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Shafak skozi večplastno pripoved poveže osebno bolečino, družbene predsodke, vprašanje identitete in moč pogleda ...",{"customData":571,"url":572,"width":573,"height":574,"alt":575,"mimeType":576,"title":577,"responsiveImage":578},{},"https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg",2500,1875,"Portret Elif Shafak","image/jpeg","Foto: Zeynel Abidin",{"srcSet":579,"webpSrcSet":580,"sizes":581,"src":582,"width":583,"height":584,"aspectRatio":585,"alt":575,"title":577,"bgColor":586,"base64":587},"https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=1920 480w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=1920 960w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=1920 1440w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&fit=crop&w=1920 1920w","https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&dpr=0.25&fit=crop&fm=webp&w=1920 480w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&dpr=0.5&fit=crop&fm=webp&w=1920 960w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&dpr=0.75&fit=crop&fm=webp&w=1920 1440w,https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&fit=crop&fm=webp&w=1920 1920w","(max-width: 1920px) 100vw, 1920px","https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=compress&crop=focalpoint&fit=crop&w=1920",1920,1440,1.3333333333333333,"#f15016","data:image/jpeg;base64,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",{"blocks":589,"links":620,"value":621},[590,609,614,617],{"__typename":591,"id":592,"sizeVariant":593,"image":594},"ImageRecord","eQxYhuSRQVuffILSHAHlTg","LG",{"customData":595,"url":596,"width":597,"height":598,"alt":599,"mimeType":576,"title":600,"responsiveImage":601},{},"https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-photo-01.jpg",1250,1931,"Naslovnica knjige","Elif Shafak: Pogled / Iz angleščine prevedla Polona Glavan / Ljubljana: Sanje, 2026. (Zbirka Sanje. 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Prepleta preteklost in sedanjost, nacionalizem in islam, pisno in ustno tradicijo ter si prizadeva za integracijo različnih kulturnih in verskih identitet ter svobodo govora. Svoj pisateljski glas pogosto namenja marginaliziranim, zapostavljenim in utišanim skupinam ali posameznikom, pri čemer se še posebej osredotoča na položaj ženske skozi zgodovino v različnih vzhodnih kulturah. ",{"type":630,"marks":633,"value":635},[634],"emphasis","Kadar pripovedujem zgodbe, je moj prvi vzgib zakopati se v »obrobje«, ne v »središče«. Nekaj v meni želi nenehno vedeti, kje v družbi so skrite neme črke,",{"type":630,"value":637}," je zapisala.",{"type":627,"children":639},[640,642,645],{"type":630,"value":641},"Po ločitvi staršev je otroštvo z materjo in babico preživela v Ankari, kasneje pa je zaradi materine diplomatske službe živela in se izobraževala v različnih delih sveta, preden se je vrnila v Istanbul. Tudi zato imata na njeno pisavo močan vpliv kozmopolitstvo in multikulturnost. ",{"type":630,"marks":643,"value":644},[634],"A večino življenja, kot otrok in kot odrasla oseba, sem preživela nekje drugje – v Deželi zgodb,",{"type":630,"value":646}," pravi. Od leta 2013 živi z družino v Londonu.",{"type":627,"children":648},[649,651,654,656,659,661,664],{"type":630,"value":650},"Doslej je izdala triindvajset del, od tega trinajst romanov, ki so prevedeni v oseminpetdeset jezikov. Sprva je pisala v ",{"type":630,"marks":652,"value":653},[634],"»poetičnem«",{"type":630,"value":655}," turškem