Članek prinaša nekaj razmislekov o uporabi ustne zgodovine v komunikaciji, v kateri je vloga spraševalca pogosto podcenjena, čeprav bi potreba po samorefleksiji terjala ravno nasprotno. Avtor navaja ...primere brez jasno opredeljenega spraševalca in intervjuvanca, kakor tudi brez zapisa dogajanja kot zgodbe. Posledično se sprašuje, kaj vse ustna zgodovina lahko sporoča, če si komunikacija, v kateri nastajajo ustni zgodovinski viri, prizadeva oživljati sicer nedostopne pripovedi in spomine, hkrati pa mora uporabljati neki jezik legitimitete, ki pa teh pogosto ni sposoben jasno izraziti.
V interpretacijah Vergilijeve Eneide, ki izhajajo iz strukturalistične teorije (in v anglofonem svetu iz »nove kritike«), se učeni bralec/interpret pogosto obnaša kot tolmač, ki besedilo razume kot ...samozadosten sistem. Opisi likovnih umetnin so značilen primer »pripovedne pavze«, zato so pogosto razumljeni kot interpretativni ključ, ki razkriva globlji pomen pripovedi. Celo pri opisih, ki niso le podvrženi žariščenju, temveč so izrecno posredovani »skozi oči« literarnega lika, interpret, ki išče skrivni pomen opisanega, rad zanemarja odziv literarne osebe. Značilen primer je Enejev čustveni odziv na slike v Junoninem svetišču v Kartagini (1.453–495). Enej te podobe bere kot izraz univerzalnega sočutja; kljub temu je večina interpretov prepričana, da Enej kot »ekfrast« podlega usodni utvari, saj se ne zaveda, da je tempelj posvečen njegovi sovražnici Junoni in da upodobitev padca Troje pomeni Junonin triumf nad Trojanci; po tej razlagi se bo »pravi« pomen slik razkril šele med punskimi vojnami. Vendar ti prihodnji dogodki niso del pripovedi; Didona jih kvečjemu nakaže s prerokbo maščevalca Hanibala. Temeljna ideja pričujočega prispevka je, da je Vergilij Eneju kot gledalcu oz. fokalizatorju slik namenil povsem avtonomno vlogo. V poznejšem besedilu se pojavi vrsta odzivov na ekfrazo, ki imajo jasno psihološko motivacijo. Opis je posredovan skozi osebno izkušnjo literarnega lika; retrospektivna pripoved v 2. knjigi razkrije motive njegovega odzivanja in srečanje z Didono v podzemlju se s »fokaliziranim citatom« naveže na Enejevo doživetje pred slikami v Junoninem svetišču.
Enclosure of space and its demoniac materialization, vis-a-vis the timelessness of spiritualization and humanization, are strongly reflected both on the framework and on the semantic layers of the ...central story. At the same time, it suggests free and open narrative space, which eliminates temporal delineation of the narrated and projects its relative and flexible incorporation in the story.
The aim of this article was to analyse the retold experiences of 27 survivors from the 1990s war in Bosnia and Herzegovina. I have examined verbal markers of reconciliation and implacability and ...analysed the described terms for reconciliation that are being actualized in the narratives. The material for the study was gathered through qualitative interviews with 27 individuals who survived the war in north-western Bosnia and Herzegovina. This study joins those narrative traditions within sociology where oral presentations are seen as both discursive- and experience-based. In addition, I perceive the concept of reconciliation as an especially relevant component in those specific stories that I analysed. Stories on implacability, reconciliation, and conditions for reconciliation are not shaped only in relation to the war as a whole but also in relation to an individual's wartime actions and those of others. In these stories, implacability is the predominant feature, but reconciliation is said to be possible if certain conditions are met. Examples of these conditions are justice for war victims, perpetrator recognition of crimes, and emotional commitment from the perpetrator (by showing remorse and shame, for example). Previous research on post-war society emphasized structural violence with subsequent reconciliation processes. Researchers have focused on the importance of narratives, but they have neither analysed conditions for reconciliation in post-war interviews. This article tries to fill this gap by analysing the stories told by survivors of the Bosnian war during the 1990s.
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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