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Based on the literary and cultural material, the article discusses two functions played by the term of emigrantology as a legacy of three waves of Russian emigration in the 20th century. The term was introduced by Lucjan Suchanek to the research space of Slavic emigration. It has systematized the area of intellectual and scientific self-reflection (including literary studies, historiography, philosophy and theology, and cultural studies), which developed in the community of Russian emigration. Additionally, the term provides modelling of the need for interdisciplinary and in the nearest future trans-disciplinary studies on the complex cultural phenomenon of Slavic emigrations. In this particular context, the article presents major research directions and achievements of Russian studies in Poland.
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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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The Home of Literature is a metaphor of the literature and literary community. However, this metaphor is connected with the home obsession in contemporary post-Yugoslavian literatures. After the collapse of the Former Yugoslavia and Bosnian war, the home is one of the constant themes in contemporary literature in all area. We can see that in the poetry of the Bosnian-Slovenian poet Josip Osti, but also in the novels and essays of the famous emigrant writer Dubravka Ugrešić, as well as in the works of Peter Semolič, Miljenko Jergović, Vida Ognjenović, Jasna Koteska etc. The home is often present even in the titles of their works (House of Language by Osti, House of Words by Semolič, The House of Dead Scents by Ognjenović), and what is more important – the home is a counterpart of the literature as a place of the sense in the world that every day loses a part of its sense and good taste. The literary home is not a utopian place, because it is a collective image and it could be the dystopian place as well. We mark that through the works about the prison and concentration camps – The Damned Yard by Ivo Andrić, the novels and stories by Danilo Kiš, Dragoslav Mihailović, Branko Hofman, Miroslav Popović etc. At all events, the literary home is always a place of the reinventing of the sense.
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This article examines how women writers in the Balkans from the second half of the 20th century narrate war. The focus of the study is on the museum's classifying function to include narrative forms such as the album and the diary, in the genre of the novel. In order to narrate a major theme like the war, Dubravka Ugrešić (Croatia) and Blaga Dimitrova (Bulgaria) use these two forms, traditionally thought to be representative of the female voice. The study traces the literary and museum representations of the album and the diary in which memory plays the major role.
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This article examines two Balkan novels in which memories, as fragments woven into the textual fabricof the autobiographical, define the museum-like narrative structure. The focus of the comparative analysis is onthe female voice, which dynamises the museum as a “place of memory” in the novel through the war theme. Byreplacing the lost home with a kind of a mobile ‘museum-novel’ (as a specific type of novel, the genre of exile),writers such as Gabriela Adameșteanu (Romania) and Dubravka Ugrešić (Croatia) problematize the image ofthe waiting woman Penelope, transforming their novels into a female Odyssey between personal and public,authentic and imaginary, past and present, continuity and discontinuity, myth and history.
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About Ivan Vazov everything seems to have been researched, written and published. Among the many literary criticisms devoted to his life and work, as well as documentary publications, the relationships with his translators and foreign publishers, to whom I believe we have a cultural and moral duty, are very rarely mentioned. However, the correspondence between him and the Croat Fran Gundrum-Oriovac stands out among all. No one else has translated as many of Vazov's works as this Croatian writer. Unfortunately, the acquaintance with Fran Gundrum's archive is indirect, but I would venture to focus on his translation practice, the regulation of relations between the two, their long-term cooperation and the reception of Vazov's work in Croatia. The proposed interpretation of the “File” does not claim to exhaust the relationship between the two. Our task is based on the personal correspondence published in Volume 10 of the Bulletin of the Institute of Literature of the Bulgarian Academy of Sciences in 1961 between Dr. Fran Gundrum and Ivan Vazov – to try to reconstruct the translation and publishing strategies of Fran Gundrum.
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As the fundamental text for the study of artistic and literary avantgardes, Bürger’s Theory of the Avant-garde has been the subject of a wide and diverse critical reception. An especially contentious claim of Bürger’s is the one about the failure of neo-avant-garde art – a claim that cannot be separated from of his category of historical avant-gardes and the claim about the defeat of the pre-war avant-garde movements. Missing the construction of Bürger’s argumentation, different critics have pointed to different post-war artists and artistic movements which, through their work, revitalized avant-garde poetics with more or less success. However, by staying in the same framework of the Euroamerican capitalist West and its artistic system, these counterexamples could not offer a systemic intervention into Bürger’s theory. Due to its specific historical, social, and therefore cultural and artistic trajectory, the experience of Yugoslavia represents one of the possible points of departure for such an intervention. By focusing on existing interpretations of the relation between the Yugoslav avant-garde, neo-avant-garde and post-avant-garde, this article aims to show how the unique relation of the post-war avant-garde towards its tradition can contribute to the critical supplementation of Bürger’s theory and a more nuanced understanding of the possible relations between the neo-avantgarde and the avant-garde. In that sense, this article will try to show how the Yugoslav example is indispensable to a relevant discussion of artistic avantgardes in general.
