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‘Own Deaths’ – Figures of the Sensable in Péter Nádas’s Book and Péter Forgács’s Film

100%

Sándor K.

Acta Universitatis Sapientiae, Film and Media Studies

2014

vol. 8

issue 1

21-40

The paper examines the figures of ‘sensable’ intermediality in Péter Nádas’s book, Own Death (2006), an autobiographical account of the author’s heart failure and clinical death and in the screen adaptation of the book by Péter Forgács with the same title (Own Death, 2007). The book and the film problematize the cultural, discursive, and medial (un)representability of a liminal corporeal experience (illness, death) in which the very conditions of self-perception, bodily sensation, and conceptual thinking appear as “other.” In the film corporeal liminality and its medial translatability are not only thematized (e.g. through the untranslated German word umkippen ‘tip over,’ ‘fall over’), but shape the embodied experience of viewing through the use of photo-filmic imagery, still frames, fragmented close-ups, slow motion, or medially textured images. These do not only foreground the foreign, undomesticable experience of the body and “own death” as other, but also expose the medium, the membrane of the film, and confer the moving image a “haptic visuality” (Marks). The haptic imagery directs the viewer’s attention to the sensuality of the medium, to the filmic “body,” enabling a “sensable” (Oosterling) spectatorship, an embodied reflection on the image, on the “sensual mode” (Pethő) of becoming intermedial

Identity in the Movement (in) space of Berlin and Budapest (based on Sándor Márai's In Journey and Péter Nádas' The Memory)

86%

Zwolińska B.

Anthropos?

2018

issue 27 W ruchu

166-180

In the article I look at places of memory important for two Hungarian writers of the 20th and 21st century: Sándor Márai and Péter Nádas. These are primarily two cities: Budapest and Berlin, shaping the identity of the traveler (in the sketches of Márai In Journey) and the identity of heroes involved in complex interpersonal relations inspired by the biography of Nádas, the author of an extensive novel titled Memory. Although I am combining two different literary genres here, I notice similarities in terms of urban spaces and the way the two authors live. The identity of a modern man, whose condition is diagnosed on the pages of his works, equally determines the deflection into the past, the reticence of memory, as well as thinking about the present through the prism of what has already happened. This is a memory imprisonment, often leading to the repetition of similar events, to constant thinking about the continuity of time, the curse of associations of what was with what is, does not allow to live without burdens in the present tense, constantly corrected by the shadow falling from the past. Time in the urban perspective becomes looped, exposes the person to constant returns to a place that is significant for him. Berlin and Budapest, with their specific topography, monuments and history, become important spaces of identity.

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1 Acta Universitatis Sapientiae, Film and Media Studies

1 Anthropos?

1 2018

1 2014

1 Sándor K.

1 Zwolińska B.

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‘Own Deaths’ – Figures of the Sensable in Péter Nádas’s Book and Péter Forgács’s Film

Identity in the Movement (in) space of Berlin and Budapest (based on Sándor Márai's In Journey and Péter Nádas' The Memory)