Na podlagi dejstva, da je mogoče vseh sedem Cankarjevih dram razumeti kot zaključeno celoto, ki sledi idiosinkratičnemu vrednostnemu loku, je mogoče določiti ključne avtorjeve vrednote, ki definirajo ...vsako od besedil posebej. Običajno so nosilci vrednot osrednji protagonisti posamične drame, vendar je mogoče v Cankarjevem primeru ugotoviti, da imajo ženske pomembnejšo vrednostno funkcijo od moških dramskih oseb. Čeprav niso tako poudarjene kot moški in zato vselej nastopajo »v senci«, so ženske praviloma veliko jasneje prepričane in odločneje zagovarjajo vrednote, ki so tudi avtorjeve. S tega stališča je torej mogoče Cankarjeve ženske dramske osebe ugledati kot enakovredne, če ne celo pomenljivejše od moških.
The post-postdramatic period is characterised by a flirtation with key forms of world drama, such as ancient and Elizabethan tragedies, and their themes, which are applied to thoroughly contemporary ...problems. In this regard, three of the many texts can be selected: E. Jelinek’s Die Schutzbefohlenen, S. Hertmans’s Antigone in Molenbeek and V. Möderndorfer’s Romeo and Juliet Were Refugees. In addition to their relationship to antiquity, all three plays are linked by a thematic thread: migration and the unfortunate fate of refugees. It turns out that the only optimistic version of this theme came from Aeschylus, and all three contemporary plays could easily be classified as tragedies. Jelinek’s play is based on an actual event from 2012 when a group of migrants stormed the Votive Church in Vienna in protest and demanded decent asylum treatment for themselves and others like them. Jelinek exposes the whole ethical decay of Europe, which hides behind high-flying ideals of humanitarianism but does the exact opposite. In this case, it is the relationship between migrants – the real foreigners – and Europeans. Hertmans introduces a foreigner, who is already a fully-fledged citizen of Europe, only to complicate his Antigone with the classic story of the burial of a dead brother, who in this case is a terrorist. Möderndorfer takes the final step in this direction by treating economically deprived European citizens as migrants, i.e., as foreigners. None of the three plays has a way out, and the fate of the everyman ends tragically.
Стваралаштво Алеша Дебељака (1961–2016), чувеног словеначког песника, истанчаног есејисте и интелектуалца, могуће је у погледу садржине поделити на три области: на његову дубоко личну поезију, на ...његово стручно, тј. научно дело и на његове друштвенополитичке есеје, односно, коментаре. Те три области, иако се међусобно разликују, у ширoком потезу повезује окидач Дебељаковог стваралачког набоја, а то је: одговорност индивидуе према друштву и ближњем. Имајући то на уму, посебно место у Дебељаковом опусу заузима есејистика, будући да се у њој у највећем броју случајева бави простором који га је као индивидуу дефинисао од детињства, то јест, Југославијом, а пре свега њеним језивим распадом и последицама које је тај догађај имао за људе који су ову земљу у целини схватали као своју. У чланку се потом бавим трима Дебељаковим текстовима, „Сумраком идола“, „Балканским брвном“ и есејом „Како постати човек“. Моја истраживачка теза односи се на присуство Југославије као теме у Дебељаковој библиографији. Три изабрана текста написана су у периоду од двадесет година, сва три без изузетака показују Дебељаков бол због распада мултиетничке, културно богате заједнице, која му је обезбедила темељ на којем је формирао сопствену верзију идентитета, коју је с поносом називао космополитском. Методологија коју сам користио у чланку углавном је компаративна, а садржи и трагове филозофског мишљења, будући да се промишљају појмови идентитета као онтолошког бића, више/интер/културалности и космополитизма.
