Recenzija: Boj brez puške
The review of: Emil Cesar, Boj brez puške, Založba Borec, Ljubljana 1984, 259 str., ilustr.
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The review of: Emil Cesar, Boj brez puške, Založba Borec, Ljubljana 1984, 259 str., ilustr.
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The review of: Marija Stanonik: Iz kaosa kozmos. Kontekstualnost in žanrski sistem slovenskega odporniškega pesništva 1941-1945. Društvo za proučevanje zgodovine, literature in antropologije, Ljubljana 1995, 400 strani. (Borec; Ecce homo. 538-539.)
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Prežihov Voranc – Lovro Kuhar: pisatelj, politik, patriot. (Uredil Aleš Gabrič). Inštitut za novejšo zgodovino, Slovenski znanstveni inštitut (Slowenisches Wissenschaftsinstitut). Ljubljana, Dunaj (Wien), 2010, 185 str., ilustr.
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The review of: Mira Delavec, Moč vesti. Josipina Turnograjska, prva slovenska pesnica, pisateljica in skladateljica. Založba Primus, Brežice, Ljubljana, 2009, 389 str., ilustr.
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The review of: Marija Stanonik: Slovensko pesništvo pod tujimi zastavami. Pesnjenje slovenskih prisilnih mobilizirancev v nemško vojsko v drugi svetovni vojni od 1941-1945. Zveza društev mobiliziranih Slovencev v nemško vojsko 1941-1945, Celje 1999, 352 strani, ilustr.
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The review of: Slovensko pesništvo upora 1941—1945 (Izbral in uredil Boris Paternu; sodelovali: Marija Stanonik in Irena Novak-Popov). Ljubljana, Mladinska knjiga, Partizanska knjiga 1987. Knjiga 1: Partizanske. 1987. 566 str.
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The review of: Egon Pelikan: Tajno delovanje primorske duhovščine pod fašizmom. Primorski krščanski socialci med Vatikanom, fašistično Italijo in slovensko katoliško desnico - zgodovinsko ozadje romana Kaplan Martin Čedermac. Nova revija, Ljubljana 2002. 776 strani, ilustrirano (Korenine)
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Robert Simonišek (1977) is a poet, writer and art historian and currently lives in Celje, Slovenia. He studied philosophy and art history, he also received a doctoral degree from the latter. His poetry debut was published in 2003 under the title Drowned Catalogue (Potopljeni katalog), his second collection, namely Autoportrait Without a Map (Avtoportret brez zemljevida) followed five years later. His so far latest collection are Migrations (Selitve, 2013). Simonišek‘s texts are translated into different languages, his work has been included in several domestic and foreign anthologies. He collected and translated into Slovene poems by Desmond Egan and a novel by William Trevor. The author gained domestic critical acclaim with his psychologically crafted novel The Room Under The Castle (Soba ispod zamka, 2013), which was nominated for the Slovene novel of the year. His relationship to poetry, art and the world was articulated in the essay collection The Crash of Spaces (Trk prostorov, 2015), which in 2016 received a prize for the best Slovene essayist work of the year.
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This article focuses on the dissemination of Slovenian literature in Polish by the Rafał Wojaczek’s Institute in Mikołów between 2012 and 2015. The author approaches the role of publishers in promoting literatures that are viewed from the Polish perspective as marginal using Pierre Bourdieu’s theory of social fields. She points to the mechanisms and motivations of both the publisher and the translators, addresses issues related to graphic design, and examines the impact of paratextuality.
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Ako bi neko želio predstaviti savremeni presjek kroz slovensku poeziju, moguće je da bi odustao već na prvom koraku: među članovima Društva slovenskih pisaca (DSP) oficijelno je registrovano 119 pjesnikinja i pjesnika (spisak navedenih imena, također, sadrži nekoliko već pokojnih), a osim toga stvara najmanje još toliko autora, koji svoje pjesničke knjige izdaju u vlastitoj nakladi ili uz podršku lokalnih zajednica.
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Simpozij "Prežihov Vorane - Lovro Kuhar: pisatelj / politik / patriot", Dunaj 19. - 20. april 2007
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Kad je Anton Vodnik pripremao antologiju pod naslovom Slovenačka savremena lirika, koja je objavljena 1933. godine, uvrstio je u nju većinom pesme nastale između 1900. i 1930. godine. Pola veka kasnije, nama se pojam savremene slovenačke lirike, kakav u to vreme postoji, čini manje ili više identičan sa lirskom poezijom u poslednjih 30 godina, tj. od 1950. do 1980. Tako vremenski označena, »savremenost« je svakako tačnije određena, godine je istorijski omeđuju, raščlanjuju iznutra i spolja, možda je čak i zasnivaju. Tako se savremena slovenačka lirika hoćeš-nećeš ispoljava kao vremenski ograničeni period i zauzima posebno mesto u razvoju dosadašnje slovenačke poezije; razlikuje se i od onog što je bilo pre nje, ali i od onog što će doći posle nje.
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Based on the case of Alojz Gradnik (1882–1967), this article deals with previously unresearched Slovene-Friulian-Italian literary connections that occurred during the last years of the Austro-Hungarian Empire and the first years after WWI along the border of today’s Slovenia (Goriška Brda) and Italy (the region of Friuli-Venezia Giulia: the Provinces of Gorizia, Udine and Trieste). The article highlights the parallels in motifs, themes, ideas and form, as well as the connections between Alojz Gradnik and select Friulian and Italian authors from this region. These links are the consequence of living in a joint cultural space and Gradnik’s Friulian family ties, especially with his cousin Maria Samer. The research uncovers certain differences in motifs, themes and ideas stemming from different national identities. Gradnik’s poetry is closest to Friulian lyrical poetry in their descriptions and experiences of a rural setting, predominantly the deep bond felt between the farming people and native land coupled with their terrible social strife. Gradnik and his contemporary Friulian authors also coincide in works with a nationalist theme – on the threshold of WWI both Slovene and Friulian authors infused their work with their personal vision for the future of their own community. They shared a negative literary depiction of the Austro-Hungarian Empire, and the wish to secure a better economic future, to protect and solidify their cultural heritage. Gradnik’s poetry and that of the contemporary Italian (irredentist) authors share a similar literary technique that depicted the national identities of today’s border between Italy and Slovenia; they were ideologically opposed however: while the Italians depicted the Italian view of the region, Gradnik highlights the presence of a Slavic element within the region.
