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<p>“Emigrantologia Słowian” is an interdisciplinary scientific journal of the Committee of Slavonic Emigration Studies affiliated by the International Committee of Slavists. The main aim of “Emigrantologia Słowian” is to publish research papers, reviews and reports on various aspects of life of the Slavonic communities in emigration: culture, literature, language situation (with special reference to bilingualism).</p>
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The paper deals with the problem of encoding the verses and textual variants in the critical edition of Foglar’s Manuscript, a Styrian Baroque hymn book from the mid-eighteenth century. We first show the diplomatic transcript of the verse in selected problematic cases, after which we present the method applied to produce a critical apparatus for approaching textual variants. The base text, i.e. Foglar’s Manuscript, is compared with versions in eight other manuscripts and prints from the eighteenth and early nineteenth centuries. Variants are encoded with XML elements according to the TEI Guidelines as units of the critical apparatus. We highlight some examples of the detailed encoding of rhymes, feet, verse replacements, and textual variants on the spelling, vocabulary and lexical levels of the language. To conclude, we present a number of possibilities for the online display of the electronic diplomatic transcript. The need for the adaptability of these tools to the Slovenian literary tradition is evident.
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Poezija Edvarda Kocbeka (1904-1981) omeđena je dvema godinama: to su 1934, kad je objavljena njegova pesnička zbirka Zemlja i 1977, kada su, u okviru Sabranih pesama, osim zbirke Pentagram, u kojoj su sakupljeni većim delom partizanski, ali i neposredno posle NOB nastali tekstovi, objavljene i zbirke Nevesta u crnom i Žeravica.
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The article critically evaluates The Three Lives of Antigone, Slavoj Žižek’s first dramatic work. Žižek’s polemical rewriting of Sophocles’ tragedy is examined in the broader perspective of Žižek’s philosophy and other Antigones: those of Sophocles, Jean Anouilh, Bertolt Brecht and Dominik Smole. Slavoj Žižek has interpreted Sophocles’ Antigone in numerous philosophical works. In his earlier treatises, he mainly gave a cautious summary of Hegel’s, Heidegger’s and Lacan’s theses on Antigone; lately, however, Žižek’s attitude to Sophocles’ Antigone has grown decidedly negative. The main point in Žižek’s critique of Sophocles’ tragedy is that his Antigone is not an appropriate symbol of genuine social revolt. Based on this conviction, Žižek contrived his own version of Antigone with an alternative ending in which the choir carries out a revolution and condemns Antigone to death. It is argued in the article that Žižek’s dramatic project fails to convince. It is essentially a superficial apology for political violence, which can ultimately only be understood as a veiled defence of the political status quo.
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The article looks at the position of LGBTQ literature for children and young adults in the Slovenian literary system. In particular, it attempts to demonstrate that LGBTQ texts are often written, understood and didacticized with (implicit)reference to difference, empathy, acceptance and otherness. It analyses literary and critical texts with a focus on the apparently well-meaning processes of othering found at the levels of plot, character, writers’ didactic interference, critical reception and publishing. These processes influence how the members of the in-group perceive the members of the out-group (both of whom can be readers and writers) and how each see themselves. Not only do they reflect, but they also help shape reality and impact on the ways individuals are treated in society. Therefore, the criteria of literariness, though essential, are not absolute, and all agents in the children’s and young adultliterary system should take account of the human/children’s right to inclusion.
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This article aims to question the relation between literature, space and its (potential) truth. Through the analysis of theory of fiction (Pavel, Doležel, Blanchot), its social, material effect, and especially through foucauldian perspective of literature as heterotopia, the article tries to conceptualise and to posit a place of literature in a wider social space. For this reason the main question is not how literary space is created, but instead where is the place of literature as heterotopia, and how Goran Vojnović’s novel Jugoslavija moja dežela is placed in social space. The importance of place of literature in a wider social sphere lies in its in-betweeness: it is at the same time a part of social reality and running from it – the other space (heterotopia). Therefore, the literary discourse should be understood as a material force that can create a potential space for the other (or other space), which in reality does not have its place or is marginalised, even suppressed. From this perspective we conclude that this is literature’s institutional role and its truth.
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Lahko bi rekli: kakršen gospodar, takšen hlapec. Toda Cankarjevi Hlapci ne govorijo o hlapcih v realnem, temveč v moralnem pomenu. Gre predvsem za hlapčevstvo; a v času, ko smo na Slovenskem imeli hlapce še tudi zares: po kmetijah, gostilnah in podobno.
