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
The present contribution addresses the question of how the novel Necropolis (1967) by Boris Pahor, a Slovenian minority author (with Italian citizenship) born in 1913 and living in Trieste, is placed ...in world literature. It sheds light on the novel’s path from the semi-peripheral Slovenian literary system to the canonical works of Slovenian (national) literature via various actors in the informal social networks of the globalised literary market and through its consecration in one of the prestigious intellectual and artistic centres of the world literary system (Paris), as well as through the mediation of translations into the dominant world languages. Attention is also given to the uniquely poetic character of this novel of memory about life in a concentration camp, which is a glocalised version of one of the world’s major literary testimonies of the Shoah.
Afekti in emocije so že od antike naprej prepoznani kot bistveni del literarne izkušnje, a med prevlado strukturalizma so bili izključeni iz obravnave pripovedne literature. Izrecni interes zanje se ...je v naratoloških diskurzih pojavil šele v zadnjih desetletjih z nastajajočo paradigmo sodobnih študij afekta. Pri tem so svojo vlogo odigrali različni vplivi, izročilo pojmov v poetiki, retoriki in psihoanalizi, novejši nevroznanstveni, kognitivni in evolucijski pristopi k pripovedi ter še posebej feministična naratologija in kvirovske teoretske konceptualizacije občutij, v zadnjem času pa tudi deleuzovska pojmovanja afekta. V članku se opiram na sinkretični model pripovednega svetotvorja (narrative worldmaking), ki ga je v dialogu z naštetimi vplivi ter upoštevanjem Paula Ricoeura in Bruna Latoura razvila Claudia Breger. V svojem branju kratke zgodbe »Marija, pomagaj« iz knjige Noben glas (2016) sodobne pisateljice in lezbične aktivistke Suzane Tratnik skušam v procesu pripovednega svetotvorja sondirati pripovedno produktivnost sramu in krivde kot družbenih afektov ter osvetliti tip bralskega angažmaja, h kateremu vabi njen diskurz.
In view of the fact that its insights are transferable to other, traditionally non-narrative genres (e.g., lyric poetry, drama), media (film, fine arts) and non-literary fields (e.g., historiography, ...medicine, law, etc.), excessive rigidity in delimiting literature and narrative from non-literary contexts seems unproductive, as the latter can conversely shed light on many hitherto unnoticed features and relationships. ...the pluralistic focus of the perspectives of classical and various new, postclassical narratologies on the chosen subject may offer more accurate analytical and interpretative results than those yielded by a single perspective. ...television series that are devoid of political history or known historical figures (e.g., Mad Man and The Knick) are like a new kind of historical novel; they seem to portray the otherness of the past in ways inspired by some of the approaches of twentieth century historiography. Biti notes that, under the circumstances of a constant state of exception, Kafka's narrative authority takes on an elusive form and exposes readers to the same fictional law that he himself was exposed to as an author by the lawgivers of his time.
In ker so njeni uvidi prenosljivi še na druge, tradicionalno nepripovedne žanre (npr. liriko, dramatiko), medije (film, likovna umetnost) in zunajliterarna področja (npr. zgodovinopisje, medicino, ...pravo itn.), se pretirana rigidnost pri razmejevanju literature in pripovedi od neliterarnih kontekstov ne zdi produktivna, saj lahko prav ti vzvratno osvetlijo marsikatere doslej neopažene značilnosti in razmerja. Tolerantnost in nedoločenost, sinkretičnost ali celo eklektičnost postklasične naratologije je namreč mogoče še vedno kompenzirati z osredotočanjem na teme, ki so za literarno vedo morda najpomembnejše in najzanimivejše, med drugimi npr. o vlogi recipientov (bralcev, poslušalcev ali gledalcev) pri osmišljanju, izkušanju oziroma občutenju pripovedi ali o medsebojni prepletenosti teorije, analize in interpretacije pripovedi v literarnovedni hevristiki in ne samo na metateoretski ravni. Obstajajo nadaljevanke, v katerih je razmerje med fikcijskimi in nefikcijskimi zgodbami uravnoteženo, a tudi take, ki uprizarjajo le življenje elit in pri katerih tvori zgodovinsko dogajanje samo ozadje za zgodbe, polne intrig, nasilja in seksa.
This thematic block of articles was written at the Institute of Slovenian Literature and Literary Studies (Research Center of the Slovenian Academy of Sciences and Arts) and the Institute for ...Literature (Bulgarian Academy of Sciences) as part of the joint research project “Image and Text as a Means of Cross-Cultural Transfer” (2020–2022). Financial support from ZRC SAZU and BAS is gratefully acknowledged. The thematic block of articles is edited by Alenka Koron and Kalina Zahova.