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This article typologizes visual poetry of the Slovenian neo-avant-garde. The Slovenian neo-avant-garde, which flourished roughly from the mid-1960s to the early 1970s, was closely connected to student movements on the one hand, and to new theoretical and philosophical currents on the other. Young authors thus tested the boundaries of literary discourse and experimented with new artistic practices, such as happenings, performance, multimedia projects, land art, and so on. In so doing, they drew heavily upon the artistic and literary practices of the historical avant-garde, which again gained popularity at that time as well. Although the intertwining of the verbal and the visual in literature in the 1960s was not new, it reached new dimensions with the development of conceptualism.
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Slovenska književnost u 2018. godini. Nisam birala ni po književnoj vrsti, ni po spolu, ni po generacijskoj pripadnosti, ni po nagradama. Sretna sam da je lista knjiga koje su obilježile moju čitalačku i kritičarsku godinu pokazala sljedeće: (1) Žanrovsku heterogenost – poeziju, kratku prozu i tri romana, koji su potpuno različiti. (2) Prodor autorica – što primjećujem već nekoliko godina. (3) Preovladavanje srednje i mlađe generacije – Eva Markun je generacija 90-ih, Nataša Kramberger 80-ih, Jure Jakob 70-ih, a Bronja Žakelj i Mojca Širok kasnih 60-ih.
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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).
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The paper examines how to interpret literature from the viewpoint of modern spatially oriented literary studies, more precisely, of its Slovenian academic version, which has established in the last decade. It draws on the tradition of literary geography from the beginning of the 20th century and updates it theoretically and methodologically with the concepts of postmodern spatial humanities. It is productively connected with the empirical studies of literature (ELW), which have a longer tradition in Slovenia, especially through the conception of literature as a social system. Slovenian spatially oriented literary studies are based on a particular hypothesis about mutual influences between geospace, understood as a mesh of physical-natural and social conditions, and literature, understood as a literary communication. Slovenian literature is interpreted primarily through space. In literary studies, various types of spatial data come to the fore, which are, on the one hand, mainly relate to biographies of writers and the infrastructure of media and institutions, and, on the other, to literary texts that refer to geospace. Thematic literary maps – created using geographic information system technology (GIS) – are used to present, analyse and interpret the relations between geospace and the “life paths” of the most prominent Slovenian writers.
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Kad posmatramo slovenske studije literature u evropskom kontekstu, možemo tvrdit, da su one bile među sobnom bliskije u onima kulturama sa kojimi su bile sličnije na području jezika i društveno-političkog uređenja. U okvir ove rasprave su bili posmatrani oni motivi iz društvene realnosti Slovenaca koji pokazujeju na koleraciju odnosa između Slovenaca i drugih naroda, bili oni slovenski (znači lingvističko i kulturno bliski) ili neslovenski (geografski i/ili politički pozicionirani). Slovenački jezik i literatura jesu deo slovenske kulture, ali kritrijum po kome možemo neku kulturu uključiti u neku grupu nije jasno definisan. Danas su ovi kriteriji stavljeni na osnovama, koje naglašavaju kulturne stavove i etničke tendencije nekog naroda i nama ne olakšaju uklučenju u neku grupu. One zbog multikulturarizma nama ovakva uklučenja možda čak i dalje komplikuju.Pozicija nekog naroda, njegovog jezika i kulturnih tendencija nama se pokazuje i preko literature sa tako zvanimi “ulazki i izlazki” znači prevodi u drugu kulturu i literaturu izabranog naroda, gde baš ovaj “ulazak” literature jest upoređen i pozitivno asimiliran (otvara nova društveno-tematska pitanja) i uspostavlja nove paradigme.
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Quantitative approaches in studying literature already have a long tradition, reaching back to the period before digital humanities became an established field in the humanities. An important impetus for the establishment of quantitative methods in the humanities was provided by increasing computer power and increasingly extensive corpuses of machine-readable words. Theoretical concepts refer to the new methodological paradigms as distant reading. Even though it is supposed to replace close reading, it has repeatedly been shown that traditional research forms the necessary basis for relevant quantitative research and new relevant findings. Stylometry, or quantitative analysis of style, applies statistical methods to literary texts. The analysis entails text comparison in terms of similarities and differences in measurable text characteristics, such as the most frequent words. This is a well-proven method, which, however, has certain limitations. Stylometry is a text-immanent method that does not provide absolutely valid answers or general findings about style. In addition, the definition of measurable characteristics and the comparison method used remain in the domain of the researchers and their familiarity with the material. However, it allows a simultaneous overview of a large collection of texts and hence reaches beyond the established canon incorporating trivial literature and translated literature as an important segment of national literature, especially in its early periods. Stylometric analysis identifies text patterns, which can either be confirmed by qualitative research or can indicate the necessity for a new approach to traditional research. The visualization of results of the stylometric analysis of Slovenian narrative literature from the first half of the seventeenth century to the first original Slovenian narrative in 1836 shows the development of Slovenian narrative literature by period, with identifiable hallmarks of certain authors, and within individual periods and genres. Certain links indicate a need for further research.
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