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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 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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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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Dans cette atmosphère d’élan général de libération nationale après 1918, personne ne fut surpris de voir que les hommes de lettres Slovènes étaient plutôt en faveur de la révolution d’octobre. Si nous faisons abstraction du poème de Valerijan Brjusov »Révolte« écrit en 1905 et publié dans la revue »Ljubljanski Zvon« (La Cloche de Ljubljana) dans son numéro de mars 1918 dans la traduction d’Ivan Prijatelj, trois écrivains Slovènes qui avaient été en Russie au moment de la révolution d’octobre mais étaient bientôt rentrés dans leur pays contribuèrent le plus à interpréter les événements d'alors. Pavel Golia, Josip Vidmar, Vojeslav Mole. Un des interprètes les plus éminents de la révolution était le poète et publiciste Fran Albreht, mais son esprit révolutionnaire faiblit après 1920. Les idées de la révolution d’octobre ne laissèrent pas de troubler certains écrivains catholiques p. ex. Stanko Majcen et Jože Piber. Un groupe d'écrivains dont les plus en vue étaient Govekar, .Vladimir Levstik et Ivan Tavčar tentait consciemment de minimiser T importance de la révolution. La Yougoslavie bourgeoise, par le fameux »obznana« (1920) et la »Loi sur la sécurité de l'Etat« (1921) empêcha la création d’une feuille littéraire qui se serait appuyée sur T idéologie marxiste et aurait groupé autour d'elle les écrivains d’orientation marxiste et leurs sympathisants. Mais ils eurent à Trieste deux organes, surtout rédigés par Vladimir Martelanc. Malgré tout, chez de nombreux poètes et prosateurs, les thèmes sociaux et révolutionnaires restèrent à la base de leur inspiration; Tone Seliškar, Mile Klopčič, Srečko Kosovel, Lovro Kuhar, Ivan Vuk, Rudolf Golouh, Bratko Kreft, Juš Kozak et d’autres.
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L'histoire littéraire Slovène n’ a pas encore étudié en détail la participation des marxistes à la critique littéraire comme aux théories littéraires de l’époque entre les deux guerres. Cependant, ce qu’ on a, d’une manière générale, déjà constaté, c'est que les jugements des marxistes sur les questions littéraires et esthétiques durant la première décade après la première guerre étaient, la plupart du temps, d’occasion. Il faut cependant faire exception pour Vladimir Martelanc et Bratko Kreft dont les vues ont été systématiques et se sont aussi appuyées sur les idées des classiques du marxisme. Dans les années 30, le nombre des intellectuels marxistes a augmenté, et cette nouvelle vague apparaît dans l’étendue et la force théorique de la publicité littéraire. A la fin de 1932, les marxistes Slovènes fondèrent la revue »Književnost« (Littérature) où s’affirmèrent surtout dans la critique littéraire Dušan Kermavner, Bratko Kreft, Ivo Brnčič, Boris Kidrič, Edvard Kardelj, Boris Ziherl. Lorsque en 1935 cette revue cessa de paraître, ces critiques, surtout Ivo Brnčič et Tomo Martelanc continuèrent pendant quelques années encore à écrire des critiques et des essais littéraires.
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The paper considers travelogues of Yugoslav female writers Alma Karlin, Jelena Dimitrijević, Isidora Sekulić, Marica Gregorič Stepančič, Marica Strnad, Luiza Pesjak. These texts created in the first half of the 20th century in Serbian, Slovenian and German are on the periphery of the literary field and, with rare exceptions, do not belong to the canon. The most famous of these authors are Sekulić from Serbia and the German-speaking writer Karlin from Slovenia. Recently, the work of Dimitrijević has also become an object of attention of researchers. Other travelogues writers are almost forgotten. Identity problems, especially national ones, are a constant component of the travelogue genre. During a journey, the author directs his attention to “other /alien” peoples and cultures that can be called foreign to the perceiving consciousness. However, when one perceives the “other”, one inevitably turns to one’s “own”, one’s own identity. The concept of “own – other /alien”, on which the dialogical philosophy is based (M. Buber, G. Marcel, M. Bakhtin, E. Levinas), implies an understanding of the cultural “own” against the background of the “alien” and at the same time culturally “alien” on the background of “own”. Women’s travel has a special status in culture. Even in the first half of the 20th century the woman was given space at home. Going on a journey, especially unaccompanied, was at least unusual for a woman. According to Simone de Beauvoir, a woman in society is “different /other”. Therefore, women’s travelogues can be defined as the look of the “other” on the “other /alien”. In this paper, particular attention is paid to the interrelationship of gender, national identities and their conditioning with a cultural and historical context. At the beginning of the 20th century in the Balkans, national identity continues actively to develop and the process of women’s emancipation is intensifying. Therefore, the combination of gender and national issues for Yugoslavian female travelogues of this period is especially relevant. Dimitrijević’s travelogue Seven Seas and Three Oceans demonstrates this relationship most vividly: “We Serbian women are no less patriotic than Egyptian women… Haven’t Serbian women most of the merit that the big Yugoslavia originated from small Serbia?” As a result of this study, the specificity of the national and gender identity constructs in the first half of the 20th century in the analyzed texts is revealed. For this period one can note, on the one hand, the preservation of national and gender boundaries, often supported by stereotypes, on the other hand, there are obvious tendencies towards the erosion of the established gender and national constructs, the mobility of models of gender and national identification as well, largely due to the sociohistorical processes of the time.
