Based on Said’s understanding of literature’s worldliness, Hayot’s concept of literary worlds, and Cheah’s interpretation of worlding, the article – itself an example of “traveling theory” (Said) – ...proposes to treat world literature in a “secular” perspective, i.e., as an asymmetrical world-system that conditions a transcultural and translinguistic semiosis of literary worlds. The literary world-system, which arises from and is dependent on and responsive to the modern world-system of capitalism (see Warwick Research Collective) channels interliterary exchange in a way that is homologous to the economic inequality between the centers, which are capable of accumulating surplus value, and the peripheries, which enable the global dominance of the centers by providing the market, labor, and resources for the goods produced or distributed by the centers.
Članek predlaga obravnavo svetovne literature v »sekularni« perspektivi, tj. kot neenakopravni svetovni-sistem, ki pogojuje transkulturno in translingvistično semiozo literarnih svetov. Literarni ...svetovni-sistem, ki izhaja iz sodobnega svetovnega-sistema kapitalizma in se nanj odziva, kanalizira medliterarno izmenjavo na način, ki je homologen ekonomski neenakosti med centri, zmožnimi kopičenja presežne vrednosti, in obrobji, ki zagotavljajo trg, delovno silo in vire za blago, ki ga centri proizvajajo ali distribuirajo.
Breda Smolnikar's storytelling derives from life narratives, oral history, and collective and personal memories linked to the suburban socio-economic structure of the sub-Alpine Kamnik-Domzale Plain. ...However, her writing transcends this material by transforming it into a singular poetic fiction through which Smolnikar addresses a broader and socio-spatially unspecified audience. At the level of literary mediation, the emancipatory features of "feminine writing" in the structure and themes of Smolnikar's narratives coincide with the artist's insistence on the independence of self-publishing.
Ne glede na izrocila, obravnavana doslej, se je izraz »politicno gledalisce« kot promocijska oznaka nove spektakelske prakse, ki je z uprizarjanjem politicnih tem posegala v ideologijo obstojecega ...politicnega reda, razsiril po Sloveniji in Jugoslaviji v osemdesetih letih dvajsetega stoletja (Erjavec 2009). Z odprto dramsko formo, skupinsko igro, vecjezicno montazo dokumentov, pricevanj in literarne fikcije ter z navezavo na avantgardno celostno umetnino si je politicno gledalisce osemdesetih let prizadevalo s pretrgati z gledaliskimi konvencijami »socialisticne burzoazije« in prestopiti meje estetskega formalizma, znacilnega za »socialisticni modernizem« (suvakovic 2001: 22-26). Kljub temu pa drzi Erjavceva ugotovitev, da ti poskusi sodijo v tip postavantgardne umetnosti, znacilen tudi za socialisticni »drugi svet«: absorbirali so »vse znacilnosti klasicnih avantgard in neoavantgard razen usmerjenosti v prihodnost«, in to jim daje pecat postmodernizma (erJaVec 2009: 60). Kratkotrajni razmah omenjenega trenda, opazen tudi zunaj meja Jugoslavije, je bil spodbujen s casovnim sovpadom kriz na umetnostnem in politicnem polju. V umetnosti je kazalo, da so se neoavantgardna iskanja izcrpala skupaj s svojim osvoboditveno-utopicnim izvidnistvom po prihodnosti, zato so se pod deznikom »postmodernizma« tudi uprizoritvene panoge pri retrogradnih ideolosko-citatnih tavanjih po zgodovini pridruzile knjizevnosti, glasbi in likovni umetnosti. Na podrocju politike pa je po smrti voditelja Josipa Broza Tita - s svojo karizmaticno, avtoritarno vladavino je vsa povojna desetletja simbolno in dejansko vzdrzeval kohezijo sistema - nastopilo obdobje, v katerem je enostrankarska federacija s svojim samoupravnim socializmom vred zasla v hude pretrese in nazadnje se v vojne, zato je postala druzbeno relevantna tudi ume - tniska refleksija zgodovinskih temeljev, obstoja in moznosti sistema, ki se je znasel v krizi.3 Izraz »politicno gledalisce«, ki so ga v desetletju pred vojnami na ozemljih razpadle federacije uporabljali gledaliski oglasevalci, kritiki, prireditelji festivalov in teatrologi, se je nanasal predvsem na odmevne in dobro obiskane projekte reziserjev Dusana Jovanovica, Ljubise Ristica, Ljubise Georgievskega, Janeza Pipana in drugih, ki so se z zgodovinsko retrospektivo ter aluzijami na sedanjost in prihodnost lotevali vprasljive narativne identitete jugoslovanskega socializma. Troha navaja Jovanovicev spomin, da je bila tedaj »politicna drama najbolj komercialna vrsta odrske umetnosti« (troha 2010: 510). Pred pragom jugoslovanske krize so gledaliscniki, ki so v imenu avtenticnega revolucionarnega etosa nasprotovali komunisticni nomenklaturi, socialisticno dokso skusali prilagoditi potrebam in idealom porajajoce se civilne druzbe, v kateri so se ze kaoticno mesale emancipacijske in retrogradne teznje. Sodelovanje umetnikov iz razlicnih institucionalnih gledalisc, mednarodni