jeziku in kmalu po prelomu tisočletja pričela pisati, kot se je izrazila, v ",{"type":630,"marks":657,"value":658},[634],"»matematični«",{"type":630,"value":660}," angleščini. Za svoja dela je prejela številne mednarodne literarne nagrade in priznanja: costa, booker, Women’s Prize for Fiction, The Queen’s Reading Room, Blackwellova knjiga leta, Ondaatjevo nagrado, ki jo Kraljevo literarno društvo (Royal Society of Literature) v Londonu podeljuje delu, ",{"type":630,"marks":662,"value":663},[634],"»which best evokes the spirit of a place«",{"type":630,"value":665},", in druge. Decembra 2025 je nasledila Bernardine Evaristo v vlogi predsednice tega društva.",{"item":592,"type":667},"block",{"type":627,"children":669},[670,672,675,677,680],{"type":630,"value":671},"Kot feministka in zagovornica enakosti spolov Shafak v svojih delih obravnava številna feministična vprašanja in vlogo žensk v družbi, materinstvo in nasilje nad ženskami. V intervjuju za The Guardian je povedala: ",{"type":630,"marks":673,"value":674},[634],"V Turčiji moški pišejo, ženske pa berejo. Želim, da se to spremeni.",{"type":630,"value":676}," Pogosto se dotika vprašanja človekovih pravic, zlasti v Turčiji in bližnjih deželah: preganjanja in ubijanja Jazidov, turškega genocida nad Armenci ter nehumanega ravnanja s pripadniki različnih manjšin v Turčiji, med njimi s homoseksualci, prostitutkami in drugimi obstranci. ",{"type":630,"marks":678,"value":679},[634],"Literatura poskuša ponovno humanizirati ljudi, ki so bili dehumanizirani. Gre za ljudi, katerih glasov nikoli ne slišimo. Ta tematika zajema najobsežnejši del mojih romanov,",{"type":630,"value":681}," pravi.",{"type":627,"children":683},[684,686,689,691,694,696,699,701,703],{"type":630,"value":685},"V slovenskem prevodu imamo deset avtoričinih del. Eden njenih zgodnejših romanov ",{"type":630,"marks":687,"value":688},[634],"Pogled",{"type":630,"value":690}," (",{"type":630,"marks":692,"value":693},[634],"Mahrem",{"type":630,"value":695},", 1999) je bil napisan v turščini in v slovenščino preveden po angleškem prevodu (",{"type":630,"marks":697,"value":698},[634],"The Gaze",{"type":630,"value":700},"), ki ga je leta 2006 izdal Marion Boyars Publishers iz Londona. Združenje turških pisateljev je ",{"type":630,"marks":702,"value":688},[634],{"type":630,"value":704}," izbralo za najboljši roman leta 2000. Bil je tudi uvrščen v ožji izbor za nagrado Independent za tuje leposlovje in izbran za Waterstonovo poletno branje (Summer Reading 2005).",{"item":611,"type":667},{"type":627,"children":707},[708,710,712],{"type":630,"value":709},"Po Juretu Potokarju, Maji Ropret in Barbari Skubic, ki so v slovenščino prevedli devet avtoričinih del, je ",{"type":630,"marks":711,"value":688},[634],{"type":630,"value":713}," – njeno prvo in edino delo pri nas s prejšnjega tisočletja – prevedla Polona Glavan. Kot ostala njena dela je izšel pri založbi Sanje. Slednja je z odločitvijo, da izda avtoričino zgodnje delo, omogočila rednim bralcem Shafak pogled nazaj, tja, kjer naj bi se pisateljičina pisava šele formirala. Vendar gre za zrelo delo s prepoznavno avtorsko noto, ki jo bo Shafak razvijala skozi naslednje romane: s potovanjem skozi čas in prostor spretno prepleta zgodovino in sodobnost, filozofijo in domišljijo, humor in tragedijo. Pri tem izstopa spoznanje, da Shafak tako rekoč od samega začetka svojega pisanja daje glas marginaliziranim, odrinjenim skupinam oz. posameznikom, kar