On the backdrop of the ethical turn in literary studies, it has become customary to reflect upon ethical narratology guided by a conviction that narratological ethics, or the ethics of narrative ...treatment, is shaped by formal strategies and narrative techniques. This article provides a detailed discussion of three recent contributions in favour of ethical narratology; however, each of the three authors - Tilmann Köppe, Nora Berning and Wolfgang G. Müller - understands ethical narratology differently. Providing a comparison of their views and an analysis of a selected passage, the present discussion seeks to identify the productive blueprints for a potential postclassical ethical narratology on the basis of the relationship between ethics and aesthetics, as well as the distinction between ethics and morality. By taking into account Alain Badiou's postmodern ethical theory, the article thus aims to show, in accordance with the findings of the classical theory of narrative and with a selection of adequate instruments, the heuristics of exploring the complex ethical dimensions of narratives in order to sensitise the reader to the ethical components of the narrative.
The present contribution addresses the question of how the novel Necropolis (1967) by Boris Pahor, a Slovenian minority author (with Italian citizenship) born in 1913 and living in Trieste, is placed ...in world literature. It sheds light on the novel's path from the semi-peripheral Slovenian literary system to the canonical works of Slovenian (national) literature via various actors in the informal social networks of the globalised literary market and through its consecration in one of the prestigious intellectual and artistic centres of the world literary system (Paris), as well as through the mediation of translations into the dominant world languages. Attention is also given to the uniquely poetic character of this novel of memory about life in a concentration camp, which is a glocalised version of one of the world's major literary testimonies of the Shoah. Key words Slovenian literature; novel of memory; testimony; concentration camp literature
Since it was published in September 2006, Jonathan Littell's internationally bestselling novel The Kindly Ones has been subjected to controversies: enthusiasm and affirmative opinions are in sharp ...contrast with refusal in explicitely unfavourable ones. This kind of readers' response is being repeated with each new translation into another language, and the Slovenian reception is no exception to the rule. After a brief delineation od foreign and Slovenian reception I treat a few innovations of the novel that are used in representations of the holocaust in an attempt to include them into affirmative outline of the work. One of the key characteristics is the perspective of the first person narrator, who is a Nazi criminal and not a victim; although this perspective is not a complete novelty in literature it is certaintly being very radically used and has brought filmic vividness into descriptions of terrible crimes and also the administrative backgrounds of the massive extermination of the Jews. Already the incipit of Chapter 1 (Toccata) is an apostrophe to the reader that contains at the same time an allusion to Villon (also to Baudelaire and Céline), and the core of the relationship between fiction and history preserved throughout the novel: the controversial subjective I, who is not only an infamous criminal, doctor in law, a cultivated musical and literary connoisseur, but also a victim (he loses his father at an early age, is a homosexual in the SS, a wounded soldier on the eastern front, a victim of severe air bombings in Berlin), and on the other hand an intention to tell »how it all happened« (wie es wirklich geschehen) alluding to the representation of historical events. But despite the huge amount of documentary material the connections of the novel with history are not unambiguous, since it contains many entirely fictional elements (e.g. protagonist's hallucinations, his grotesque encounter with Hitler, rich inter- textuallity including the underlying mithological framework of Oresteia in the background) that may come as a disappointment to the readers, who expect to find predominantly historical motivations and descriptions. The Kindly Ones is therefore not a »classical« historical novel writen in a realist manner. It is not even an »ordinary« war novel or just a fictional autobiography and neither is it a dime novel. Because of its rich intertextuallity, mise en abyme, and high degree of fictional self-reflexivity it can be, in accordance with Grethlein, more appropriately labelled as historiographic metafiction.
Koron’s monograph explores a vast field of theory – occassionally called post-classical narratology – from the historical-developmental and the systematic or theoretical-methodological perspectives. ...The first part of the book treats the theoretical preliminaries, basic concepts, terminological questions, delimitations of the research subject, and the definitions of narrative. The second part outlines the history of narrative theories, divided into several phases, and the formation of its concepts. The third part discusses Slovenian contributions to the field and compares them to the international state of research. The fourth part examines the applicability of contemporary narratological approaches to concrete texts. It treats the concept of omniscient narration, aspects of narratology of drama and the phenomenon of narrativity in the plays of Dušan Jovanović (1939–), the development of gendered narratology, the introduction of narratological concepts in autobiographies and concludes the discussion with entering the interdisciplinary field of historiographical narratology.
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