projekti, kakrsen je bil KPGT (Kazaliste Pozoriste Gledalisce Teatar), ali festivali, kakrsen je bil subotiski Shakespeare-fest, naj bi pod konceptualnim okriljem politicnega gledalisca v Jugoslavijo, cedalje bolj razklano zaradi sovinisticnih in unitaristicnih tezenj, vnesli protistrup znotrajdrzavne umetniske internacionale, ki naj bi restavrirala pretrgane druzbene vezi, obenem pa dosezke tovrstnega gledalisca promovirala po svetu. Politicno gledalisce je do svojega pojma prislo v poznih dvajsetih letih dvajsetega stoletja, z modernisticnimi uprizoritvami Erwina Piscatorja (v berlinskih Volksbühne in Piscator-Bühne) in njegovo programsko knjigo Das politische Theater, natisnjeno leta 1929 (Piscator 1963; melchinger 2000: 415-16). Erwin Piscator v njej ne ponudi sklenjene teorije politicnega gledalisca, pac pa prek refleksij o lastnih gledaliskih iskanjih in dosezkih, ki jih montazno sopostavlja ob citate iz programskih listov, kritik in casopisnih clankov o njegovem delu, vendarle dovolj dolocno pokaze, kako razume novi gledaliski tok oziroma nasploh »nov pojem umetnosti: aktiven, bojevit, politicen« (PiScator 1963: 33). Kljucno za tok politicnega gledalisca, katerega zacetke prepoznava ze v naturalizmu s konca devetnajstega stoletja, je za Piscatorja akcijsko zaveznistvo med umetnisko in politicno avantgardo, to je med moderniziranim gledaliscem in proletariatom (prav tam: 41). V taksno zaveznistvo je po koncu prve svetovne vojne s svojim Proletarskim gledaliscem stopil tudi sam. Z drugimi besedami, gre mu za iskanje skupne poti umetnosti in politike, tj. za sinergijo med »eksperimentom« z gledaliskimi formami in njihovo politicno uporabo. Skupni cilj je izbojevati potrebni »druzbeni preobrat« (prav tam: 33, 129, 227, 238). Eksperimentalno, s sodobno odrsko tehniko, filmom in gledalisko arhitekturo podprto ustvarjanje novega spektakelskega jezika, ki prebija mescansko samozadostnost in omejenost umetnosti na zasebno sfero, Piscator poveze s politicnim prizadevanjem, da bi gledalisce z nagovarjanjem mnozic postalo vzgojno-izobrazevalno sredstvo, medij za kriticno osvescanje obcinstva o problemih sodobne stvarnosti (»Znanje - spoznanje - opredeljevanje«; Kenntnis - Erkenntnis - Bekenntnis; prav tam: 7). Gledalisce mora po njegovem postati tudi ustanova, ki opolnomoci proletariat za producenta in ne le konzumenta kulture.1 Znacilen primer njegovega politicnega gledalisca, ki je izoblikoval tudi enega od prototipov za postdramske forme slovenskega politicnega gledalisca (tako v dobi socializma kot v casu neoliberalnega kapitalizma), je Revue Roter Rummel, uprizorjena v predvolilno podporo Komunisticni partiji Nemcije leta 1924. Po Piscatorjevih besedah agitacijska »forma revije« sovpada »z razpadom mescanskih dramskih oblik« in »brez zadrzkov uporablja vse moznosti: glasbo, sanson, akrobatiko, hitro risanje, sport, projekcije, film, statistiko, igralske prizore, nagovore« (prav tam: 65).
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 authors of the volume ('From May ’68 to November ’89: Transformations of the World, Literature, and Theory') intervene in the study of the student movement’s “rehearsal” for a world revolution ...and its afterlife in the 1980s and 1990s by addressing two hitherto neglected aspects – the literary and the peripheral. They consider the roles played by the (semi-)periphery of the modern world-system, on the one hand, and modernist literature and theory, on the other, in transforming the existing world order in the fields of culture, politics, economy, and everyday life. How were critical theory and neo-avant-garde literature in the world, in Slovenia, and in Yugoslavia intertwined with the student protest that advocated the transformation of the capitalist world-system and its socialist counterpart? The monograph focuses on the processes that connected the events of 1968 and 1989 in the social, literary, and theoretical spheres in the sign of continuity and turning points, and at the same time defined our contemporary world.
Based on Said's understanding of literature's worldliness, Hayot's concept of literary worlds, and Cheah's interpretation of worlding, the article - itself an example of "traveling theory" (Said) - ...proposes to treat world literature in a "secular" perspective, i.e., as an asymmetrical world-system that conditions a transcultural and translinguistic semiosis of literary worlds. The literary world-system, which arises from and is dependent on and responsive to the modern world-system of capitalism (see Warwick Research Collective) channels interliterary exchange in a way that is homologous to the economic inequality between the centers, which are capable of accumulating surplus value, and the peripheries, which enable the global dominance of the centers by providing the market, labor, and resources for the goods produced or distributed by the centers.
