Йоже Топоришич (11 ноября 1926 г.–10 декабря 2014 г.)основоположник современной словенистики,пропагандист и популяризатор словенского языка
In memoriam: Jozhe Toporishich (November 11, 1926–December 10, 2014)
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
In memoriam: Jozhe Toporishich (November 11, 1926–December 10, 2014)
More...
Jozef Marušiak is one of the most distinguished translators of Polish literature into Slovak. The scope of his work is extraordinarily wide. In this paper his most important translations and translation areas are presented in order to show how the picture of the Polish literature in Slovakia has been affected and formed by his work.
More...
In 1999 novelist Breda Smolnikar was sued for defamation in her novel Ko setam gori olistajo breze (When the Birches Up There Are Greening) by certain family Nakrst. Smolnikar received broad public support. In public defence different arguments were in play, the most frequent were trying to prove that the novel does not speak about the family Nakrst because (a) all literature is fiction and all literary characters are fictional beings; (b) similarity between literary character and a real person is always a coincidence; (c) all literature is a possible world and refers to people’s counterparts which are connected to real people only by transworld identity relation. In the article I try to show that these arguments are false: (a, b) literature sometimes refers to real people and thus the question whether a certain character is fictitious or real is an empirical question and not a question of poetic principle, can in the case of Smolnikar be resolved empirically (she published all judicia ldocumentation with detailed descriptions of the family Nakrst); c) the possible world argument is contradictory because it blends two opposite interpretations of possible worlds (the Transworld identity interpretation and the Counterpart interpretation). Dealing with these arguments I define fiction as follows: a) literary work becomes work of fiction when it contains at least one fictional being; b) Fictional being is a non-existent being which is intentionally created as such; c) whether or not a character is fictional is on author to decide (not the reader). In B.Smolnikar’s case the similarities between characters and the portrayed family are so numerous that no coincidence is possible. In the year 2007 Slovene Constitutional Court decided that the defamation was not deliberate and Smolnikar was declared innocent.
More...
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.
More...
In Slovenian metapoetry, the imagining of the emerging national literary canon symbolized efforts to cultivate the vernacular language. The indigenization of Parnassus, the topos of canonicity, served as an autopoietic strategy of a nascent literary system (embedded in the Habsburg Empire) to assimilate the cosmopolitan patterns of the classical canon and capitalize on its prestige. Through the process of “worlding,” nations canonized their iconic poets as universal. In the international arena, “national poets” were believed to prove that a given nation – especially when stateless – meets the standards of the world canon. While the novel as a form of modern writing represented the national character of core literatures, the peripheries justified their nationality with the canonical epic genre. Prešeren’s 1836 Byronic poem Baptism on the Savica is a deliberately hybrid national epic. It entered the canon because it embodies the national “essence” in a controversial way.
More...
After a brief presentation of imagology as a field of contemporary comparative literature, the paper critically analyses the image of Bulgarians in the poem cycle Rapsodije bolgarskega goslarja (1902) by Slovenian poet Anton Aškerc (1856–1912). This cycle of thirteen poems deals with the liberation struggle of the Bulgarians from the Turks. The Bulgarian translations of the poems received a relatively extensive reception, which was not true of the original version in Slovenia. The present paper attempts to demonstrate the origin and function of the image of Bulgarians as representatives of a foreign nation or as the Other in the intercultural transfer of Aškerc’s cycle. From an imagological perspective, it sheds light on the social and cultural processes in which the poet’s image of the Foreign was formed.Keywords: image, drawing, text, manuscript, creative process
More...
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.
More...
U radu se predstavlja i opisuje životni i stvaralački put obrazovane i načitane Bečlijke Hedvig pl. Radiks-Kaltenbruner (1845-1919), koja se 1876. godine preselila sa porodicom u Ljubljanu, a istovremeno predstavlja i pokušaj da se rehabilituje ova ,,prećutana” i zaboravljena autorka. Iako je Hedvig pl. RadiksKaltenbruner bila aktivna na brojnim područjima javnog života i dostizala zavidne uspehe, ipak su joj, kako slovenačka tako i nemačko-austrijska književna i kulturna istorija, uskratile značajno mesto u kulturnom i društvenom životu koje joj pripada. Rasprava potvrđuje tezu da je, u drugoj polovini 19. i početkom 20. veka u Ljubljani, Hedvig pl. Radiks-Kaltenbruner stvarala i radila kao posrednik između nemačke i slovenačke kulture, i da je u Kranjsku donela brojne nove ideje koje je tu i ostvarila (osnovala je j avnu biblioteku, bila jedan od osnivača ljubljanske Narodne i studentske kuhinje), a pored toga su i njeni publicistički tekstovi, objavljeni u poznatijim nemačkim novinama i časopisima tog vremena, bili posebno analizirani i komentarisani.
More...
(I. nastavak)
Texts written by Aleš Debeljak: “UMJETNIK I ZAJEDNICA S ONE STRANE ESTETSKOG ISKLJUČIVANJA”, “NEMA »LIJEPE DUŠE« I »RUŽNOG SVIJETA«”, “AUTOMATSKA POLITIKA ESTETICIZMA”, “UMJETNOST KAO VIZIJA I SVJEDOČANSTVO”.
