Edvard Kocbek ili hipoteka dvostruke (ne)vjere

Author(s): Zdravko Zima / Language(s): Croatian Issue: 21/2016

O Edvardu Kocbeku, velikom slovenskom pjesniku i ratniku u različitim značenjima te riječi, nije uputno svjedočiti kao o disidentu. Ne zato što se u jednom času distancirao od oficijelnih stajališta stanovite organizacije ili grupe, u njegovu slučaju katoličke crkve i komunističke partije, nego zato što je cijeli njegov vijek, a samim tim njegov intelektualni i revolucionarni put bio i ostao izvan kanona.

Prostori erotičkog govora (O Poeziji Ive Svetine)

Author(s): Branimir Bošnjak / Language(s): Serbian Issue: 261/1980

Poezija Ive Svetiiine je mietafora. Metafora jedne moći koja se neprestaino prliiziva i pokušava uvući u pisanje, pisanje koje se, uosltalom, »podrazumlijeva« — onako kao što se podrazumijeva disanije, glad, seks. Ta metafora obuhvata dva osnovna područja umjetniakog djelovanja eovjeka i zajedno s pisanjem čini, po mruogima, najvažnije kreativne atribute homo sapiensa. Kod Svetinje su to prizivanja slike (» .. Daj mi moć, sliko, da /lispišem bijieile lisfove za Botticellija/ da iznova nalrišem svijet.«) ;i glazbe (»Lijepa Botticellijeva glava sva je u bijelosti glazbe, mokra Venerina sjenia..«)/ Ove naznake se mnogostruko ponavljaju u Svetininim pjiesničkim skicama, tako da navedeno služi vllše kao podsjeitnik pri citanju, mogućnost otkrivanja modela koji se, konačno, i ne sakriijva.

O sreći u savremenoj slovenačkoj poeziji

Author(s): Denis Poniž / Language(s): Serbian Issue: 264/1981

Parte prima - Ne znam da li je baš srećno odabran početak pisanja saopštenja o tome kako se sreća naselila (i kako se naseljava) u savremenoj slovenačkoj poeziji. I to ne samo zato što je slovenaoka poezija — zajedno sa slovenačkim kritičarima — zaokupljena turobnošću, žalošću i patetikom, što je postavljena na pijedestal ogranizma koji trpi i koji je ranjavan, čiji zadatak nije da otkriva radosti i uživanja ovog sveta, nego da govori o njegovoj prolaznosti i kraju. Ne znam, doduše, da li je poezija koja peva o sreći istovremeno i srećna poezija, ali su oni koji o sreći pevaju, uvek kada uopšte pevaju, svakako, srećni pesnici.

ZNAČILNOSTI KRAJŠE PROZE SLOVENSKIH KNJIŽEVNICA

Author(s): Silvija Borovnik / Language(s): Slovenian Issue: 2/2014

This article is an overview of the characteristics of the short prose of Slovenian female writers from its beginnings to modernity. It indicates that even among the pioneers of this group (many of whom discussed various taboo subjects of Slovenian social and family life) there was a woman who rebelled against tradition. This tradition is still in place today. Furthermore, an overview will be provided of the most distinctive female authors of the 20th century, and of their short prose. The first Slovenian female writers were frequently characterized as “fellow travelers” with their male colleagues in important literary directions. Nowadays, previous and current female writers are recognized, and share new literary historical findings and interpretations such as this article.