Tudi za postpostdramski čas je značilno spogledovanje s ključnimi formami svetovne dramatike, kot so antične in elizabetinske tragedije, ter z njihovimi temami, ki jih aplicira na popolnoma sodobne ...probleme. Izmed mnogih besedil je mogoče izbrati tri: Die Schutzbefohlenen Elfriede Jelinek, Antigona v Molenbeeku Stefana Hertmansa ter Romeo in Julija sta bila begunca Vinka Möderndorferja. Poleg razmerja do antike povezuje vse tri drame še tematska rdeča nit: migracije ter z njimi povezane nesrečne usode beguncev. Izkaže se, da je edina optimistična različica te teme nastala pri Ajshilu, vse tri sodobne drame pa bi bilo mogoče brez težav uvrstiti med tragedije. Takšna je drama Jelinekove, ki je nastala po resničnem dogodku iz leta 2012, ko je skupina migrantov protestno vdrla v Votivno cerkev na Dunaju in zahtevala zase in za sebi podobne človeka dostojno azilno obravnavo. Jelinek izkaže ves etični razkroj Evrope, ki se skriva za visokoletečimi ideali človekoljubja, dejansko pa ravna prav nasprotno. V tem primeru gre za razmerje med migranti, ki so pravi tujci, in pa Evropejci. Tujca, ki je že polnopraven državljan Evrope, predstavi Hertmans, le da svojo »Antigono« zaplete še s klasično zgodbo pokopa mrtvega brata, ki je v tem primeru terorist. Ta Antigona je še vedno tujka, a tudi že državljanka Evrope. Zadnji korak v tej smeri naredi Möderndorfer, ki pa kot migrante, torej kot tujce, obravnava ekonomsko ogrožene Evropejce. Nobena od treh dram nima izhoda in slehernikova usoda se konča tragično.
In the present, the concepts of local and global are being used in sundry circumstances, which is why they have acquired many meanings. They may mean much and, precisely because of that, very little ...at the same time. The question appears even more evidently when applied to culture, which can be neither limited to nor contained within national or state borders. In this article the author attempts, on the basis of the literary and essayistic work of the late Slovenian public intellectual Ales Debeljak, to delineate a novel approach to this question, namely to reintroduce a concept of cosmopolitanism, for which Debeljak and others opted. Debeljak, a child of the former Yugoslavia, developed as a poet in its last plentiful and relatively happy decade, the 1980s, and in addition to Slovenia, adopted the broader country as his own. When he moved to the USA to earn a doctorate in social thought, the USA became his third home base. With his opening towards the world, Debeljak also connected his idea of belonging, that is, the concept of identity. This article discusses the juxtaposition of the concept of identity with the positions of local, global and in-between. Key words Local; global; Ales Debeljak; cosmopolitanism; identity
Among the works of Taras Kermauner, probably the biggest expert on Slovenian drama and its first theoretician, one can also find a single dramatic experiment: a courtroom debate on the value of ...avant-garde poetry, based on the case of the accusation against the poet Tomaž Šalamun. While Kermauner develops the genre of judicial disputation in a theatrically fitting and interesting way, he undermines the disputation with an anticlimactic, anti-dramatic conclusion that postpones the decision on the matter to another space-time. A closer examination of the text reveals several conceptual inconsistencies that can be better understood as paradoxes. Thus, the five points that might be defined as paradoxical could be traced in the text itself concerning substantive categories such as the essence of art, the meaning of a nation for art, art and Marxism, and life as the supreme aesthetic category, while the last paradox is a more formal one, since the courtroom debate, with its conclusion, does not reach any point whatsoever. Regardless of the sufficiently clear and pointed presentation of the positions of the two protagonists, the Prosecutor and the Defender, Kermauner decides, rather than escalating the conflict to a (theatrical) climax, to dilute the disputation based on the inclusion of the audience and the conclusion that the latter, in its role as jury, cannot decide for either side. The (dis)solution of the dilemma of the (national, artistic) quality of avant-garde poetry is thus left – despite the fireworks of Kermauner’s theatrical courtroom debate – to the future and literary theory.
