Prispevek se fokusira na področje intime, na relacijo med očetom in sinom v pesniškem opusu in korespondenci Alojza Gradnika. Ugotovili smo, da je pesniški svet Alojza Gradnika deloval predvsem v ...funkciji imaginarnega povezovanja s predniki po očetovi strani, dograjevanja tistega dela pesnikove intime, ki mu je bila v resničnem življenju odvzeta, manj je bila poezija prostor, v katerem se je zrcalila njegova vez s sinom in njegovimi dediči, saj je slednjo v izživel v življenju. V pesniškem svetu je tako Gradnik izgradil podobo očeta - kmeta, ki je tudi sicer zrcalila pesnikovo občudovanje očeta, njegove moralne trdnosti, delavnosti in skrbnosti. Obenem je Gradnik v poeziji izgradil podobo dedka, preko Ivana Gradnika, enega od voditeljev tolminskega punta.
Based on the case of Alojz Gradnik (1882–1967), this article deals with previously unresearched Slovene-Friulian-Italian literary connections that occurred during the last years of the ...Austro-Hungarian Empire and the first years after WWI along the border of today’s Slovenia (Goriška Brda) and Italy (the region of Friuli-Venezia Giulia: the Provinces of Gorizia, Udine and Trieste). The article highlights the parallels in motifs, themes, ideas and form, as well as the connections between Alojz Gradnik and select Friulian and Italian authors from this region. These links are the consequence of living in a joint cultural space and Gradnik’s Friulian family ties, especially with his cousin Maria Samer. The research uncovers certain differences in motifs, themes and ideas stemming from different national identities. Gradnik’s poetry is closest to Friulian lyrical poetry in their descriptions and experiences of a rural setting, predominantly the deep bond felt between the farming people and native land coupled with their terrible social strife. Gradnik and his contemporary Friulian authors also coincide in works with a nationalist theme – on the threshold of WWI both Slovene and Friulian authors infused their work with their personal vision for the future of their own community. They shared a negative literary depiction of the Austro-Hungarian Empire, and the wish to secure a better economic future, to protect and solidify their cultural heritage. Gradnik’s poetry and that of the contemporary Italian (irredentist) authors share a similar literary technique that depicted the national identities of today’s border between Italy and Slovenia; they were ideologically opposed however: while the Italians depicted the Italian view of the region, Gradnik highlights the presence of a Slavic element within the region.
This article brings to light the socio-political conditions in the Triestine region, at the end of the 19th century and in the fi rst half of the 20th century. Th ese conditions infl uenced the ...formation of stereotypical, regionally coloured perceptions of Slovenes and Italians in the Slovene and Italian poetry about Trieste from the fi rst half of the 20th century, which were specific to the Triestine area or rather the wider region around Trieste, where the Slovene and Italian communities cohabited. This article also points out that these stereotypes are constructs. The Italian Triestine literature most frequently depicted the Italians (native culture) before the First World War, in accordance to the needs of the non-literary irredentist disposition. In this light, it depicted them as the inheritors of the Roman culture, wherein it highlights their combativeness and burning desire to “free” Trieste from its Austro-Hungarian prison. An increase in auto-stereotypes among the Slovene poetry is noticeable after the First World War and is most likely a consequence of the socio-political changes in Trieste. The Slovene Triestine literature depicted the Slovenes (native culture) after the First World War as “slaves” and simultaneously as the determined defenders of their land, who are also fully aware of their powerlessness against the immoral aggressor and cruel master (Italian hetero-stereotype) and so often call upon the help of imaginary forces (mythical heroes and personified nature in the Trieste region) and God. The Italian Triestine literature mostly depicted the Slovenes before the First World War as an inferior people, often referred to by the word “ščavi”. After the First World War, the Slovenes are depicted merely as the residents of the former Austro-Hungarian Trieste, meaning they were part of the narrative surrounding Trieste, only in when the narrative was set before the First World War. In this case, pre-war Slovene stereotypes appear, also depicted as part of the literary myth of the “Habsburg” Trieste, namely as the folkloric characters from the surrounding countryside.