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The aim of the paper is to present the subversive role of literature on the example of the Feral Tribune magazine and library. The analysis begins by listing the types of repressive measures the magazine was dealing with in the time of SFRJ and independent state of Croatia which ultimately led to the cancellation of the magazine in 2008. Following the literary procedures in the published texts, the interpretation deals with forms and contexts of literature which are deemed as subversive in the Feral. As examples of the most important art forms in the Feral, the author singles out the columns Bilježnica Robija K. and Greatest shits, shorthand forms of burlesque comedy, provocative aphorisms and travestied forms of poems published in the magazine. Additionally, the paper is also looking into the method in which the publishing venture of the Feral Tribune library subversively influences the social and cultural atmosphere of Croatia and its vicinity. The criteria of the book selection for the library itself and the manner in which the literary discourse of the chosen works was undermining nationalist and clero‑fascist metanarratives are further explained in the final part of the paper.
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Book-Review: Camelia Dinu (ed.), Simbolismul în literaturile slave, Pro Universitaria, București, 2020, 264 p., ISBN: 978-606-26-1233-7 (Roxana-Alexandra Alionte)
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Book-Review: Camelia Dinu (ed.), Simbolismul în literaturile slave, Pro Universitaria, București, 2020, 264 p., ISBN: 978-606-26-1233-7 (Mara Ionescu)
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The paper focuses on the divergent national perspectives – Croatian and Serbian – regarding the reasons behind Yugoslavia's unification (the Kingdom of SHS), moreover on the causes of its disappearance from the historical scene, both as the Kingdom of Serbs, Croats, and Slovenes and as the Socialist Federal Republic of Yugoslavia. From the perspective of Serbian „nationally conscious“ historians, it was the Croatian separatism that should be blamed for the downfall of the Kingdom of Yugoslavia during the Italian and German occupation in 1941 as well as the inner disintegration of the Socialist Federal Republic of Yugoslavia in 1991. From the Croatian perspective, the reason behind the downfall of Yugoslavia is in Serbian unitarism, which, through Yugoslavia, aimed to dominate over the other nations. While condemning the nationalistic politics of other nations for the breakup of Yugoslavia, both of these nationalistic perspectives consider Yugoslavia an artificial creation. Miroslav Krleža, a Croatian and Yugoslav writer, criticized the politics of Croatian national separatism and Serbian unitarism in the texts he wrote during the time of the Kingdom of SHS (Yugoslavia). These writings also represent his efforts to open a possibility for a new political community based on socialistic principles. Although his polemic thought was based on the recognition of national particularities, Krleža was looking for ways to overcome the national antagonisms within socialist Yugoslavia. Although Yugoslavia disappeared, his thought on nationalistic antagonisms is relevant in the current political framework, the one in which national exclusion is dominating.
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Review of: Camelia Dinu (ed.), Simbolismul în literaturile slave, București, Pro Universitaria, 2020, 263p., ISBN 978-606-26-1233-7
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Review of: Camelia Dinu (ed.), Simbolismul în literaturile slave, București, Pro Universitaria, 2020, 263p., ISBN 978-606-26-1233-7
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This paper focuses on a short work of fiction written in the 1940s by the Croatian Jew, Hinko Gottlieb. The manuscript of the book was found in one of the Jerusalem archives and,about seventy years later was, prepared for publication in Croatia in 2021. Undermining the readers’ previous habits, the book uncharacteristically problematises the Holocaust. Gottlieb uses humour as his major aesthetic device to describe internment. the story may also be ascribed to the fantasy genre, or to speculative fiction to be more precise. The purpose of the thought experiment presented here is to examine (in prison conditions) the possibilities that the so-called space capacitor has to offer. Besides acknowledging the occurrence in the text of such categories as science fiction, grotesque and surrealism, the article endeavours to answer the question about their use in the story of the Holocaust.
