“Greetings from the Fort” – Ontology and Style in the Writings of Viktor Ivančić (original) (raw)
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2017
This research establishes the key typological characteristics of the modern Serbian 20 th century novel, exemplified by the works of three major representatives of the Yugoslav/Serbian literary canon, who span the periods of Yugoslav/Serbian Modernism and Postmodernism: Ivo Andrić, Miloš Crnjanski and Borislav Pekić. The typology, based on a multiplicity of features, which include narrative structure, genre, historical contextliterary, philosophical and socio-politicalmaps the poetics of the Serbian postmodern novel as an evolution from and apotheosis of the literary innovations of Serbian Modernist poetics. This process of evolution is traced on the basis of the works of Andrić, Crnjanski and Pekić, who span a creative period between the first decade of the 19th century and late 1980s in Serbian literary production. Although much work has been done on the theoretical and historical definition of Yugoslav/Serbian Postmodernism, there is still no systematic study of the typology of narrative features which focus on the historical function of the relationship between, on the one hand, the Narrative Subject and the Narrator Figure and, on the other hand, the narrative structure of the Serbian postmodern novel. In other words, there is yet no Structuralist study of the poetics of Serbian Postmodernism. This is the gap which the present thesis aims to fill. The Structuralist analysis of representative works of Andrić, Crnjanski and Pekić, which is the core of this typology, is focused on the narrative structure of their novels and related innovative genres. The evolution of the Serbian postmodern novel is traced by means of this structural analysis as a process of the disintegration of the Narrative Subject and the reconstruction of the Narrator Figure. The Narrator Figure as a term used in this thesis does not imply any figurality in the construction of the narrator. The term "figure" is used as an abstract term, not intended to evoke connotations of "someone" in or "trousers" or that is with characterological features, even if the function of this Narrator Figure may imply a "person" such as an "editor". The Narrative Subject is considered a feature of the Modernist texts, while the Narrator Figure is a substitution for the Narrative Subject in postmodern texts. This is the evolution in the narrative structure of the Serbian novel from Modernism to Postmodernism. The gradual transformation of the Narrative Subject, which appears to carry the burden of the structure in Andrić, and Crnjanski's (early 20 th century) Modernist iv works, into a Narrator Figure in Andrić's and Crnjanski's and Pekić's postmodern works, has been traced by means of a close to the text analysis of the structure of the novels of these three writers at various stages of their poetic production. The Narrator Figure in the mature Serbian postmodern novel, exemplified by Pekić, functions as an Editor and Interpreter of Found Manuscripts or documents, thus relinquishing any claim to being an oracular figure like the traditional omniscient narrator. Moreover, his function can be taken over by any other character who is part of his narrated story. This disseminated or fragmented Narrator Figure determines the open novel structure of the postmodern Serbian novel, whose main innovative feature is the Embedded Text and intertextuality as key components of the new postmodern poetics. The overall aim of the thesis is to acquire a critical insight into the typological features of Serbian 20 th century prose in the context of European and world Postmodernism, with special emphasis on the postmodern poetics and postmodern condition of Yugoslav/Serbian literature.
Физика на тъгата" by Georgi Gospodinov : Bulgarian longing for the novel?
2013
The collapse of the Yugoslav federation was also a prerequisite for the disintegration of the Serbo-Croatian language. In connection with this, the key events in the 1990s of the last century were a precondition for creation of new borders also in the literary sense. Earlier controversies about the existence of the Serbo-Croatian literature unity were replaced by theoretical concepts of literary canons of the "successor" literatures. This paper tries to analyze the situation of newly forming narratives of Serbian, Croatian, Bosnian and Montenegrin literature with an emphasis on the complex context of their historical development and contemporary interpretation of particular moments in the perspective of common borders of the new national literatures.
Обнова приче: приповедање, технологија и ритуали женскости
Филолог – часопис за језик, књижевност и културу, 2012
Although the challenges women have had to face in their attempt to create and circulate their intimate and public histories are much older than computers and informational highways, this paper will mostly focus on the ways women's testimonies are mediated through the Þ ctional and existential frames enabled by technology. The identiÞcation of women's social self in Jelena Lengold's Baltimore, will be, as a process that lavishly uses computer mediated communication, compared with the social and cultural reconstruction of motherhood in David Albahari's novel Bait, and to the bleak dystopian confession of betrayal within the borders of an alienated technology-enhanced society in "The Gospel According to A Thirsty Woman" by Mirjana Novakovi. The three novels are based on di erent kinds of women's narratives, mediated through technology.