More...
Župnik u Vodnjanu posjetitelju rado pokazuje »najveće blago Istre« što ga čuvaju u crkvi Svetoga Blaža, posjetitelju se ono čini svakako najneobičnijim: nogu svete Barbare, jezik Marije Egipatske i ostatke svetoga Sebastijana. Sebastijanovi su ostaci impozantni: neraspadnuta glava, dio kralježnice, pleća i sačuvani mišići koji su ostali tamo nakon što su u rimskoj tamnici svetom čovjeku iščupali glavu iz tijela. Župnik objašnjava da ni jedna egzaktna znanost ne može objasniti zašto se ta tijela ne raspadaju. Posjetitelj upita postoji li kakva pisana dokumentacija da ti veliki komadi tijela, što počivaju u loše osvijetljenom relikvij ariju, doista pripadaju baš tim sveticama i tom svecu? Na upit ne dobiva odgovor, kasnije spoznaje da su relikvije, prije nego što su se našle u Vodnjanu, bile u posjedu mletačkog slikara Grezlera Sakrio ih je pred Francuzima, koji su godine 1806. ukinuli mletačke samostane a njihove kuće i crkve podržavili. Posjetitelj više ne postavi ni jedno pitanje. A i što da naposljetku ovdje rade pisana dokumentacija kao i egzaktna znanost, koja ne može utvrditi zašto se ti komadi mesa, mišića i kosti ne raspadaju, kad pred njim leže corpi santi. Sveta se tijela ne raspadaju upravo zato što su sveta.
More...
Prose written by Drago Jančar: "Čovjek, koji je pogledao u vir".
More...
To my knowledge, my poem chosen as an introduction to this contribution was the first »Covid« poem published in any Slovenian literary media. It was issued on August 14, 2020, half a year after the beginning of the crisis in Italy in the literary e-zine LUD Literatura (Potocco 2021). The poem assumes the point-of-view of an Italian resident describing the lockdown, but not opposing it. Instead, the main idea is hidden in the last four verses: the poem questions the possibility of humanism; by putting Darwinism, hedonism and freedom in the context of social media, it questions the validity of the ideological base of these beliefs when shared over these media, and this doubt is implicitly extended to the whole debate over Covid during the first few months of the pandemic. Putting aside that it was first published in an e-zine, I have to point out that it is due to this main idea that the lyrical narrator in the poem does not assume what I shall later describe as »the Slovenian perspective«. Thus the poem can be hardly seen as a representative of the mainstream Slovenian poetry. But it can be taken as a reference – actually as a contrast – to the mainstream Slovenian Covid poetry.
More...
In this article, we analyze the politics of representation in the detective tetralogy (1991- 2009) of the late Slovenian and Triestinian writer Sergej Verč. Addressing several aspects of Verč’s primary literary semiotic device of schizophrenia, we trace a simultaneous literary and chronological shift from minor literature to neoliberal noir. We expose the fundamental representational ambiguity by analyzing the detective triad (murder-victim-criminal), the fetishization of detective clues, the erotization of detection, and the underlying binary oppositions. Verč’s detective novels critique the Slovenian capitalist transition but also reproduce culturally conservative representations of gender, sexuality, and family.
More...
The problem of changing the role of literature in the modern world is especially acute in the former socialist European countries, survived at the end of the twentieth century fundamental social and political changes. Slovenia, which gained sovereignty during the disintegration of the SFRY, is one of the typical examples. For a long time, Slovenian literature developed under the sign of the struggle for national independence, going through many severe trials along the way. The first decades of independence created the preconditions for qualitative changes within literature and led to the transformation of its role in public life.
More...
Josip Osti, Slovene-Bosnian poet, writer and translator was born in Sarajevo in Bosnia and currently lives in Tomaj and Ljubljana in Slovenia. He started writing poetry and prose in Slovene after having created an impressive literary opus in his mother tongue, Bosnian/Croatian. How does such a language shift influence his poetic style? The article wishes to explore how interculturalism and interlingualism at the experential level, with the intertwining of feelings of war and peace, the past and the future, memory and hope, is reflected in his language of poetry, written in Slovene. The article compares his first love poetry, written in Bosnian, with his later love poetry written in Slovene, and tries to establish if language affects the author’s literary perspective, and if, in what way. Using an interdisciplinary approach, i.e. the approach of literary theory and intercultural pragmatics, the analysis of the literary discourse of this bilingual and intercultural writer will help reveal the rules of the language and culture contact at the individual level in the creative process in a literary field that is almost entirely determined by language and its culture.
More...
Review of: Brane Senegačnik: Tijela tišine (sa slovenskoga preveo Božidar Brezinščak Bagola, ciklus Melankolija prevela Sanja Sirec Rovis), Biblioteka Poezija, Litteris, Zagreb, 2019.
More...
Review of: Brane Senegačnik: Tijela tišine (sa slovenskog preveo Božidar Brezinščak Bagola, ciklus Melankolija, prevela Sanja Sirec Rovis), Biblioteka Poezija, Litteris, Zagreb, 2019.
More...