SLOVENSKA LJUDSKA PRAVLJICA DEKLICA IN PISKRČEK (MOJCA POKRAJCULJA, ATU 283C*) IN NJENE LITERARNE PRIREDBE

Author(s): Milena Mileva Blažić / Language(s): Slovenian Issue: 1/2017

Vinko  Moderndorfer  (1894-1958)  firstly  published  the  Carinthian  folk  tale  Mojca Pokrajculja in 1924 in the collection National Tales from Mežica Valley. In the next (extended) editions of the Carinthian Folk Tales (1937, 1946, 1957 and 1972) he published similar tales Deklica veka [The Girl is Crying]  and Mojca Pokrajculja. Although both well-known, the place in the Slovenian Primary School Curriculum  for 1  grade (2011)  has text  Mojca Pokrajculja , which is also better known. On the basis of the international classification (Uther  2004, 2011) Monika Kropej  (2012, 2015)  suggested for this tale classification under the number ATU 283C*. The basic type  can include the motifs of folktale types  ATU 15 (The Theft of Food by Playing Godfather ), ATU 283B* (The House of the Fly) and  ATU 480A (Girl and Devil in a Strange House),  and even the type ATU 123 (The Wolf and the Kids) or ATU 333 (Little Red Riding Hood). In literarure can be find intertextual reminiscences (Juvan 2000) with the  Grimm folktale Wedding of Mrs Fox (KHM 38, ATU 65 The She-Fax's Suitors). Due to intertextuality Mojca Pokrajculja can be classified also as Formula Tale or  Chain Tale, based on the sequence of animals (chains  based of numbers, objects, animals, names, death, eating and other events).

POSTKOLONIALNA SŁOWENIA? PROZA GORANA VOJNOVICIA

Author(s): Katarzyna Bednarska,Kamil Szafraniec / Language(s): Polish Issue: 3/2017

The aim of this paper is to present a new approach to investigating Slovene literature.The authors point out that in spite of the fact that Postcolonial Studies became a renown discipline in the US and other countries, this type of research is not often implemented in theEast European context. In order to show similarities of literatures of Eastern Europe and possible ways of interpreting them in the postcolonial manner they propose to take a closer look at certain aspects of Polish and Slovene cultures, histories and literatures.

Pjesme

Author(s): Aleš Debeljak / Language(s): Serbian Issue: 61.7/2001

Poems by Aleš Debeljak: -Prisutnost fizike -Imena smrti -Biografije sna -Reka i mlada žena -Kratke studije povratka -Lica pred zidom -Lepota neuspeha -Testament poraza -Na pola puta do Legije stranaca -Putovati u Njujork -Granice jezika -Žena koja doji

PJESMA

Author(s): Zoran Pevec / Language(s): Bosnian,Croatian Issue: 4/2018

A poem by Zoran PEVEC

PJESME

Author(s): Peter Andrej / Language(s): Bosnian,Croatian Issue: 4/2018

Poems by Peter ANDREJ

PRVA DAMA

Author(s): Stanka Hrastelj / Language(s): Bosnian,Croatian Issue: 4/2018

A fragment from the novel "The first lady" by Stanka HRASTELJ

PJESME

Author(s): Petra Bauman / Language(s): Bosnian,Croatian Issue: 4/2018

Poems by Petra BAUMAN

čuješ li me? I tri drame

Author(s): Petra Pogorevc / Language(s): Croatian Issue: 1-2/2018

Izdavanje koje nove knjige za mene je predstavljalo centralni događaj na slovenskoj književnoj sceni u prošloj godini - na to pitanje ne mogu odgovoriti u jednini. Bila su to objave dvije knjige, koje nose potpis iste autorice, dramatičarke Simone Semenič. Definitivno najboljoj, najhrabrijoj i najizrazitijoj savremenoj slovenačkoj dramskoj spisateljici je u proteklom desetljeću uspio spektakularan proboj sa scenske margine u glavne pozorišne institucije, više djela joj je uprizoreno, također, u inozemstvu - no, ipak je tek s izlaskom te dvije edicije dobila prve knjige svojih drama. Zbog toga što je svojim pisanjem i drugim zalaganjem za razvoj savremenog dramskog teksta zaista temeljito prodrmala savremenu slovensku dramu, za meneje izdavanje njenih knjiga književni vrhunac 2017. godine.