In the article I shall, on the example of the European poet and translator Alojz Gradnik (1882–1967), shed light on the impact of multiculturalism, multilingualism and ideological dichotomy on ...literary production and literary reception. Gradnik himself was in fact multicultural and multilingual, which was, however, unacceptable in his lifetime due to the specific social and political context. Gradnik thus gave up the multicultural and multilingual dimension. But due to this very element that he had denied himself, he was split within himself, which was reflected in his literary production; that is, in his poetry as well as in his translations of literary works. On the other hand, the image of Gradnik as a multicultural and multilingual author was exploited by the European totalitarianisms, therefore Gradnik as an author suffered a paradoxical fate.
The following article discusses the poetic output in Beneška Slovenia (Benečija) written for the Senjam Song Festival of Benečija. While considering the context of the region’s history and ...migrations, it focuses on the literary aspects of the festival, particularly on the analysis of the themes and the poetry writing technique. It builds on certain theoretical premises from literary imagology and psychoanalysis. The subject of the analysis are the lyrics from the period between 1971 and 2012, published in a three-volume collection featuring over 150 authors. The article notes the following most prevalent themes: issues of assimilation, migration, and the dying of villages in Benečija. Categorised by basic mood, they fall under one of two extremes: they are either cheerful and humorous in order to encourage and bring joy and hope to the Slovenes of Benečija; or they are pervaded with deep pain and concern over the situation in their region. The lyrics of the latter use a particular writing technique, which merely hints at the pressures of assimilation, conveying them through images and metaphors.
The study focuses on the relationship between minority literature and collective trauma. Drawing on the theory of trauma, psychoanalysis, memory studies, and literary representations of memory, we ...argue that the trauma resulting from the suppression of Slovene identity in Trieste during fascism is transmitted into literary discourse through two channels. Firstly, through the normative model of remembering the trauma in question – namely through literary works that can be described as fictions of memory. Secondly, we paid attention to the manifestations of trauma that (unconsciously) enter the narrative structure, regardless of the time and events, which are not necessarily tied to the period of fascism and to concrete events and places of memory. In this context, we illuminated the literary characters from the perspective of literary imagology (the I and the Other).
Članek přeučuje odnos med manjšinsko književnostjo in kolektivno travmo. Na podlagi teorije travme, psihoanalize, študij spomina in literarnih reprezentacij spomina avtorica ugotavlja, da se je ...travma, nastala zaradi zatiranja slovenske identitete v Trstu v času fašizma, v literarni diskurz prenesla na dva načina: skozi normativni model spomina na omenjeno travmo, natančneje skozi literarna dela, ki jih lahko opišemo kot fikcije spomina, poleg tega pa se avtorica osredotoča še na pojavnosti travme, ki (nezavedno) prodirajo v pripovedno strukturo ne glede na čas in dogodke, torej ne nujno povezane z obdobjem fašizma in konkretnimi dogodki in kraji spomina. V tem kontekstu članek osvetljuje literarne junake iz vidika literarne imagologije (Jaz in Drugi).
