Vizije konca: namišljene in resnične apokalipse v literaturi in onkraj
DOI:
https://doi.org/10.3986/pkn.v49.i1.06Ključne besede:
svetovna književnost, 20. stoletje, apokalipsa, holokavst, Pahor, Boris, Beckett, Samuel, Cioran, Emil, Jančar, DragoPovzetek
Članek obravnava primere namišljenih in resničnih apokalips v literaturi dvajsetega stoletja. Po kratkem pregledu zgodovine leposlovnih del, ki obravnavajo apokalipso, ugotavljam povezavo med apokalipso in holokavstom ter se najprej sklicujem na spomine na holokavst, zlasti tiste Prima Levija, Borisa Pahorja, Charlotte Delbo in Miklósa Nyiszlija. Razprava o grozotah nacističnih taborišč vključuje razmišljanja nekaterih teoretikov o holokavstu kot apokalipsi: Giorgia Agambena, Mauricea Blanchota, Jeana-Françoisa Lyotarda in Theodorja Adorna. Nato kot študijo primera uporabim pojem »praznine« in ga ponazorim z nekaj primeri: apokaliptičnim arhitekturnim prostorom »Stolpa holokavsta« Daniela Libeskinda kot »izpraznjene praznine«, ki se odpira v nič, ter Beckettovo dramo Končna igra, ki se odpira v goli prostor. Clov posreduje vizijo apokaliptične pokrajine, ki jo vidi skozi okno, a ostaja povsem skrita pred občinstvom. Na podlagi ugibanj o tem, kaj Clov morda vidi, predstavim dva namišljena scenarija apokalipse kot praznine iz del romunsko-francoskega esejista Emila Ciorana in slovenskega pisatelja Draga Jančarja, pri čemer njuno vizijo konca sveta povezujem z Blanchotovo in Pynchonovo različico katastrofe oziroma zadnje eksplozije.
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