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Libri & Liberi
|
2015
|
vol. Vol 4
|
issue 4.1
45-60
HR
U književnosti za djecu i mlade motivu smrti nerijetko se pristupa s obvezom da čitatelj dijete, kojega se također suočava s (literarnim) gubitkom, zauzvrat dobije i zadovoljštinu i utjehu, odnosno da smrt ne bude prihvaćena kao konačno i trajno rješenje. Članak propituje prikaze smrti te načine pripovijedanja o njoj u odabranim tekstovima koji tematiziraju holokaust, a uključuju dječje pripovjedače ili likove. Uzimajući u obzir te dvije temeljne odrednice, narativ o smrti u kontekstu stvarne povijesne pozadine genocida i odabir djece kao pripovjedača ili likova, pretpostavlja se i drukčije poimanje smrti, ali i progovaranje o njoj, pri čemu se propituje snaga jezika kao temeljnoga instrumentarija pripovijedanja.
EN
In the literature for children and young adults, the motif of death is not uncommon, but it is usually not accepted as a final and permanent solution. This paper examines the narrative representation of death in chosen texts that deal with the Holocaust and include children and young people as narrators or characters. Taking these two principles into account – the narrative of death in the context of the real historical background of genocide, and emphasising children as narrators or characters – we presuppose a different indication of death, as well as narration about it. Here we also debate the power of language in dealing with this subject matter.
DE
Das Todesmotiv ist in der Kinder- und Jugendliteratur heutzutage kein so ungewöhnliches Motiv mehr. Dennoch wird in dieser Literatur meistens der Tod als keine endgültige und dauerhafte Lösung dargestellt. Im Beitrag werden die Darstellungsweisen des Todes in einigen Werken analysiert, deren Thema Holocaust ist und worin Kinder bzw. Jugendliche entweder als Erzähler oder als Gestalten vorkommen. In Anbetracht dieser zwei Tatsachen – des Erzählens über den Tod im Kontext des historischen Hintergrunds des Genozids und der Übernahme von Kindern als Erzähler bzw. Gestalten – ist in den analysierten Werke festzustellen, dass darin ein anderes Verständnis des Todes sowie eine andere Erzählweise entwickelt werden. Darüber hinaus wird im Beitrag auch die Macht der Sprache als Grundinstrument des Erzählens hinterfragt.
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