Snezana Zabic - Academia.edu (original) (raw)
Papers by Snezana Zabic
Poems in free-verse, prose, and recipe forms. Art by Dunja Jankovic. Intro by Ana Bozicevic. Outr... more Poems in free-verse, prose, and recipe forms. Art by Dunja Jankovic. Intro by Ana Bozicevic. Outro by Biljana Kasic.
In their paper "A Survey of Bosnian, Croatian, and Serbian Poetry in English Translation in the U... more In their paper "A Survey of Bosnian, Croatian, and Serbian Poetry in English Translation in the U.S. and Canada," Snezana Zabic and Paula Kamenish present a survey of book-length collections and anthologies of Bosnian, Croatian, and Serbian poetry in English translation published in the U.S. and in Canada. Zabic and Kamenish argue that it is necessary to determine which factors are advantegous for the survival of poetry originating in "minor" languages and transmitted to the United States and Canada. Zabic and Kamenish propose three elements that have ensured a marginal but persistent presence of South Slavic poetry in English in the United States and Canada since the 1970s: émigré(e) writers who also serve as translators, scholars who study and teach minor literatures of the world, and a publishing industry open to offering poetry in translation. Zabic and Kamenish argue that if North American English-language culture chooses to ignore poetic practices in foreign languages, vital international influences on literature would be interrupted or lost.
CLCWeb: Comparative Literature and Culture
http://docs.lib.purdue.edu/clcweb/vol8/iss3/5/
Books by Snezana Zabic
From the mid-1990s until the early 2000s in Belgrade, Serbia, poet and theorist Dubravka Ɖurić fo... more From the mid-1990s until the early 2000s in Belgrade, Serbia, poet and theorist Dubravka Ɖurić formed a group of poets that combined writing with a study of historical avantgarde and neo-avantgarde poetics, including Italian Futurism, Czech Surrealism, Russian Cubo-Futurism, Yugoslav Zenitism, and American L=A=N=G=U=A=G=E poetry. Equally importantly, all the poets were feminists, and most of them had attended the independent Women’s Studies Center, where Ɖurić also taught, alongside their various programs at the University of Belgrade. These poets were: Danica Pavlović, Ljiljana Jovanović, Natalija Marković, Snežana Žabić, Ivana Velimirac, Tamara Šuškić, Jelena Tešanović, Dragana Popović, Ksenija Simić, Sanja Petkovska, Jelena Savić, Snežana Roksandić, and Ana Seferović. This unusual workshop was called the Ažin School of Poetry, named after the volunteer organization that hosted the workshop: Ažin: Asocijacija za žensku inicijativu / Association for Women’s Initiative. While Ɖurić had been active on the literary scene since the 80s, the rest of the workshop participants came of age after the violent break-up of Yugoslavia in the early 90s. Being anti-war and anti-nationalist also played a large role in the development of their aesthetics, and further alienated them from the male-dominated, patriotic, and conservative cultural mainstream in Serbia. The work of the group culminated in this anthology, entitled Discursive Bodies of Poetry, and published in Belgrade in 2004.
Poems in free-verse, prose, and recipe forms. Art by Dunja Jankovic. Intro by Ana Bozicevic. Outr... more Poems in free-verse, prose, and recipe forms. Art by Dunja Jankovic. Intro by Ana Bozicevic. Outro by Biljana Kasic.
In their paper "A Survey of Bosnian, Croatian, and Serbian Poetry in English Translation in the U... more In their paper "A Survey of Bosnian, Croatian, and Serbian Poetry in English Translation in the U.S. and Canada," Snezana Zabic and Paula Kamenish present a survey of book-length collections and anthologies of Bosnian, Croatian, and Serbian poetry in English translation published in the U.S. and in Canada. Zabic and Kamenish argue that it is necessary to determine which factors are advantegous for the survival of poetry originating in "minor" languages and transmitted to the United States and Canada. Zabic and Kamenish propose three elements that have ensured a marginal but persistent presence of South Slavic poetry in English in the United States and Canada since the 1970s: émigré(e) writers who also serve as translators, scholars who study and teach minor literatures of the world, and a publishing industry open to offering poetry in translation. Zabic and Kamenish argue that if North American English-language culture chooses to ignore poetic practices in foreign languages, vital international influences on literature would be interrupted or lost.
CLCWeb: Comparative Literature and Culture
http://docs.lib.purdue.edu/clcweb/vol8/iss3/5/
From the mid-1990s until the early 2000s in Belgrade, Serbia, poet and theorist Dubravka Ɖurić fo... more From the mid-1990s until the early 2000s in Belgrade, Serbia, poet and theorist Dubravka Ɖurić formed a group of poets that combined writing with a study of historical avantgarde and neo-avantgarde poetics, including Italian Futurism, Czech Surrealism, Russian Cubo-Futurism, Yugoslav Zenitism, and American L=A=N=G=U=A=G=E poetry. Equally importantly, all the poets were feminists, and most of them had attended the independent Women’s Studies Center, where Ɖurić also taught, alongside their various programs at the University of Belgrade. These poets were: Danica Pavlović, Ljiljana Jovanović, Natalija Marković, Snežana Žabić, Ivana Velimirac, Tamara Šuškić, Jelena Tešanović, Dragana Popović, Ksenija Simić, Sanja Petkovska, Jelena Savić, Snežana Roksandić, and Ana Seferović. This unusual workshop was called the Ažin School of Poetry, named after the volunteer organization that hosted the workshop: Ažin: Asocijacija za žensku inicijativu / Association for Women’s Initiative. While Ɖurić had been active on the literary scene since the 80s, the rest of the workshop participants came of age after the violent break-up of Yugoslavia in the early 90s. Being anti-war and anti-nationalist also played a large role in the development of their aesthetics, and further alienated them from the male-dominated, patriotic, and conservative cultural mainstream in Serbia. The work of the group culminated in this anthology, entitled Discursive Bodies of Poetry, and published in Belgrade in 2004.