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(Ivo Andrić: Omer pasa, Milorad Pavić: Kazar Szótár, Jože Hradil: Képek arc nélkül)
Ivo Andrić gives a diverse religious and ethnic tableau, but the change of identity in his work does not become a problem set, the religious and language shift is motivated by the advancement in the hierarchy of power, while in Pavić’s novel the problem of identity is dominated by a labyrinthine nature and opacity, harmony proves to be lost forever. In Hradil’s novel problematizing gets the upper hand. However, it is the Slovenian author who succeeds to show the most humane behaviour, leading to true reconciliation.
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History and literature complement each other. In other words, a historical text has a literary dimension, and a literary text has a historical dimension. History tells about the past, but does not decipher its internal mechanisms. Literature, on the other hand, helps us understand how behaviors and identities are formed. History shows us the mistakes of the past, but does not give us enough elements to avoid repeating them. This is what literature does, and the works of Grossman and Pahor, representatives of two cultures - Russian and Slovenian - are an argument in this regard. These two authors present us with an image of war and one of the greatest horrors of the twentieth century, the concentration camp.
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L’articolo si propone di delineare lo stato degli studi imagologici di frontiera analizzando due sistemi letterari che nascono e si sviluppano nello stesso luogo, ma in due lingue diverse: la letteratura italiana e quella slovena in una città che è l’emblema dell’incontro tra le due etnie, cioè Trieste. Dopo un’introduttiva riflessione metodologica sulle letterature comparate e sul metodo imagologico, verranno presi in considerazione soprattutto quegli autori triestini lungo tutto l’arco del 20° secolo che riflettono nelle loro opere letterarie l’incontro con il vicino, concittadino nella stessa città, ma di lingua e cultura diversa. Saranno messe in risalto alcune considerazioni di tipo storico-letterario che rispecchiano l’ambiente multiculturale di Trieste e il dialogo tra le sue due identità.
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This paper studies the cultural, in this case literary (prose),communication between writers-representatives of different nations. After the determination of the term interculturality and function of culture in slowing the stigma, ghettoisation, passes to the analysis of literary and social activities of two writers,members of the same minority in Serbia - Laslо Vegеl and Laslo Blašković. In the case of different strategies (writing in their native or second language, orientation towards his national community, the relationship to the majority, according to a former state – Yugoslavia – and present, Serbia, treatment of political issues, etc.) Establishes their relationship to their own entity stronghold and possibilities of overcoming its possible oppression (the term Gayatri Chakravorty Spivak) or oppressiveness (termed Susan Stanford Friedman).
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In 1850, Ivan Kukuljević Sakcinski’s Illyrian-Croatian plays Juran i Sofija ili Turci kod Siska (Juran and Sofija, or the Turks at Sisak, 1839) and Stjepko Šubić ili Bela IV. u Horvatskoj (Štepan Šubic, or Bela IV in Croatia, 1841) were published in Slovene translation in the book Dve igri za slovensko glediše (Two Plays for the Slovene Theatre). First, the paper considers the plays in a wider context of contemporary Slovene-language drama of the same period, and then in a somewhat narrower context of dramatic works in the Slovene language in (South) Slavic literature, wherein the discussion takes into account the position of these two plays in the developing system of genres of translated drama, since these two works occupy a distinctive place because they representing model heroic plays. Special emphasis is placed on the first play, which is not only Kukuljević’s most well-known work, but was, generally speaking, better received in the Slovene context. This can be explained in a number of ways: 1) due to to specific socio-political conditions (the translation into Slovene is from the period of Bach’s s absolutism marked by increased German pressure on the Slovene and Croatian territory); 2) due to obvious social relevance of the Turkish topic (in the Battle at Sisak the Slovenes and Croatians behave heroically, independently and cooperatively); and 3) due to the play’s specific features, in particular its dramatic personae, setting, and Slavic character (in the play, Toma Erdödy, Juran and Andrej Turjaški act in accordance with Slavic reciprocity, and the setting of the play is Slavic). These features, in turn, enabled identification with the characters and promoted national emancipation. The genre of the heroic play filled the gap in the Slovene literature, which Fran Levstik anticipated in his 1858 Slovene literary programme, which is also the first Slovene programme of this type.