Slovenske pesnice so spoznavale Trst z okolico na razlicne nacine. Nekatere med njimi so bile rojene v Trstu ali v okolici in so se med prvo svetovno vojno ali po njej z druzino izselile, vecinoma v ...Kraljevino SHS. Ruza Lucija Petelin (1906-1974) se je denimo rodila v Trstu, kot hci trzaskega postarja, tam je obiskovala osnovno solo, med prvo svetovno vojno se je njena druzina umaknila na Dolenjsko.3 Ivo Peruzzi je v pesnicinem portretu iz tridesetih let, objavljenem v Zeni in domu, zapisal, da je to »nasa plaha trzaska cvetka, izkoreninjena iz svojega doma« (Peruzzi 1934: 358). Trzaska mladost pa se ne odstira le v njeni pesniski motiviki, zgodnje srecanje s trzaskim gledaliscem je namrec zaznamovalo tudi njeno studijsko in poklicno pot. Taksna izseljenska usoda je verjetno doletela Ivko Vasiljevo, saj se v svojih delih z zacetka dvajsetih let ze s pesemskimi naslovi obraca na trzaski prostor s hrepenenjem in domotozjem. Poleg Dore Gruden (1900-1988), sestre Iga Grudna, rojene v Nabrezini, je podobna usoda izseljenstva doletela nekoliko mlajso Gemo Hafner (1919-1996), rojeno v Trstu ob koncu prve svetovne vojne. Njen oce je bil iz Skofje Loke in je delal v Trstu kot zelezniski uradnik, mati pa je bila Istranka (France 1968: 198), druzina se je kmalu po njenem rojstvu izselila v Kraljevino SHS, kar pa ni pomenilo dokoncnega slovesa obmorskemu mestu, po koncu druge svetovne vojne se je pesnica za krajse obdobje vrnila v Trst po sluzbeni poti, kot uciteljica in novinarka. V prvi skupini je treba opozoriti na pesem K obletnici 13. julija, objavljeni leta 1921 v Jadranki. Avtorica, skrita za psevdonimom Rodoljubka, je bila najverjetneje Marica Marica Gregoric Stepancic, urednica tega mesecnika (Verginella 2007: 141). Predvidevamo, da se psevdonim nanasa na pesem Simona Jenka Rodoljubki, v kateri pesnik poziva dekle, naj postane rodoljubno: »Torej dekle, brz pokazi, / da te rodoljubje zene« (Simon Jenko 1986: 42). Nanasa se tudi na Jenkovo pesem Adrijansko morje, ki poje o slovanskem prebivalstvu ob Jadranski obali, ki ga je unicil »tuji mec« (Jenko 1986: 68). Jenkova pesem se zacenja z verzom »Buci, morje adrijansko!«, po katerem je poznana tudi odmevna uglasbitev Antona Hajdriha Jadransko morje, objavljena 1876 (Cigoj Krst ulovic 2010: 183). Pesnica je bila med prvimi, ki je upesnila pozig Narodnega doma in ga preoblikovala v simbol trpecega, a upornega slovenstva na Trzaskem. Besedilo izstopa po odlocnem, bojevitem tonu, upornem duhu, ki je v nasprotju s prevladujocimi elegicnimi toni ostalega sklopa slovenskih pesmi o Trstu medvojnega obdobja: »Kar je nase bilo, nase bodi, / b'li smo prvi ob Jadranski vodi! ... Nìkdar nas ne vnici sic! tuja sila!!« (Gregoric Stepancic 1921: 6-7). Pesnica obenem med prvimi uvaja v slovensko poezijo metaforicen postopek prikazovanja drugega5 (Italijanov) na Trzaskem: »Neronovi potomci«, »blaznobesni gospodarji novi«, »trimogi«, »tujski bes« in »tuja sila«. V njeni pesniski ustvarjalnosti izstopa motiv pristanisca (v pesmi Pristan), ki je sicer znacilen za pesnike (denimo pri Srecku Kosovelu, Stanu Kosovelu in Janku Samcu). Navedena pesem se neposredno ne sklicuje na trzaski prostor, kljub temu lahko nanj sklepamo iz pesemskega konteksta, saj je pesnica skoraj deset let prezivela v Trstu, na trzaski prostor pa se neposredno sklicujejo nekatere druge pesmi iz obravnavane zbirke. Poleg tega pesnica zacrta podobo mednarodnega pristanisca, kakrsno je bilo trzasko: »V pristan zaveten ladje iz daljav hite, / po dolgi voznji si zele pokoja; / zasidrane se lahko valove - / to je spomin objadrane zemlje« (Lamut 1935: 41). Pri tem lahko ugotovimo, da za razliko od pesnikov, ki so pristanisce povezovali s socialno stisko tamkajsnjih delavcev na eni strani in z navdusenostjo nad pristaniskimi stroji ter mogocnimi ladjami na drugi strani, pesnici sluzi podoba pristanisca kot izhodisce za osebno izpoved. Druga kitica pesmi namrec poveze uvodno podobo pristanisca s spomini lirskega subjekta v »dobi rozmarina«: »Ko zrem na varen, ladij poln pristan, / zablodi dusa v dobo rozmarina; / za hip pretrese silen jo orkan, / ki je divjal mi cez mladostno plan« (Lamut 1935: 41). »Rozmarin« vnasa v verze vonj in vzdusje mediteranskega prostora, »orkan« pa najverjetneje