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.
Although the work of Ian McEwan, one of the most important modern British writers, has been quite thoroughly researched, the narrative space was rarely the subject of narratological treatment. This ...article tackles a close reading of McEwan’s novel
from a narratological perspective testing the applicability of a series of spatial categories systematized by Marie-Laure Ryan in the already existing narratological tradition and in her own research in narrative space. At the macro level of the story, the circular structure of the novel and the concepts of space as a container and space as a network are being shown and so is the use of local names. In the foreground there is a discussion of the five fundamental levels of narrative space (spatial frames, setting, story space and spaces of intertextuality, storyworld, narrative universe), followed by the treatment of textualization at the micro level (perspectivism and aperspectivism, map, and tour, and the lived experience of space). The analysis of space representation in
eventually makes it possible to conclude that McEwan promotes the conception of space that became prominent within the spatial turn in postmodern humanities.
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.
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
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.
V teoriji pripovedi se med temeljnimi razlogi za to, da so premisljevanja o pripovednem prostoru zaostajala za refleksijo casa (Ryan 2009: 420; Nünning 2004: 558), obicajno navajata dva. Eden je ...Lessingova oznacitev pripovedne literature kot casovne umetnosti v nasprotju s prostorskostjo likovne umetnosti, zlasti slikarstva in kiparstva. Drugi pa je sama struktura pripovedne umetnosti, za katero se je pred 19. stoletjem zdelo, da tvori prostor v njej predvsem ozadje, medtem ko je tisto, cemur je treba posvetiti pozornost, v prvi vrsti casovna usmerjenost ali teleologija obdelave (plot), tj. zapleta in razpleta (prim. Sabine Buchholz in Jahn 2008: 551; Dennerlein 2009a: 4) Ta navidezna samoumevnost je bila v teoriji pripovedi ze na zacetku 20. stoletja omajana z interpretativnimi dognanji o »umetnosti fikcije«, ki so pokazala na to, da so v slogu, organizaciji in strukturi pripovedi vse od Henryja Jamesa naprej uporabljene mnoge podobe slikarstva in arhitekture. V desetletjih, ki so sledila, so refleksiji prostora v pripovedi utirali pot znani literarni teoretiki in fenomenologi, ce omenimo samo nekatere: Joseph Frank z odkritjem spacialne forme v delih moderne literature, Mihail Bahtin s pojmom kronotopa ter Maurice Merleau-Ponty in Gaston Bachelard s teoretizacijo zivega (lived) prostora, pojmom, ki specificno naslavlja prostor v okviru literature in cloveske percepcije. Med reprezentativnimi primeri zgodnjih obravnav pripovednega prostora K. Dennerlein navede delo Käte Friedemann z naslovom Die Rolle des Erzählers in der Epik (1910), in podrobneje obravnava razpravljanja Roberta Petscha v knjigi Raum in der Erzählung (1934), Hermana Meyerja v Raumgestaltung und Raumsymbolik in der Erzählkunst (1957), Franka C. Maatjeja v delu Versuch einer Poetik des Raumes: Der lyrische, epische und dramatische Raum (1968), Bruna Hillebranda v Poetischer, philosophischer und mathematischer Raum (1971), ponatisnjena v zborniku Landschaftund Raum in der Erzählkunst (1975), ki ga je uredil Alexander Ritter (1975), ter Hillebrandovo knjigo Mensch und Raum im Roman (1971). Pojmovnik v tej fazi tematiziranja konkretnega prostora v pripovednem tekstu je usmerjen predvsem k pomenu prostora, simbolni naboj prostora, ki v realizmu prevladuje, pa je postavljen kot norma ter se po avtoricinem mnenju tako ne izogne nezeleni metaforicnosti. Vidni so tudi prvi nastavki opisov tehnik prikazovanja prostora. Ideja je, da bi bilo potrebno pripovedni prostor razmejiti od koncepta prostora v naravoslovju, kar se ni uresniceno. (Dennerlein 2009a: 23) Med uvodi in naratoloskimi monografijami K. Dennerlein obravnava naslednje avtorje oz. njihova dela: Cordula Kahrmann, Gunther Reiss in Manfred Schluchter, Erzähltextanalyse: Eine Einführung in Grundlagen und Verfahren: Mit Materialien zur Erzähltheorie und Übungstexten von Campe bis Ben Witter (1977), Seymour Chatman, Story and Discourse (1978), Mieke Bal, Narratology: Introduction to the theory of Narrative (1985), Hans Krah, Räume, Grenzen, Grenzüberschreitungen - Einführende Überlegungen (1999) in David Herman, Story Logic: Problems and Possibilities of Narrative (2002). Nazadnje omeni leksikonski clanek Mary-Laure Ryan, Space (2009). Bolj kot o posebni fazi bi bilo mogoce govoriti o skupini tekstov, saj so nekatera dela po svoji zasnovi se povsem strukturalisticna in bi bolj sodila v prejsnjo fazo. Vecina obravnavanih del nima niti samostojnega poglavja o prostoru, pac pa nastavke, ki so uporabni za naratologijo prostora. K. Dennerlein si v skladu s svojo izhodiscno mislijo, da so obravnave prostora v teoriji pripovedi zaostajale za analizami casa tudi zaradi odsotnosti temeljne definicije prostora (Dennerlein 2009a: 4-5), v tretjem poglavju svojega dela prizadeva artikulirati nosilni koncept za konkretni prostor v pripovednem svetu. V ta namen podrobneje pretrese razlicne koncepte prostora iz teorije pripovedi in debate o prostorskem obratu, zlasti pojma topografije - ta je po njenem mnenju preozek -, in topologije - ta nima definicije prostora kot umestitvene kategorije (52-54). Nato se dotakne geografije in njene delitve na fizièno in druzbeno geografijo (human geography). Slednja se ukvarja s prostorskim delovanjem ljudi in njihovim dojemanjem prostora in se je po Bennu Werlenu v 70. in 80. letih razvila v socialno, kulturno in gospodarsko geografijo. Zanimivi zanjo so postali tudi jezikovni procesi socialne konstrukcije prostora. Avtorica se opre na socialno geografinjo Anke Schlottmann (2005) in na vsakdanje razumevanje prostora v geografiji v sestih toèkah, ga vzame za svoje izhodisèe in predela oz. omeji (56-59). Gre za predstavo o prostoru kot kontejnerju (container), po kateri so za prostore znaèilni objektivnost in predmetnost, neodvisnost od zaznavanja, diskretnost, razlikovanje med znotraj in zunaj in pripadnost ljudi in stvari.3 Pomembna omejitev je npr. v tem, da lahko pri fikcijskih tekstih pridejo v postev kot bivalisèa oseb tudi nenavadni ali vsakdanjim predstavam nasprotujoèi prostori. Iz mnozice vseh predmetov pripovedovanega sveta, ki pridejo v postev, naj bi bili za analizo prostorov relevantni le tisti, ki so hkrati okolje oseb4 ali pa bi po vsakdanjih predstavah bralcev in po pravilih pripovedovanega sveta to lahko postali (68-72). Prostor torej definira kot »mnozico tistih konkretnih predmetov, ki razlikujejo med znotraj in zunaj in po zakonitostih pripovednega sveta lahko postanejo okolje nekega karakterja« (239).5
This collective volume is the first monographic and interdisciplinary study of autobiography in Slovenia. Nineteen authors are discussing the issues of its development, combining the methods of ...literary scholarship with the philosophical, historiographical, ethnological, sociological and other perspectives. Theoretical insights are complemented by a series of case studies on the history of autobiographical discourse in Slovenian cultural space and beyond it from the end of the 18th century to the present.
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