The paper compares two graphic biographies with traditional biographies of the same authors – renowned Slovenian writers Alma Karlin and Ivan Cankar. It compares the manner in which graphical and ...text-only biographies present the characters, the character’s emotions and expressions, which life events they emphasize, and how they address the criterion of objectivity. The results suggest that the biographies in the two Slovenian graphics are less objective than textual biographies due to the pictorial material. Textual biographies present more information about the subject, while graphic biographies focus more on individual events, statements, and emotions, and present them more appealingly.
This article typologizes visual poetry of the Slovenian neo-avant-garde. The Slovenian neo-avant-garde, which flourished roughly from the mid-1960s to the early 1970s, was closely connected to ...student movements on the one hand, and to new theoretical and philosophical currents on the other. Young authors thus tested the boundaries of literary discourse and experimented with new artistic practices, such as happenings, performance, multimedia projects, land art, and so on. In so doing, they drew heavily upon the artistic and literary practices of the historical avant-garde, which again gained popularity at that time as well. Although the intertwining of the verbal and the visual in literature in the 1960s was not new, it reached new dimensions with the development of conceptualism.
Restoration censorship forced European Romantic literature to retreat from society and politics into subjective intimacy, fantasy, mythology, history, and exotic places. In addition to conforming to ...restrictions, however, censorship also led writers to evade its control (pseudonyms, publication abroad, allusive style) and, more rarely, to overt or covert rebellion (petitions, satire, etc.). An example of this is the German sonnets written by the Slovenian romanticist France Prešeren in the mid-1830s as a poetic response to the public controversy over the cultural strategies of national revival (the so-called Slovenian ABC war) and the behind-the-scenes struggles over the censorship of the poetry almanac
Krajnska čbelica
(Carniolan Bee). With their illocutionary force, Prešeren’s sonnets are directed against prominent collaborators of censorship and the centers of ecclesiastical and secular power that wanted to keep the embrionic Slovenian literary field under their control. These poems move between satirical irony and sentiment, between the fictional suspension of dominant positions in the field and the search for sympathy for the depressing lack of consecration. The satire against the censors of his elegy dedicated to Matija Čop stands out with its acrostic and the affect of rage.
The media landscape of the Habsburg Monarchy in the pre-March period was relatively meagre. In Carniola and other Austrian crownlands with a Slovenian population, the opportunities for literary ...development were limited: this is well evidenced by the ban on the publication of
Slavinja
in mid-1820 as well as by the many conflicts
Krajnska čbelica
(‘The Carniolan Bee’) had with censorship in the early 1830s. The modesty of literary activity in Slovenia at this time is often related to the low level of education and literacy among the population, discontinuity in the development of literary culture, and the general underdevelopment of the emerging Slovenian literary and media systems. However, imperial censorship also decisively contributed to this state of affairs. This article therefore outlines the functioning of the pre-March censorship apparatus at the state and local levels, showing how the censorship office in Vienna (headed by the count Josef Sedlnitzky) systematically blocked attempts to establish Slovenian-language periodicals (
Slavinja
,
Slovenske novice
‘Slovenian News’ with its supplement
Zora
‘The Dawn’, and
Ilirske novice
‘Illyrian News’ with its supplement
Ilirski Merkur
‘The Illyrian Mercury’) and how local factors were involved in these processes. It is argued that the power to ban a newspaper had a much stronger impact on the Slovenian press than the activities of local or state censorship. In particular, the long struggle to establish
Kmetijske in rokodelske novice
(‘Agricultural and Handicraft News’) between 1838 and 1843 testifies to the early tendency of the imperial censorship apparatus to block the respective national(ist) agendas.
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