napoveduje prvo svetovno vojno, ki je pesnici onemogocila zivljenje v trzaskem prostoru. Veèino je zaradi iredentistiènih tezenj med prvo svetovno vojno doletela usoda pregnancev, denimo odmevno avtorico Ido Finzi (Haydée) (1867-1946), ki je leta 1935 rodnemu mestu posvetila pesnisko zbirko Rime di Trieste e d'una vita (Rime o Trstu in nekem zivljenju). V vojni vihri je prebegnila v Bologno in nato v Milan. Vnovièno pregnanstvo jo je doletelo v drugi svetovni vojni, tokrat zaradi judovskega porekla (Roberto Curci 1993: 135, 147). Zapornisko izkusnjo je dozivela skoraj dvajset let mlajsa Maria Gianni (1886-1943), uèiteljica italijansèine in nemsèine na liceju Secondo Liceo femminile di Trieste. Zaradi politiène pesmi Ho visto (Sem videla), ki je izrazala teznjo po italijanskem Trstu (Gianni 1919: 69), je bila namreè med prvo svetovno vojno v zaporih v Trstu in v Ljubljani, kar je leta 1919 upesnila v zbirki Alto tradimento (Veleizdaja) (Curci 1993: 234-235). Manj tragièna je bila izkusnja Nelle Dorie Cambon (1872-1948), hèere pesnice Elise Tagliapietra Cambon, ki je krajsi èas zivela zunaj Trsta, na Dunaju, kamor je odsla kot soproga politika Constantina Dorie, pregnanega iz Trsta v zadnjih letih pred razpadom Avstro-Ogrske (Curci 1993: 35, 39). Podobno se je Gilda Steinbach Amoroso, rojena 1877, med prvo svetovno vojno z druzino preselila v Gradec, umrla je v Milanu leta 1945 (Curci 1993: 366).
The paper presents the guidelines for teaching minority literature in the Trieste area, namely at the Slovenian and Italian high schools in Trieste. The teaching method proposed was created as a ...result of the need for new approaches in teaching literature due to the increasing heterogeneity of the population of high school students. The method takes into account the specific factors characteristic of the Triestine literary system, which affect the production and reception of literature in the Trieste area, that is the turbulent history of this territory during the 20th century and thus also the presence of various traumatic collective memories and postmemories present in this area. Considering these facts, the new teaching method is based on memory studies and literary imagology. In terms of the selection of literary texts it shifts from the nationally prescribed literature curriculum towards regional comparative literature.
Based on the case of Alojz Gradnik (1882–1967), this article deals with previously unresearched Slovene-Friulian-Italian literary connections that occurred during the last years of the ...Austro-Hungarian Empire and the first years after WWI along the border of today’s Slovenia (Goriška Brda) and Italy (the region of Friuli-Venezia Giulia: the Provinces of Gorizia, Udine and Trieste). The article highlights the parallels in motifs, themes, ideas and form, as well as the connections between Alojz Gradnik and select Friulian and Italian authors from this region. These links are the consequence of living in a joint cultural space and Gradnik’s Friulian family ties, especially with his cousin Maria Samer. The research uncovers certain differences in motifs, themes and ideas stemming from different national identities. Gradnik’s poetry is closest to Friulian lyrical poetry in their descriptions and experiences of a rural setting, predominantly the deep bond felt between the farming people and native land coupled with their terrible social strife. Gradnik and his contemporary Friulian authors also coincide in works with a nationalist theme – on the threshold of WWI both Slovene and Friulian authors infused their work with their personal vision for the future of their own community. They shared a negative literary depiction of the Austro-Hungarian Empire, and the wish to secure a better economic future, to protect and solidify their cultural heritage. Gradnik’s poetry and that of the contemporary Italian (irredentist) authors share a similar literary technique that depicted the national identities of today’s border between Italy and Slovenia; they were ideologically opposed however: while the Italians depicted the Italian view of the region, Gradnik highlights the presence of a Slavic element within the region.
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