nekatere ideologije 

zavestno iskati poti za vplivanje na umetniške prakse. Nekatere od njih so to 

počele odkrito in javno izrazile svoje namene in vrednostne sodbe, druge pa so 

za to, da bi dobile v roke kulturno in umetniško produkcijo, delovale bolj prefinjeno. 

Ko je bila v Turčiji leta 1923 ustanovljena republika, se je država lotila 

načrta pozahodenja in modernizacije v polnem pomenu besede. Odkrito je podpirala 

in vsiljevala nekatere umetniške prakse, druge pa zavračala. Vse odtlej 

je bila državna vpletenost v kulturne politike zelo pomembna, čeprav premalo 

proučevana kot vpliv in kot pogojevanje s strani političnih ideologij. 

Podala bom zgodovino teh intervencij in transformacijo vrednostnih sodb o 

umetnosti, do katere je prišlo z uporabo medijev in ekonomskih sredstev. 

378


Author’s abstract UDC 930.85(560)’’1923/–’’ 

Jale Erzen 

MODERNIZATION AND CULTURAL POLICY 

The problem of state support of art and cultural hegemony 

in Turkey after 1923 

Art being thought of as the most free of all human enterprize, the notion 

of hegemony in art is not one that is often thought about nor elaborated as an 

aesthetic and critical category. The concept of influence is usually dealt with as 

a welcome and willing condition. However, with the debate on the autonomy 

of art coming to the fore in the 20th century, certain ideologies began to consciously 

find their ways into influencing art practices. Some of these were quite 

open and publicly stated their intentions and value judgements. There were also 

others operating in more subtle ways towards manoeuvring of cultural and artistic 

production. With the founding of the Republic in Turkey in 1923 the state 

embarked on a full Westernization and modernization project. The state openly 

supported and imposed certain artistic practices and banned others. Ever since, 

the State’s involvement in the cultural policies have been a very important yet 

understated influence and conditioning for political ideologies. 

My paper will give a history of these interventions and the transformation in 

the value judgements about art through the use of media and economic tools. 

379


Avtorski izvleček UDK 75.071(529)’’1994’’ 

Eva Kit Wah Man 

TROJICA »HONG KONG–KITAJSKA–SVET« 

Boj kulturnih identitet kot oblika hegemonije v umetnosti postkolonialnega 

Hong Konga (od devetdesetih let prejšnjega stoletja dalje) 

Leta 1994, tri leta pred vrnitvijo Hong Konga pod okrilje Kitajske, je bila v 

koloniji odprta razstava likovnih del z naslovom Ukvarjanje s tradicijo. Tema 

razstave je bila vpogled v odnos hongkonških umetnikov do kitajske dediščine. 

Reprezentativni primerek kritike je povedal, da največji del skupnosti pristopa k 

tradiciji z razdvojenostjo, tako da je bil izziv: »Kdo je dejaven v tem srečevanju, 

mi ali tradicija? Se mi ukvarjamo z njo ali se ona ukvarja z nami?« 

Pričujoče besedilo sledi tej razpravi in se sprašuje: »Kaj je narava tega ukvarjanja? 

Kakšne so njene implikacije? Zakaj in kako?«. Besedilo se začenja s pregledom 

pomena hegemonije in pomena besede v primeru kulturne identitete v 

umetnosti. Po tem bo prikazalo ozadje iskanja kulturne identitete v hongkonški 

umetnosti, sledilo njenim manifestacijam nazaj v šestdeseta leta in se končno 

osredotočilo na najnovejša dogajanja, ki jih bo spravilo v razmerje s historičnimi 

in političnimi zahtevki. 

380


Author’s abstract UDC 75.071(529)’’1994’’ 

Eva Kit Wah Man 

THE TRINITY “HONG KONG–CHINA–THE WORLD” 

The antagonism of cultural identities as a form of hegemony in the 

postcolonial Hong Kong art (from the 90s of the previous century onward) 

In 1994, three years before the return of Hong Kong to China, a visual art 

exhibition entitled Engaging Tradition was held in the colony. The theme of the 

exhibition is to see how Hong Kong artists relate to the Chinese heritage. One 

representative piece of criticism was: “Who is active in this encounter, us or tradition? 

Do we engage with it, or is it engaging us?” 

This paper follows the discussion and asks: “What is the nature of this engagement? 

What are its implications? Why and how?” The paper starts from a 

brief review of the meaning of hegemony and the meaning of the word in the 

case of cultural identity in art. It will then outline the background of the search 

of cultural identity in Hong Kong art, trace its manifestation back to the 1960s 

and then focus on the recent development, relating it to the historical and political 

urge. 

381


Avtorski izvleček UDK 7.072 

Parul Dave Mukherji 

VIZUALNA POLITIKA IN BINARNA LOGIKA 

UMETNOSTNE ZGODOVINE 

Od Maillardinih »nesporazumov« do Brysonovega »gledanja in pogleda« 

V prispevku želim pregledati konstitutivno vlogo, ki jo je imel pojem kulturne 

drugosti pri nekaterih sodobnih umetnostnozgodovinskih besedilih, in 

implikacije, ki jih to ima neposredno ali posredno na moje lastno pedagoško in 

tudi kulturno delovanje v Indiji. 