The Други светски рат и савремени словеначки роман

Author(s): Matevž Kos / Language(s): Serbian Issue: 169/2019

The article deals with the image of the Second World War in three contemporary Slovenian novels placing them in the context of the contemporary Slovenian fiction production, where the topic of the Second World War has been increasingly present over the last decade: Drago Jančar’s I Saw Her That Night, Maruša Krese’s That I am Afraid?, and Maja Haderlap’s The Angel of Oblivion. In analyzing them, the paper highlights their similarities and differences underlining the potentials of the novel about WWII in general. Moreover, the paper outlines the development phases of the Slovenian novel after 1990, pointing out that WWII was not an appealing theme for the poetics of postmodernism which characterized Slovenian fiction in the second half of the 1980s and the beginning of the 1990s. The author argues that the war – which in the Slovenian and Yugoslav context in the period 1941–1945 was inseparably connected to the issues of the revolution, anti-revolution, civil war, collaboration, and the communists coming to power – reveals itself to be productive and inspiring for the contemporary novel. Namely, this topic not only offers a broad historical and thematic field but at the same time demands a sharp ethical reflection, as does any literary representation of the ground-breaking historical events.

Јанчаров роман Те ноћи сам је видео и етика репрезентације

Author(s): Tomo Virk / Language(s): Serbian Issue: 169/2019

The article discusses the novel I Saw Her That Night, written by the prominent Slovene writer Drago Jančar. The plot of the novel is based on the documentary reports about the brutal execution of the spouses Hribar in January 1944. The Hribars were killed by the communist intelligence service and recently rehabilitated. Jančar’s novel is built against the background of WWII, yet the main focus remains on the personal fate of Hribar’s wife (her fictional name is Veronika). She is depicted (in tune with the documentary records) as an emancipated, attractive, rich young woman with a strong desire for an intensive life. The same personal qualities that make her attractive also prove to be fatal for her and her husband in the circumstances of the cruel war. The simultaneity of the liberation struggle, revolution, and civil war in Slovenia during WWII are still subject to conflicting interpretations and ideological appropriations, yet Jančar with his novel doesn’t want to enter into this dispute. He is interested in a personal tragedy caused by the larger, unavoidable, unforeseeable, unmanageable fatal circumstances. In order to avoid the ideological commentary, he chooses five personal narrators (Veronika’s voice, her point of view, is absent), all of the parts of the heroine’s life, who give their own accounts about Veronika’s life and about what happened to her. In this way, we are faced with a polyvocal, “Rashomonic” structure that avoids authorial, authoritative voice and offers various perspectives instead. This enables Jančar to represent the unrepresentable. The article juxtaposes this kind of artistic representation to the ideological approach, exemplified by A. Zupan Sosič’s reading of Jančar’s novel. Such a reading remains on the level of a pre-established perspective and remains unsusceptible to the advantages of artistic representation and to the ethical potential of literature.

„Избрисани“ између политике порицања и егземпларности савременог словеначког романа

Author(s): Marko Juvan / Language(s): Serbian Issue: 169/2019

Soon after Slovenia’s proclamation of independence in 1991, the Slovenian authorities removed about 25,000 people (designated the “erased”) from the registry of permanent residents. They thus disenfranchised and turned this group into illegal aliens reduced to “bare existence” (Agamben). The removal resulted from the ethno-nationalist concept of the Slovenian state and became an instrument of its biopolitical governmentality. The powers that be sought to minimize the size of the ethnically non-Slovenian population, suspecting it of disloyalty and stamping it with the Balkanist stereotypes typical of “nesting Orientalism” (Bakić-Hayden). The distancing from the “Southerners” allowed the Slovenians to perceive themselves as holders of a pristine work ethic and the (central) European democratic culture, suitable for entry into the global empire of late capitalism. After a decade of silence, the topic of the “erased” flooded the media as a response to verdicts by the Slovenian Constitutional Court and the European Court of Human Rights, which demanded that the state correct the injustice done to them. The political debate on their removal from the registry (the “erasure”) reached its peak during the 2004 referendum on this problem. Moreover, those that were “erased” organized themselves to fight for their rights in 2002 and their campaigns were supported by the international leftist activists and civil society. However, a discourse of “organized innocence” (Jalušič) prevails in relation to this group, similar to the denial of war crimes in the post-Yugoslav countries.

