Tatjana Petzer
UDK 821.163.6.09-311.6 Bartol V.
Berlin
EROS AND ECSTASY: ON THE ENACTMENT OF SACRIFICE IN
VLADIMIR BARTOL’S NOVEL ALAMUT
Roman prepleta zgodbo (pripoved o nastanku {iitske islamske lo~ine izmailcev – asasinov) z
ubesediljeno predstavo (opis pripovednega prizori{~a/scene), in sicer z namenom predstavitve
naukov, obi~ajev in okultnih ve{~in sekte. V mejah gorske trdnjave Alamut duhovni vodja in
gospodar Hasan Ibn Saba, ki je kot bog, oblikuje dr`avo v dr`avi po svojem velikem na~rtu, ki
vklju~uje tudi raj, kot je naslikan v Koranu, ta pa je prizori{~e poskusov na ~love{ki psihi. Po ponovni
pridobitvi navidezne mo~i z (ritualno) drogo se to gledali{~e spremeni v obred za fedaije (tiste, ki se
`rtvujejo). S strategijo preobleke in pretvarjanja, ki je simulacija in de-simulacija, gledali{~ni
postopek zastavlja pomisleke o razmerju med mo~jo in moralo, pa tudi o upravi~evanju totalnosti in
absolutnega.
zgodovinski roman, asasini, »gledali{~e droge«, erotika, `rtvovanje, umetni raj, psiholo{ki
eksperiment, manipulacija, V. Bartol, Alamut
The novel fuses histoire (the narration of the emergence of the Shi’ite-Islamic faction of the
Nezâris, the šAssassins’) and textualized performance (the description of various aspects of the
narrative’s mise-en-scène) in an attempt to re-present the order’s teachings, practice and occult
knowledge. In the enclosed area of the mountain fortress Alamut, the intellectual head and master,
Hasan-i Sabbah, is God-like, modeling a state within the state according to his grand plan that also
includes a paradise as pictured by the Koran – the latter being a stage for experiments on the human
psyche. Regaining illusionary power by means of a (ritual) drug, this theater turns into a rite of
passage for the Fedayin (’self-sacrificing ones’). Based on strategies of disguise, that is simulation
and dissimulation, the theater’s procédé questions the relation between power and ethics as well as
the legitimization of totality and the absolute.
historical novel, Assassins, “theater of dr