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This article is an attempt to provide an insight into the fate of the Jewish diaspora in Zagreb, a city marked by the spectre of the Second World War. The events in the diegetic world are based on the fictionalised, tragic life of a young Jewish actress Lea Deutsch (1927-1943), who was acclaimed a prodigy of the Zagreb theatre scene and was killed in Auschwitz. Miljenko Jergović undertook the difficult task of addressing Croatian antisemitism, the circumstances surrounding the creation of the Independent State of Croatia (1941-1945), of which the darkest outcome was the Jasenovac concentration camp. The analysis of the work is part of a wide-ranging discussion on the acceptable ways to depict the Holocaust (language and form). The Croatian writer's novel highlights the topos of the eternally wandering Jew; he also dispels the myth about small promised lands in the history of Jews, who were scattered across Europe and had to face local exclusion, antisemitism and ghettoisation.
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Review of: Antal MOLNÁR: Zagrebačka biskupija i osmanska Slavonija u 17. stoljeću: uloga Katoličke crkve u teritorijalnoj integraciji kontinentalne Hrvatske (Zagreb: Hrvatski institut za povijest, 2022). 225 str. ISBN 978-953-8335-27-3. Kronika Franjevačkog samostana u Vukovaru. Knjiga II (1781.-1826.), transkripcija, kritičko izdanje i prijevod Petar Ušković Croata, stručna redakcija prijevoda Šime Demo (Vukovar: Državni arhiv u Vukovaru - Franjevački samostan Vukovar, 2022). LII + 843 str. ISBN 978-953-7980-33-7. Lidija BARIŠIĆ BOGIŠIĆ: O neslavenskom stanovništvu na vukovarskom području (Zagreb: Hrvatska sveučilišna naklada, 2022). 332 str. ISBN: 978-953-169-497-1. Lidija BARIŠIĆ BOGIŠIĆ: O neslavenskom stanovništvu na vukovarskom području (Zagreb: Hrvatska sveučilišna naklada, 2022). 332 str. ISBN: 978-953-169-497-1. Martina KELAVA i Ivan LUČIĆ: Dnevnik Mate Ivacića (Drenovci: Muzej Cvelferije, 2022). 113 str. ISBN 978-953-48152-5-0. Martina BITUNJAC: Žene i ustaški pokret (Zagreb: Srednja Europa, 2023). 240 str. ISBN 978-953-8281-88-4. Berislav MAJHUT: Na Titonicu: hrvatska dječja književnost u razdoblju socijalističke Jugoslavije (Zagreb: Hrvatska sveučilišna naklada, 2022). 181 str. ISBN 978-953-169-490-2. Károly BUSCH: A háború árnyékában: emlékek, gondolatok (Pécs: Közleke-déstudományi egyesület, 2022). 116 str. ISBN 978-963-8121-96-7. Ivan Vitez – Slavonski plemić, zagrebački kanonik, ugarski primas, promicatelj humanizma, Znanstveni skup povodom 550. godišnjice smrti, Zagreb, 16. rujna 2022. Continuity and Change in Medieval Central Europe. The Fifth Biennial Conference of Medieval Central Europe Research Network (MECERN), Faculty of Arts, Comenius University, Bratislava, 27. – 29. travnja 2023.
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Tin Ujević, der wohl bedeutendste Dichter der klassischen Moderne in Kroatien, stand zu Lebzeiten und in der späteren Rezeption in einem spannungsvollen Verhältnis zur Avantgarde. Der poetologische Wandel und die Schwankungen beim Einsatz avantgardistischer Mittel führten i.d.R. zu dem Schluss, es ginge bei Ujević lediglich um Elemente, Phasen oder Teilaneignungen der Avantgarde. Betont wird im vorliegenden Beitrag hingegen der umfassende Charakter von Ujevićs Eingriff ins literarische Feld, sein revolutionärer Bruch im Verhältnis zu den Kategorien Mimesis, Subjektivität und Linearität – lesbar als implizite Antwort auf die theoretische Debatte über die Wiederholbarkeit der Avantgarde.
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The essay presents the biographical and scientific profile of Sante Graciotti, one of the greatest Slavists of the last seventy years and for many years editor in chief of “Ricerche slavistiche”. The author retraces the development of Graciotti’s university career and outlines the main themes that interested the scholar, stressing his incessant effort towards the recovery of the idea of a Slavia equally receptive to the treasures of the East and West of Europe. The essay is accompanied by a complete bibliography of Sante Graciotti’s publications in “Ricerche slavistiche” and a survey of particularly memorable and inspirational quotations taken from his essays.
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