Prostorske strukture v avtobiografskih delih jugoslovanskih pisateljic 20. in 30. let 20. stoletja

Author(s): Anna G. Bodrova / Language(s): Slovenian Issue: 2/2019

The study of autobiographical texts inevitably turns to the so-called extratextual real- ity, to writers’ biographies. The lives of these four authors born in Austria–Hungary were different. The German-speaking Slovene Alma Karlin became a traveller around the world. The first female professional Slovenian writer Zofka Kveder worked as a magazine editor, lived in different cities, wrote in three languages (Slovenian, Croatian, and German). The Slovene Maria Kmet worked as a teacher all her life. Maria Jurić Zagorka was the most widely read writer of her time in the Croatian lands and became the first Croatian female journalist. At the same time, their autobiographical experience reflected in the texts reveals much in common. The writers often changed their place of residence. The subject of the research is the spatial structures of four texts. In autobiographical works, there are specific spatiotemporal relations: the history of the formation of personality (the biographical time) is often connected with the expansion of space. First, an autobiographical character perceives only the space of a room (for ex- ample, a nursery), then the whole house. He or she makes various trips; often in the auto- biographies the spaces of educational institutions are described. As the characters mature, spaces expand and multiply. The autobiographical mode of narration of the four works under consideration deter- mined the spatial structures of texts, in which an individual–collective dichotomy is pre- sent. With the uniqueness of each human biography, all life paths reveal similar stages, which were reflected in the category of space. On the one hand, in many autobiographies, there are the so-called locus communis (the space of one’s home, the school, places for children’s games and walks, and a workplace). On the other hand, the geography of move- ments across different spaces is always unique. The similarity of some spatial motifs in the texts by Kmet, Karlin, Kveder, and Za- gorka can be explained by genre topics and general historical events (World War I, the collapse of Austria–Hungary) as well as the gender specificity of the texts (a big city gives a woman at the beginning of the 20th century the possibilities of self-realization, expands her social sphere but at the same time it is a dangerous space for her, full of temptations).

Povedke NOB skozi prizmo intertekstualnosti

Author(s): Breda Vidmar Mandič / Language(s): Slovenian Issue: 174/2021

ИСТОРИЈА И ДРУШТВО У ПРИЧАМА И РОМАНИМА ДРАГА ЈАНЧАРА

Author(s): Gojko Božović / Language(s): Serbian Issue: 533/2022

Autobiograficzne czytanie powieści Drwiące żądze Draga Jančara

Author(s): Marta Cmiel-Bażant / Language(s): Polish Issue: 19/2022

The novel Mocking Desire was published in 1993, when Drago Jančar was already a wellknown author, who had received some important literary awards. This hybrid and multifaceted literary work describes the Slovenian writer’s stay in New Orleans and in New York. Because Jančar visited the United States on a Fulbright Fellowship in 1985, his novel is read as an autobiography, although the author has not established an autobiographical pact with the reader (Lejeune). The aim of this study is to consider the autobiographical writing as a literary genre, the figure of reading, and the play with convention, in order to answer the question what provokes the autobiographical reading of Mocking Desire.

Slowenisch-serbische Mischung und Entmischung seit dem Ende Jugoslawiens. Die vier Bestsellerromane von Goran Vojnović 2008–2021

Author(s): Christian Voss / Language(s): German Issue: 3-4/2023

The Slovenian author Goran Vojnović has written four novels where he tells the story of mixed-nationality marriages and families and how they cope with nationalist exclusion and disillusionment since the end of Yugoslavia. By focusing on youth culture among Yugoslav immigrants from the southern republics (so-called Čefurji) in Ljubljana’s fringe area Fužine, Vojnović is able to project the hetero-stereotypizations between the “prosperous and disciplined West” and the “poor and uncivilized Balkans” within the former Yugoslavia, even within one country and one city. The self-ascription of the youth gang as Čefurji is not ethnic (and includes Serbs as well as Muslims from Bosnia), but is a social category based on common experiences of discrimination. The topic of hybrid post-Yugoslav identities is further developed in the novels “Yugoslavia, my Fatherland” and “The Fig Tree”, where Vojnović in a trans-local opening tells the family story of three generations in Slovenia, Bosnia and Serbia. The legacy of Yugoslav trans-republican mobility and multiculturalism is described without nostalgia as social practice within the families.