Besedilo je sestavljeno iz dveh razdelkov, od katerih se prvi napaja predvsem 

iz odziva na prispevek profesorice Chantal Maillard, avtoritete v indijski 

estetiki, z naslovom »Kaj pomeni umetnost v Indiji: zahodni nesporazumi«, na 

15. kongresu iz estetike, ki je bil pred kratkim v Tokiu. Drugi del se osredotoči 

na posebno rabo, ki jo ima zdaj že slavna dvojica Normana Brysona »gledanje in 

pogled« v njegovem umetnostnozgodovinskem projektu. Oba projekta lociram 

v politiko medkulturalnosti, kjer se izmenjujejo in prilaščajo kulturne vrednote 

preko meja nacij in kjer je predpostavljeno, da se druge kulture interpretirajo 

pod lastnimi pogoji, kar je značilno za kulturno hegemonijo. 

382


Author’s abstract UDC 7.072 

Parul Dave Mukherji 

VISUAL POLICY AND THE BINARY 

LOGIC OF ART HISTORY 

From Maillard’s “misunderstandings” to Bryson’s “gaze and glance” 

In this paper, I propose to examine the constitutive role played by the notion 

of cultural otherness in some of the contemporary art historical writings 

and what implications they have, direct or indirect on my pedagogic as well as 

cultural practices as an historian in India. 

The paper consists of two sections – the first part largely conceived as a 

response to another paper »What is meant by art in India: Western misunderstandings«, 

presented at the 15th Congress of Aesthetics held in Tokyo recently 

by Prof. Chantal Maillard, an authority on Indian Aesthetics. The second part 

focuses on the particular use that Norman Bryson’s now famous dyad, the gaze 

and the glance, is put to in his art historical project. I locate both their projects 

within the politics of interculturalism wherein cultural values are exchanged 

and appropriated across nations and the prerogative to interpret other cultures 

in one’s own terms is symptomatic of cultural hegemony. 

383


Avtorski izvleček UDK 32.01+7.01 

Katya Mandoki 

ESTETSKO PROIZVAJANJE NACIONALNE KOHEZIVNOSTI 

Ob zori poleg spektakularnega sončnega vzhoda najbolj zgovorno naznanja 

novi dan intenzivno ptičje petje. Kmalu zatem pride na vrsto intenzivno človeško 

govorjenje. Vse radijske postaje so v prvih jutranjih urah preplavljene z 

govorjenjem. Glavna tema je vedno politika, zlasti nacionalna. Govore in izjave 

političnih osebnosti dekodirajo, interpretirajo, kritizirajo, reciklirajo, spravljajo 

v red, jih spet vzpostavljajo, napihujejo, rekonstruirajo in dekonstruirajo. Na ta 

način deloma, dan za dnem, nacija besedno reproducira svojo lastno podobo 

kot nekaj skupnega v imaginaciji lastnih državljank in državljanov. 

Kako se te imaginacije, in ne kake druge, posplošujejo in vzdržujejo verodostojnost, 

je tema, povezana s hegemonijo. Zamisel, ki stoji za konceptom 

hegemonije, je, da se nobene politične moči ne da neskončno držati v rokah z 

golo silo. Vprašanje tega besedila pa je, kako se pravzaprav te nacionalne hegemonije 

in njihove imaginarne skupnosti vzpostavljajo. Trdim, da so sredstva za 

konstrukcijo in pripadnost estetska. 

384


Author’s abstract UDC 32.01+7.01 

Katya Mandoki 

THE AESTHETIC PRODUCTION OF NATIONAL 

COHESIVENESS 

At dawn, what most eloquently announces a new day, besides a spectacular 

sunrise, is the birds’ intense chirping. Soon after comes the humans’ intense 

talking. All radio stations overflow with speech during the first morning hours. 

Its main subject is always politics, particularly national. Speeches and declarations 

by political figures are decoded, interpreted, criticized, recycled, rectified, 

reinstated, pumped up, reconstructed and deconstructed. This is partly how, 

day-by-day, a nation verbally reproduces its own image as a common entity in 

the imagination of its citizens. 

How do these imaginaries, rather than others, become generalized and 

maintain plausibility is a question of hegemony. The idea behind the concept 

of hegemony is that no political power can be indefinitely held by sheer force. 

The question here is how exactly are these national hegemonies and imaginary 

communities built. I will contend that their means of construction and adherence 

are aesthetic. 

385


Avtorski izvleček UDK 792.8:172.4 

Mojca Puncer 

MALAPARTEJEVA KOŽA IN EN-KNAPOVA S.K.I.N. 