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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 present contribution offers information about the Slaves and the cult for history in the second half of the 19th century in the south-Slavic printed works, books, magazines, chronicles, and it also provides us with information regarding the appearance of the new media; regarding history, nation, language and literature in the following magazines: Slavenoserbskij magazin, to jest sobranie raznih soţinenij i perevodov, k polze i uveseleniju sluţašţih; Novine serbske iz carstvujušţeg grada Vijene, Novine srbske, Zabavnik; Kmetijske in rokodelske novice i Kranjska ţbelica; Novine horvatske, slavonske i dalmatinske i Danica Ilirska; Letopis Matice Srpske and Danica written by Vuk Stefanović Karadžić.
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The paper questions the construction of identity in the novels of Slovenian-Bosnian authoress Valerija Skrinjar-Tvrz: Na svojoj, na plemenitoj, Jutro u Bosni and Bosna i Soča, which were combined and published as a trilogy this year. Integrating the period of medieval Bosnia, the First World War, and the war in Bosnia and Herzegovina from 1992-1995 into one whole, the trilogy achieves multiple coding. Although distant in time, driven by different motivations, and intersected by different ideologies, wars shape the lives of the heroes of this trilogy. In this unique poetic entity, the authoress managed to show the complexity of common life through individual destinies and “small stories” and to deconstruct the conception that history is made up of “big stories”. The identities of individuals in the novels represent the identities of communities whose borders are porous and threaten to destroy the established systems, while individual unfortunate destinies are a mirror of collective traumas from the Middle Ages to modern times. The Trilogy covers almost the entire Bosnian history, trying to include identity constructions and their associated identification features, which the authoress considers representative of contemporary identity re/configurations.
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“Young Slavistics IV” is the seventh consecutive publication in a series of annual publications of doctoral students from the Department of Slavonic Studies in Brno. The book was introduced by a study from Prof. Ivo Pospíšil called “Generations in Literary Criticism, Their Fame and Traumas”. There are also six studies by doctoral students of different Slavonic fields, in which the students focus on specific chosen topics of Slavonic literatures, languages and cultures. Their research is based on dissertations currently being prepared. Therefore, the publication is a presentation of current research topics solved in Brno by young students of Slavonic studies and at the same time they indicate the trends which this emerging generation of researchers brings to contemporary Slavonic research.
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Post-conference proceedings “Slavonic Literary World: Contexts and Confrontations III” with the subtitle “Motif of home in Slavonic literatures” consists of 15 papers of doctoral students from 5 European countries. In compliance with the thematic focus of the conference the authors deal with the motif of home in variety of connections, therefore their works bring the new impulses to present state of knowledge and their works illustrates the tendencies and directions of young generation of Slavists.
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For the poetic creation of Tomaž Šalamun, one of the most important Slovenian modernist poets, the experience of staying abroad was crucial. This was his voluntary and conscious decision. Referring to Said, it was his choice to give force to his creativity. Šalamun’s necessity to go out of home borders is closely connected with his understanding of the role of the poet. In his poetry, exile is represented as experience that allows him to establish himself as a poet, gives him the power to create and to step out of the conventional frameworks. The motif of living abroad is presented in a tense relation to home (both in terms of intimacy and socio-political space). Starting from Bakhtin’s theory of dialogism, the poet’s self-understanding of himself and his home is closely linked to the relationship with the other.
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The pathway to founding a Slovenian periodical in the Habsburg monarchy of the mid-19th century was a long one. It took five years of effort by patriotic individuals who, in 1843, launched a newspaper for farmers and craftsmen: Kmetijske in rokodelske novice [Agricultural and craft news] rather than the political or cultural periodical that they hoped for. The publicist Leopold Kordesch, the printer Josef Blasnik, the state governor of Carniola Joseph Camillo von Schmidburg and Archduke Johann worked to bring it into being. In the cultural consciousness of the Slovenes, however, the spiritual father of this publication is the veterinarian, and secretary of the Carniolan Agricultural Society, Johann Bleiweis, who was the paper’s editor for decades after 1845. He introduced a consistent form of Slovenian writing, promoted the improvement of the general knowledge of his compatriots, and influenced their political orientation at a time when this newspaper was the only authorized periodical in Slovenian language.
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