Böhlau Verlag/BrillÖsterreichGmbH, 2023
The use of documentary is viewed as a gesture of split, as it places literary fiction between factual and fictional claims to truth (Riffaterre, 1990). In other words, the documentary claim to authenticity violates literary structural principles. As a result, the volume's first premise is the impact of the documentary pact (Foley, 1986) on defining literature. The emphasized referential function of documentary literature results in the constant crossing of the boundary between fact and fiction, which proves unstable and transfigures reality (A. Danto). The second premise is that 1989, with the fall of the Berlin Wall, the disintegration of the Eastern Bloc, and the end of the Cold War, can be viewed as a wide-ranging political caesura that not only encouraged the emergence of new documentary literary practices in Central European literatures, but also repositioned the boundaries between the literary and the documentary.
Between the individualism of Ryszard Kapuscinski and the feature factory. Reporting of the War for a literary reportage. Imagine the front of the war. Imagine we try to wander across the front, ignoring the battlefield. However, when we turn left, we see noble reporters standing on the barricade. They are individualists, they are sensitive reporters, reporting honestly about what they see and what they find. They do so not from a desire to a profit but by a mission. When we look in the opposite direction, we see companiesgenerating similar products with ISO certification. When I wrote about the erosion of trust in Ryszard Kapuscinski one year ago 1 , I realized such writing becomes an assault on the flag. Deconstruction of the icon of the god of literary reportage pushed us inevitably towards one side of the barricade, weakening unintendly a position of those who believe in the individual way of the journalism 2 . Do not let us go across this time. Let's try to accept the front line. Inscribe in the opposition, and try to make a fair balance. How does Kapuscinski become a part of the Polish tradition of a literary reportage? I would say this tradition is close to the physiological school, but not in the French variant, but rather in the Russian version. This tradition is closer to the ethos of intelligence, implemented through a specific, Polish 1 J. Morawiecki, El emperador del reportaje sin reportaje. Sobre la conservación y la erosión de la confianza en El Imperio de Kapuscinski, CUADERNO DE COMUNICACIÓN. RYSZARD KAPUSCINSKI, Nº 2 -AÑO 2010, ed. Jose Luis Gonzales Esteban (transl. by M. Kolankowska), pp. 19-46. positivism. These texts were engaged, utilitarian, missionary. With time, the creation of these texts became increasingly associated with the display of ego. This trend is strong so far thanks to a friendly free-market environment. Today, both functions -to the art -and -not without significance -economic conditions, conducive to such exposure. It is positively correlated with creating an image of the author-reporter, as well as with implementing effective communication with the critics in Poland and other countries. Kapuscinski gave an example of excellent use of symbols, combined with the plasticity of the narrative, offering real or apparent explanations, synthesizing them within simple, vivid descriptions, which were pop culture, not scientific. These narratives were positioned as left-wing, alternative, anticorporate etc. When we talk about such reportages as texts by Kapuscinski we see that the conclusion of the reference pact (we mean by that trust of the reader to the reporter) is in line with the requirements of a market segmentation and product positioning adequate to the typology of genres. Both the author, the publisher and the owner are interested in building a stable, predictable, yet individualized (not identical with the other) image. They are all interested in generating simple slogans for critics. The author must not be homogeneous and static. He should, however, clearly inscribe in the doscourse, he must obtain energy from the polarization that had already been red hot, widely exploited and placed on high speed by the mass media. Or he needs to operate the symbols that are already on the market and are promoted in a different way. Literary reportage must be on an appropriate shelf in the 2 I accepted this opposition in the book: J. Morawiecki, Mały człowiek. O współczesnym reportażu rosyjskim, Warszawa 2010.
Louis Adamic: Slovene-American Literary Journalism Avant La Lettre
Louis Adamič (1898–1951) immigrated to the U.S. as a young boy and eventually established himself as one of the most prolific and shrewd writers, journalists, and socio-political commentators of Slovene descent in America. This article focuses on those of Adamič’s narratives that display characteristics of literary journalism, a discourse that has been in use for over a hundred years, but particularly grew in importance during the 1960s in the U.S. Adamič wrote texts that could be labeled literary or narrative journalism three decades before the big boom of this literary-journalistic genre. My analysis searches for typical features of this subjective, perceptual discourse in Adamič’s longer, book-length narratives (the two most notable examples being The Native’s Return [1934] and The Eagle and the Roots [1952]) and, moreover, gives insight into political, social, as well as more personal circumstances that inspired Adamič to produce such writing.