bo v prihodnjih romanih razvijala v različnih smereh. Njena brezkompromisna pisava, ki v tem romanu nekoliko bolj kot v naslednjih vzbuja tudi nelagodje, je sugestivna, bogata in sporočilno močna.",{"type":627,"children":715},[716,718,721,723],{"type":630,"value":717},"Kot sporoča že naslov te veččasovne in večplastne pripovedi, Shafak problematizira vprašanje pogleda. Ne samo dejanja gledati in biti gledan, ampak predvsem vpliv pogleda drugega na posameznikovo identiteto, intimo, življenje in usodo. Štiri na pogled ločene zgodbe, ki se raztezajo od Istanbula leta 1999 (z vložno zgodbo o deklici oz. posilstvu leta 1980) in Pere leta 1885 do Francije leta 1868 in Sibirije leta 1648, so povezane z osrednjo temo romana – močjo pogleda in bolečino objektifikacije kot posledice pogleda. Kljub raztezanju romanesknega prostora je osrednje dogajanje, podobno kot v večini avtoričinih romanov, usmerjeno v Istanbul. Mesto na presečišču Vzhoda in Zahoda, talilni lonec različnih kultur in protislovij, razgrinja svoje manj vidne in manj svetle plasti. V reviji Time je zapisala: ",{"type":630,"marks":719,"value":720},[634],"Istanbul človeka nauči razumeti, morda ne intelektualno, temveč intuitivno, da sta Vzhod in Zahod namišljena pojma, ki ju je mogoče de-imaginirati in ponovno premisliti.",{"type":630,"value":722}," Primerja ga z barvito rusko babuško. ",{"type":630,"marks":724,"value":725},[634],"Odpreš jo in v njej najdeš drugo lutko. Odpreš to, pa vidiš novo lutko. To je dvorana ogledal, kjer nič ni povsem takšno, kot se zdi. Pri uporabi kategorij v razpravi o Istanbulu je treba biti previden. Če obstaja ena stvar, ki mestu ni všeč, so to klišeji.",{"item":615,"type":667},{"type":627,"children":728},[729],{"type":630,"value":730},"V ospredju zgodbe je anonimna prvoosebna pripovedovalka, ženska s prekomerno telesno težo, v katero se zaradi njenega videza nenehno usmerjajo radovedni, prezirljivi in žaljivi pogledi drugih. Četudi je znotraj družine brezpogojno sprejeta, se pripovedovalki dozdeva, da ti pogledi preobražajo tudi pogled njene matere, v katerem kljub zavedanju njene ljubezni vidi bolečino. Reklo bi se, da je skorajda naravno, da vstopi v odnos s prav tako posebnim, pritlikavim moškim z imenom B.C. Ker sta v javnosti tarča nenehnih pogledov, sodb in predsodkov, z eksperimentom menjave vlog preizkušata, kako različni pogledi vplivajo na zaznavanje in obravnavo posameznika v družbi. Po neuspelih poskusih s hujšanjem, ki se končajo s ponovnim prenajedanjem, pripovedovalko najbolj prizadene spoznanje, da B.C.-ju služi boljkone za njegovo obsedeno sestavo Slovarja pogledov, ki ga sproti spoznava tudi bralec. Njena napihnjenost in dvig v zrak kot balon odražata željo po izstopu s tega z ozkogledostjo, predsodki in napuhom zaznamovanega sveta.",{"type":627,"children":732},[733,735,738,740,743,745,748,749,752,754,757],{"type":630,"value":734},"V nekoč osrednjem delu Istanbula, Peri, se leta 1885 izteka zgodba o Soboljki, ki sloni na zgodovinski pripovedi o istoimenski ženski, ki so jo v 17. stoletju v Sibiriji razkazovali kot spektakel grdote. Pera v romanu predstavlja osrednji prostor, kjer se prepletajo teme pogleda, identitete in družbenih predsodkov. Gre za četrt Istanbula, ki je bila zgodovinsko najbolj kozmopolitski, večkulturni in",{"type":630,"marks":736,"value":737},[634]," »evropski«",{"type":630,"value":739}," del mesta, zato je simbolno prizorišče pripovedi, ki raziskuje razmerje med opazovalcem in