The consideration of space in Slovene literary scholarship is not completely new if we take into account biographical work in the context of a positivist tendency and interest in spatial facts in ...authors' biographies as they are linked to literary spaces in their works. Spatial setting is-in addition to temporal setting, narrator, literary characters, and literary events-a fundamental component of narration and therefore has always been a subject of narratological studies (e.g., by Marjan Dolgan, 1983, in Slovenia). However, it is also true that literary space has until now not been specifically and comprehensively problematized to this degree. Miran Hladnik's article, which opens the issue, reminds the reader of literary scholarship's persistent interest in literature's spatial dimension. Hladnik has treated space in his research on the rural tale and historical novel, but in this article he reaches further back, to what is probably the most all-encompassing, post-WW II project of Slovene literary scholarship, the Collected Works of Slovene Poets and Prose Writers (»Zbrana dela slovenskih pesnikov in pisateljev«). The critical notes in the collections' individual volumes contain numerous facts of literary space in the works of the Slovene classics. Hladnik devotes particular attention to Marja Borsnik, a literary historian who edited Anton Askerc and Ivan Tavcar's works. In the context of the project, a parallel goal of which is to analyze the mutual influences of physical geographical space and literarily constructed spaces, the author also touches on the relations between attested spaces and places authors lived and their literary representations. Hladnik posits that this is a sensible way of treating texts and authors that themselves highlight spatial aspects, and that-as Borsnik affirmed-it is necessary to be cautious in drawing connections between geographic realia and literarily depicted spaces, because there is a good deal of space between them for creative imagining. In order to test the hypotheses about literature and space mutually influencing one another, the project posed as one of its main goals the mapping the pre-1940 biographical data of literary historical relevance on the most important Slovene writers' lives. The actors of Slovene literary culture are writers, translators, book critics, editors, publishers, printers, librarians, and literary scholars who published the core part of their opuses and achieved prominence in the literary field before 1940.3 The points of their lives relate to the most varied locations, from birthplace to place of death, middle and high school or higher education, workplace, publication of literary works (the spatial distribution of periodicals), and book publications (publishing houses). Non-literary ties-writers' personal connections-and memorial events (memorial days, holidays, memorial pilgrimages, literary societies, and literary prizes) are also part of spatial biographical data, because they constitute writers' spatial networking. What is more, material memorials are reserved a completely independent and precisely detailed entry mask. Biographical and memorials' data collection, which took place under Urska Perenic's mentorship in the course Introduction to the study of Slovene Literature at Ljubljana University's Filozofska fakulteta in 2011-2012, and which, since summer 2012, a smaller group of dedicated students4 has continued, has already yielded partial results. These results, which can be verified after all 330 planned biographies are covered, were presented at the tenth Vilenica colloquium (Lipica 2012), in which many researchers from the project group took part. For the first time, Urska Perenic and Marijan Dovic presented the thematic maps of Slovene literature produced at the Anton Melik Institute of Geography (prepared by Jerneja Fridl). The maps covered approximately one-tenth of the biographies.5 This issue contains an article by Marijan Dovic on memorials of Slovene literary culture and their role in shaping and acquiring the cultural or national space. After introducing factors related to the appearance of the network of memorial landmarks, the author remarks critically on the partial results of their mapping. He notes that when examining memorial landmarks it is imprudent simply to observe their geographic distribution; it is necessary to take into account the temporal aspect of their appearance. In his opinion, a more unified insight into literary culture's process of memorial landmark network formation can only be achieved by including both canonical and less known actors in literary culture.
Spor med kontekstualisti in nekontekstualisti v nekaterih središčih univerzitetnega ukvarjanja s književnostjo nakazuje, da se v sodobnem metodološkem pluralizmu perpetuira antinomija med historizmom ...prvega in imanentizmom drugega vzorca vesedilnosti. Zdi se, da omogoča "obrobni" položaj slovenski literarni vedi odgovarjati na to zagato z vpeljevanjem teorije literarnega diskurza, teorije in zgodovine ustvarjalnega subjekta ali denomo intenzivnejše hermenevtične prakse. Na osnovi eksplicitnih navezav teh projektov na Bahtina članek pretresa aktualnost metode, s katero se je ruski mislec svojčas soočal s konstitutivno antinomijo med zunanjimi in notranjimi pristopi in tako prevpraševal sama izhodišča literarne vede.
Vo svojich literárnokritických začiatkoch polovicou 60. rokov minulého storočia Michal Harpáň bol orientovaný na srbský literárny kontext, predovšetkým na srbskú poéziu. Do slovenskej literatúry ...„vstúpil“ krátkymi lyrizovanými poviedkami a len neskôr, koncom 60. rokov minulého storočia začal písať aj literárnokritické texty v slovenčine. Zo začiaktu bol jeho literárnokritický výraz výrazne esejisticky koncipovaný, no po oboznámení sa so súdobou slovenskou literárnou vedou Harpáň svoje interpretácie literárnych textov uskutočnňuje pod výrazným vplyvom scientistických literárnovedných metodológií, predovšetkým štrukturalizmu. Tento obrat v literárnokritickej tvorbe Michala Harpáňa sa odohral začiatkom 70. rokov minulého storočia a mal ďalekosiahle následky nielen pre slovenskú vojvodinskú literárnu kritiku, ale i celkovú literatúru.
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