V 20. stoletju je enega osrednjih pogledov na tragedijo kot umetniško zvrst predstavljala priljubljena hipoteza Georga Steinerja o smrti tragedije. Originalna in prepričljiva je vzbudila vtis, kot da ...se žanr in z njim povezana človekova izkušnja iztekata. V obdobju zadnjih petdesetih let, ko se je na uprizoritvenem področju razmahnila postdramska praksa, se je zdelo, da se Steinerjeva hipoteza zgolj potrjuje. Neodvisno od tega pa se je razprava o tragediji ves ta čas intenzivno nadaljevala. Posebej plodovito se je izkazalo prav novo tisočletje, ko so v razpravo o tragediji vstopili teoretiki, kot so Terry Eagleton, Erika Fischer-Lichte, Hans-Thies Lehmann in Simon Critchley. Ne glede na to, da se je tragedije vsak izmed njih lotil s specifičnega stališča – izkustvenega, historičnega, filozofskega ali umetniškega –, je rezultat njihovih ugotovitev enoznačen: tragedija živi tudi danes. V svojih analizah, predstavljenih v pričujočem članku, se lotevajo tradicionalnih pojmov, kot so mit in zgod(b)ovina, junak in subjekt, usoda in krivda ter svoboda in nujnost. Iz njih izpeljujejo tezo, da je tragedija – dobesedno ali preneseno – nedvoumno atribut človekovega stanja, saj »človek obrača, bog pa obrne«. Tragedija – tudi sodobna – opisuje tisto človekovo stanje, ko se ta odloči za akcijo, njenega izida pa ne pozna. Edino, kar ima, je vera in slepo zaupanje vase.
The creativity of Aleš Debeljak, a prominent Slovenian poet, sensitive essayist and public intellectual, can be divided into three parts: deeply personal poetry, professional or scholarly work, and ...socio-political essays or commentaries. These three parts, although different from one another, are loosely linked together by the trigger of Debeljak's creativity: the individual's responsibility to society and fellow human beings. Debeljak's essays are especially memorable since they are mostly related to the space that defined him from his childhood, i.e. Yugoslavia, but above all to its terrible devolution. The article explores three of Debeljak's texts: Twilight of the Idols, Balkan Footpath and How to Become a Human Being and its aim is to examine the occurrence of the topic of Yugoslavia in them. The three selected texts have been written over a period of twenty years and all three reveal Debeljak's unbearable pain caused by the collapse of the multicultural, culturally rich community that offered the foundation for the creation of his own version of identity, which he proudly called cosmopolitan. Debeljak transferred his identity from the national plain to the cultural one – cultures that offered him immeasurable freedom and wealth became the existential provision that defined his essence. Twilight of the Idols is undoubtedly Debeljak's darkest essay on the new state of the world, which he called his ”own”. Originally published in 1994, when the bloody armed conflicts in the former republic of Yugoslavia were in full swing, this essay was among the very rare voices in the former homeland which lamented its collapse. Debeljak was well aware of the devastating power of nationalisms that dominated this area and thus destroyed the delicate tissue of cultures. The second book, Balkan Footpath, was published in 2010, that is a decade and a half after the end of the conflict, but still revealed Debeljak's profound sorrow. In it, Debeljak pays tribute to all those writers of the former common homeland who inspired him on the path of shaping his own identity, such as Ivo Andrić, Meša Selimović, David Albahari, Muharem Bazdulj, also Charles Simic, but his main attention goes to the two great Serbian authors, Miloš Crnjanski and Danilo Kiš. With the last of the selected books, How to Become a Human Being, Debeljak returned to his earliest years in the last decade of Yugoslavia's existence. In his comments, Debeljak follows the intimate memories from his childhood and early teens, describes events and experiences that have affected him, many of which are linked to Yugoslavia.
Anton Askerc, a Slovenian poet at the beginning of the twentieth century, published a travelogue after travelling twice to Russia. Despite the author's claim of its objectivity, Askerc's relationship ...to Russia was further complicated by his obvious pan-Slavic bent This analysis reveals a clear Orientalist bias (to use Edward Said's term) in which Western culture ultimately gains the upper hand. PUBLICATION ABSTRACT
Traditional form of society includes certain characteristics, such as space, private and public, and common values. Currently, exactly these peculiar properties went through fundamental changes, and ...as a consequence, the values and their use had changed drastically. This became the topic for Slovenian writer Vinko Möderndorfer’s play “Deset” (“Ten”), which shows a solipsistic and egoistical world ruled only by the Mammon. It describes the essential devolution of society and the question arises, what remains after its demise.
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