opazovanim. Predstavlja ",{"type":630,"marks":741,"value":742},[634],"»drugo stran«",{"type":630,"value":744}," Istanbula; njeno ime izhaja iz grške besede ",{"type":630,"marks":746,"value":747},[634],"péra",{"type":630,"value":690},{"type":630,"marks":750,"value":751},[634],"πέρα",{"type":630,"value":753},"), ki pomeni ",{"type":630,"marks":755,"value":756},[634],"»onkraj, na drugi strani«",{"type":630,"value":758},".",{"type":627,"children":760},[761,763,766,768,771],{"type":630,"value":762},"Z nasprotne perspektive pogleda avtorica doda zgodbo iz leta 1868 v Franciji, kjer osupljivo lepo La Belle Annabelle z nezavidljivo življenjsko zgodbo prav tako razkazujejo. Zgodbi poveže s prisotnostjo nenavadnega Kerameta Mumija Keskeja Memisa Efendija, rojenega z voščenim, brezobraznim obrazom, ki si je prav zaradi nenehne izpostavljenosti prezirljivim pogledom, nesrečne poročne noči in osamljenosti omislil višnjevo rdeč šotor, kjer so paleti pogledov izpostavljeni številni posebneži in kjer skozi vzhodni vhod vstopajo moški obiskovalci, skozi zahodnega pa ženske. Medtem ko se prvi navdušujejo nad lepoto lepe Annabelle, si ženske ob nastopih različnih ",{"type":630,"marks":764,"value":765},[634],"»grozljivih pošasti«",{"type":630,"value":767}," ",{"type":630,"marks":769,"value":770},[634],"iz las in iz možganskih vijug izčesujejo najgloblje strahove",{"type":630,"value":772},". Vrhunec doživetja jim predstavlja nastop Soboljke, ki je ime dobila ne le po bogatem soboljem kožuhu, v katerega je bila odeta, ampak po tem, da je bil spodnji del njenega telesa v skladu z legendo o rodbinskem rojevanju dvojčkov živalski. Oba ženska lika pristaneta v Istanbulu, ki tako združi štiri sprva ločene in na pogled nepovezane zgodbe v enotno usodo: biti gledan/-a, viden/-a in vrednoten/-a zgolj skozi zunanjo podobo. Skozi pisateljičino prepoznavno narativno strukturo izmeničnega prepletanja posameznih poglavij, v katerih na videz neobremenjeno problematizira človekovo potrebo po tem, da bi bil viden, hkrati pa razkriva destruktivnost pogleda drugega, kadar ta presoja, sodi in obsodi, avtorica stke ganljivo in tragično delo o telesu, telesni podobi skozi prizmo pogleda, (ne)zaželenosti, družbenih predsodkih, vprašanju identitete ter nadvladi moške perspektive nad žensko.",{"item":618,"type":667},{"type":627,"children":775},[776],{"type":630,"value":777},"Skozi na pogled lahkotno in humorno, bizarno in groteskno, a hkrati ironično in ostro pisavo, v katero sugestivno vpleta zgodovinske vložke in simbolne podobe, ki jih spaja z domišljijskimi nanosi, roman prehaja v izrazito družbenokritično delo, ki nagovarja k razmisleku o tem, kako pogled (drugega) vpliva na posameznikovo samopodobo, identiteto in usodo. Shafak razkriva pogled kot orodje moči, ki razgalja, poniža in vrednoti. Kot ranljivost, strah, željo in nemoč. Kot osrednji mehanizem, skozi katerega se razkrivajo identitete, telesa, odnosi in družbene norme. Skoraj tri desetletja po nastanku nas roman opozarja na lažni, destruktivni pomen zgolj videza, ki mu skozi prizmo podob in neustavljivo moč enostranske percepcije vse bolj podlega domala ves svet.",{"type":627,"children":779},[780],{"type":630,"marks":781,"value":782},[634],"Objavo je omogočila Javna agencija za knjigo RS","O razdiralni moči pogleda","o-razdiralni-moci-pogleda","JAK, kritika, roman",[787,790,794,797,801,804,807,811,815,819,822,826,829,832,836,839],{"attributes":10,"content":788,"tag":789},"O razdiralni moči pogleda | Beletrina Digital","title",{"attributes":791,"content":10,"tag":793},{"property":792,"content":783},"og:title","meta",{"attributes":795,"content":10,"tag":793},{"name":796,"content":783},"twitter:title",{"attributes":798,"content":10,"tag":793},{"name":799,"content":800},"description","Kritika romana Pogled Elif Shafak razmišlja o tem, kaj pomeni biti gledan, presojan in ujet v tujo predstavo o lastnem telesu.",{"attributes":802,"content":10,"tag":793},{"property":803,"content":800},"og:description",{"attributes":805,"content":10,"tag":793},{"name":806,"content":800},"twitter:description",{"attributes":808,"content":10,"tag":793},{"property":809,"content":810},"og:image","https://www.datocms-assets.com/110736/1788249150-o-razdiralni-moci-pogleda-keyvisual.jpg?auto=format&fit=max&w=1200",{"attributes":812,"content":10,"tag":793},{"property":813,"content":814},"og:image:width","1200",{"attributes":816,"content":10,"tag":793},{"property":817,"content":818},"og:image:height","900",{"attributes":820,"content":10,"tag":793},{"name":821,"content":810},"twitter:image",{"attributes":823,"content":10,"tag":793},{"property":824,"content":825},"og:locale","sl",{"attributes":827,"content":10,"tag":793},{"property":828,"content":553},"og:type",{"attributes":830,"content":10,"tag":793},{"property":831,"content":29},"og:site_name",{"attributes":833,"content":10,"tag":793},{"property":834,"content":835},"article:modified_time","2026-09-01T11:19:37Z",{"attributes":837,"content":10,"tag":793},{"property":838,"content":35},"article:publisher",{"attributes":840,"content":10,"tag":793},{"name":841,"content":842},"twitter:card","summary",{"allArticleCategories":844},[845,850,855,857],{"id":846,"title":847,"slug":848,"children":849},"AMScPVlIR8KQtWEcieQb_w","Panorama","panorama",[],{"id":851,"title":852,"slug":853,"children":854},"bbj_8FNaSK6ompNxgWBOAQ","Refleksija","refleksija",[],{"id":566,"title":568,"slug":567,"children":856},[],{"id":858,"title":859,"slug":860,"children":861},"FHQJvkxPQ5-49sQA_Yitmg","Intervju","intervju",[],{"allArticles":863,"_allArticlesMeta":1006},[864,886,904,922,938,956,973,989],{"__typename":865,"_firstPublishedAt":866,"id":867,"slug":868,"title":869,"author":870,"excerpt":871,"media":872,"category":885},"ArticleRecord","2026-08-18T10:16:03+02:00","GoHzMXSITlS4Q85Z0MCkXA","celotni-svet-komorno","Celotni svet, komorno","Jakob Spindler","Besedilo razmišlja o komornosti kot prostoru zbranosti, bližine in natančnega poslušanja. Komorno ni nujno majhno: v omejenem prostoru se lahko zgosti cel svet, če so glasovi dovolj pozorni drug do drugega. ",{"alt":873,"url":874,"width":573,"height":574,"mimeType":576,"responsiveImage":875},"Dirigent v priklonu, za njim je orkester","https://www.datocms-assets.com/110736/1786956380-celotni-svet-komorno-keyvisual.jpg",{"srcSet":876,"webpSrcSet":877,"sizes":878,"src":879,"width":880,"height":881,"aspectRatio":585,"alt":873,"title":882,"bgColor":883,"base64":884},"https://www.datocms-assets.com/110736/1786956380-celotni-svet-komorno-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1786956380-celotni-svet-komorno-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1786956380-celotni-svet-komorno-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 270w,https://www.datocms-assets.com/110736/1786956380-celotni-svet-komorno-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&fit=crop&w=360 