V prispevku avtorica vzporeja roman Curzia Malaparteja Koža in novo plesno 

predstavo mednarodne skupine En-Knap S.K.I.N. Vojni roman Koža skozi 

nenavadno poetiko združuje intimno in neizprosno avtorjevo popisovanje povojnega 

Neaplja ob prihodu zaveznikov z ameriško vojsko na čelu – s slikanjem 

univerzalnih tem kaosa, nasilja, razčlovečenja kot posledic vojnega pustošenja. 

Vendar pri predstavitvi romana avtorici ne gre za dosledni opis, temveč za izpostavitev 

tistih očitnih točk in prizorov, ki so postali svojevrstni navdih zadnje plesne 

predstave S.K.I.N. skupine En-Knap pod vodstvom koreografa in plesalca 

Iztoka Kovača. Avtorica se zato osredotoča predvsem na funkcioniranje in učinke 

obravnavane tematike v formi romana, transponirane v estetski organizem 

plesne predstave, ki pa nosi podpise soustvarjalcev, posameznikov iz različnih 

kulturno-političnih okolij, ki po poteh raziskovanja improvizacijskih potencialov 

v razmerju do en-knapovskega gibalnega besednjaka izpišejo individualno 

zgodbo plesa; avtorico tu zanima predvsem zgodba Iztoka Kovača, ki jo le-ta 

izpove v pogovoru, dodanem k osrednjemu delu članka. 

386


Author’s abstract UDC 792.8:172.4 

Mojca Puncer 

MALAPARTE’S SKIN AND EN-KNAP’S S.K.I.N. 

In her paper, the author juxtaposes the novel Skin by Curzio Malaparte and 

a new dance performance S.K.I.N. by an international dance group En-Knap. 

The war novel Skin through unusual poetics combines an intimate and inexorable 

Malaparte’s description of post war Neaples at the arrival of Allies lead 

by Americans – with painting of universal themes of chaos, violence, dehumanization 

as a consequence of war devastation. Presenting the novel, the author of 

the present paper is not looking for a consistent description, but rather tries to 

expose those obvious points and scenes, which have become a kind of inspiration 

of the newest dance performance S.K.I.N. by En-Knap, at the lead of a choreographer 

and dancer Iztok Kovač. That’s why the author concentrates above 

all on functioning and effects of the treated theme in the form of a novel being 

transposed into an aesthetic organism of the dance performance S.K.I.N. which, 

on the other hand, is significantly marked by its dancers and co-creators. As 

individuals from different cultural-political environments they have inscribed 

their individual stories, following their own improvisational potentials, but in 

relation to En-Knap’s dance-vocabulary. The author is interested here in particular 

in the story of Iztok Kovač which he has told her in an interview being now 

incorporated in the central part of the article. 

387


Avtorski izvleček UDK 730.071:929 Claudel C. 

Senka Ciuha 

CAMILLE CLAUDEL 

Ob prvem srečanju z deli Camille sta jasno opozarjali dve dejstvi: žar stoletnih 

kipov, ki je kričal usodo njihove stvariteljice, in na drugi strani pre-prečiščena 

popolnost Rodinovih del. Brez opozorila je razlika vidna. V nadaljevanju sledi 

tista običajna skopost normalnega razumevanja: »Bila je Rodinova ljubica in iz 

ljubezni do njega se ji je zmešalo«. 

Kar sem želela v članku povedati, je, da je ta trditev laž. Je norost vpijati 

dež po licih, je norost do onemoglosti klesati sam v lakoti in mrazu, ker ti delo 

pomeni več od življenja samega? Je norost prekositi svojega učitelja in ljubljenega? 

Je norost ljubiti mater, ki te sovraži? Je norost nepreklicno živeti kot večni 

otrok lune v svetu demonov in bogov? Je norost ljubiti življenje in ga pretapljati 

v kamen? Je norost sprejemati tok viharjev življenja, ki te osamijo do zadnje 

biti, a ti ohraniš zaupanje? Je norost ob vsem tem biti ženska, ljubljena zgolj iz 

občudovanja, zgolj kot muza, navdiha potrebnemu? 

388


Author’s abstract UDC 730.071:929 Claudel C. 

Senka Ciuha 

CAMILLE CLAUDEL 

At the first contact with works of Camille Claudel, two facts were clearly 

calling to attention: the glow of century-old statues, crying out the fate of their 

creator, and over-purified perfection of Rodin’s work on the other side. The 

difference is visible without the warning. Such usual stinginess of normal understanding 

follows in continuation: “She was Rodin’s lover and she went mad 

because of her love for him.” 

I wanted to say in my article that this assertion is a lie. Is it madness to soak 

rain on the cheeks, is it madness to carve alone in hunger and cold until exhaustion, 

because the work means more than life itself? Is it madness to surpass 

one’s own teacher and lover? Is it madness to love mother who hates you? Is 

it madness to irrevocably live as the eternal child of the Moon in the world of 

demons and gods? Is it madness to love life and to melt it into the stone? Is it 

madness to accept the current of hurricanes of life which alienate one to the last 

essence, but one still keeps the confidence? Is it madness to be a woman in all 

this, loved only of admiration, only as a muse of a man in need of inspiration? 

389

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