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Collection of poetry by Boris A. Novak ("Residencies of Souls", Volume 6)
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Objavljamo dva odlomka iz spominov Rajka Mullerja in Janeza Vipotnika, ki opisujeia napad na fašistično postojanko Dob na Dolenjskem 26. decembra 1942. leta. Opozarjamo bralce, naj preberejo še odlomek iz Šaranovičevega poročila v 5. knjigi VI. dela Zbornika dokumentov in podatkov o narodnoosvobodilnem boju jugoslovanskih narodov, in brošuro »Dob — fašistov grob¬«, ki jo je 1943. leta izdalo Glavno poveljstvo Slovenske narodnoosvobodilne vojske in partizanskih odredov. [...]
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Based on archival documents, the most important being a preserved file in the fond of the Gorizia police office, the author, using the example of the parish priest Ivan Kretič in Cerkno, vividly presents a story illustrating the confrontations such as were typical in the 1930s between the Italian Fascist authorities and the Slovene clergy in the Primorska region. Kretič, by using the Slovene language and teaching his congregation national songs, which was seen by the Italian authorities as a deliberate attempt to hinder the Italianisation of the region, elicited a strong reaction from the entire Fascist ruling and repressive apparatus from Cerkno to Gorizia. Kretič managed to avoid punishment only by a hair's breadth. Yet because he continued with such and similar activities after he was transferred to the parish of Kojsko, he was sentenced to two years of confinement in southern Italy in 1939.
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The analysis of the author’s own past research has shown that digital tools do not have a significant role in contributing to new interpretations of the Slovene literary canon. However, when shifting the subject of interpretation from a single work to authorial opera, genre corpora, literary period or the entire national literature, it becomes clear how quantitative methods, stimulated by digitalisation of the cultural past, literary databases and digital tools play a vital role. Interpretations that consider the richness of data, generated by digital culture, are more trustworthy than the former ones. The price we pay for that is the refusal of clear encyclopaedic definitions and descriptions. Literary past, observed through the digital humanities’ perspective has a fuzzy development because the central phaenomena gradually fade in the multitude of rival or peripheral phenomena. Slovene literature is not represented by prominent authors and their famous works any more, it does not comply with dictation of the great national myth, i.e., the construction of the nation from the spirit of literature. Rather, it is considered as a random fact, a matter of serendipity. It is represented as the entire literary production on the Slovene territory, in Slovene as well as other languages. Due to special circumstances, it is different from the neighbouring literatures and it triggers new, nation-specific definitions of literary phenomena. New interpretations of Slovene literature are not only indebted to the use of digital tools, but also to the consequence of changes within the literary system itself. In its beginnings, Slovene literature was dedicated to the constitution and emancipation of the nation, while now it also legitimately fulfils other human needs and functions: cultural recreation, women and social minorities’ emancipation and mobilisation, escapism, self-reflection, self-therapy, testing of the alternative models of social behaviour, etc.
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This article examines two novels by the Slovene writer Berta Bojetu Boeta: Filio is Not at Home (Filio ni doma) and The House of Birds (Ptičja hiša), both published in the 1990’s. The two works depict dystopian societies focused on repression and aimed at generating systematic alienation. The plots are set in remote and isolated places (an island, a mountain, a prison, a brothel) whose inhabitants are enslaved and subjected to violence which mainly affects women. The denial of freedom that characterises these societies is one of the fundamental aspects of dystopian fiction. Despite the extreme limitation of their possibilities, the characters narrated by Bojetu find ways of resisting repression through painting, reading and the creation of human bonds, thus managing to escape from dystopian environments and keep their humanity alive.
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The paper focuses on the micro-structural analysis, i.e., close-reading, of the selected literary texts. Close-reading is the opposite of distant reading that generally connotes analysis of a much larger corpus. Close-reading is an acceptable strategy for textual interpretation. This strategy includes, at first glance, some banal issues, such as the relationship between historically documented events and their literary (fictional) presentations, spatial data (in this case Maribor and its topography), and temporal data (linear or recursive). Furthermore, this procedure enables identification of a given genre, for example a cycle or some kind of a supra-text (in this case a novelistic trilogy). The analysis will show how the fundamental paradox embedded in Maribor, its Slovene-German past, is reflected in Jančar’s novels. Special emphasis is placed on processes, motifs, images, characters, events and even micro-texts present in Jančar’s short prose that later reappear in his novels in a new context. Jančar’s text that are studied are Severni sij (Northern Lights, 1984), To noč sem jo videl (I Saw Her That Night, 2010) and In ljubezen tudi (And Love Itself, 2017).
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