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Ljubljana)","#d76313","data:image/jpeg;base64,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",{"id":566,"slug":567,"title":568,"parent":10},{"__typename":865,"_firstPublishedAt":887,"id":888,"slug":889,"title":890,"author":891,"excerpt":892,"media":893,"category":903},"2026-08-11T10:19:23+02:00","QoBlGXHQTtW3ouYnwWlRPg","moja-tvoja-nolanova-homerjeva-odiseja","Moja, tvoja, Nolanova, Homerjeva Odiseja","Anže Lebinger","Filmski zapis o Nolanovi Odiseji se ne ustavi le pri vprašanju, kako režiser bere Homerjev ep, temveč razmišlja tudi o tem, kako danes filme sprejemamo, komentiramo in skoraj sproti preoblikujemo na družbenih omrežjih.",{"alt":894,"url":895,"width":573,"height":574,"mimeType":576,"responsiveImage":896},"Slika treh žensk ob morju, v ozadju je velika jadrnica","https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg",{"srcSet":897,"webpSrcSet":898,"sizes":878,"src":899,"width":880,"height":881,"aspectRatio":585,"alt":894,"title":900,"bgColor":901,"base64":902},"https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1786366847-nolanova-odiseja-keyvisual-01.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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Firmin-Girard)","#1f89ca","data:image/jpeg;base64,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",{"id":566,"slug":567,"title":568,"parent":10},{"__typename":865,"_firstPublishedAt":905,"id":906,"slug":907,"title":908,"author":909,"excerpt":910,"media":911,"category":921},"2026-08-04T10:00:29+02:00","G43iJK2BQZKEuIxuT-q_ng","skrhana-britev-slavnega-brivca","Skrhana britev slavnega brivca","Katarina Julija Pipan","Glasbena kritika Rossinijevega Seviljskega brivca razmišlja o operi, ki velja za eno najbolj prepoznavnih in živih del opernega repertoarja, a od izvedbe vedno znova zahteva svežino, natančnost in igrivost. 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Vadim Repin, Peter Laul in Ensemble Dissonance v ospredje ne postavijo hierarhije solista in spremljevalcev ...",{"alt":929,"url":930,"width":573,"height":574,"mimeType":576,"responsiveImage":931},"Glasbeniki na odru","https://www.datocms-assets.com/110736/1785756936-ko-solisti-postanejo-sogovorniki-keyvisual.jpg",{"srcSet":932,"webpSrcSet":933,"sizes":878,"src":934,"width":880,"height":881,"aspectRatio":585,"alt":929,"title":882,"bgColor":935,"base64":936},"https://www.datocms-assets.com/110736/1785756936-ko-solisti-postanejo-sogovorniki-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1785756936-ko-solisti-postanejo-sogovorniki-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1785756936-ko-solisti-postanejo-sogovorniki-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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Koletnik","Recenzija filma Ko pridem ven Metoda Pevca.",{"alt":946,"url":947,"width":573,"height":574,"mimeType":576,"responsiveImage":948},"Dolg temen hodnik","https://www.datocms-assets.com/110736/1782206277-ko-pridem-ven-in-ostanem-ujet-keyvisual.jpg",{"srcSet":949,"webpSrcSet":950,"sizes":878,"src":951,"width":880,"height":881,"aspectRatio":585,"alt":946,"title":952,"bgColor":953,"base64":954},"https://www.datocms-assets.com/110736/1782206277-ko-pridem-ven-in-ostanem-ujet-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1782206277-ko-pridem-ven-in-ostanem-ujet-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1782206277-ko-pridem-ven-in-ostanem-ujet-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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