Andrić in hibridna identiteta

Besedilo se ukvarja z analizo različnih konceptov hibridne identitete, ki jih v Andrićevem opusu reprezentirata literarni osebi zdravnik Cologna (Travniška hronika, Travniška kronika) in Omerpaša Latas (Omerpaša Latas). Analiza teh literarnih oseb kaže, da koncept hibridne identitete ni monoliten in enopomenski zaradi različnega odnosa teh literarnih oseb do ideje humanizma, institucije moči2 in figure konvertita

The \u27flâneur\u27 and the \u27citizen\u27 in the modern Slovenian short story

In the first part of the paper two crucial figures are established that symbolise the experience of urban existence. These are two hypothetical individuals: (1) an ordinary citizen of the megalopolis, whose description is based on the insights of Georg Simmel (Die Grosstädte und das Geistesleben) and (2) the flâneur, the model of the urban artist that is described in Benjamin\u27s unfinished book on Charles Baudelaire. The second part of the paper observes these figures in contemporary Slovene short narrative prose, especially in the short stories of Andrej Morovič, Mart Lenardič and Dušan Čater. We also strive to note the differences between the urban experience mediated by Simmel and Benjamin, and that found in contemporary Slovene short narrative prose.V prvem delu razprave vzpostavljamo dve ključni podobi, ki simbolizirata izkušnjo urbanega bivanja, dve namišljeni osebi, ki sta: 1. običajni prebivalec megalopolisa, katerega opis temelji na spoznanjih Georga Simmla (v besedilu Die Grosstädte und das Geistesleben (Velemesto in duhovno življenje)) in 2. flâneur (sprehajalec), model urbanega umetnika, ki ga opisuje W. Benjamin v nedokončanem delu o Charlesu Baudelairu. V drugem delu razprave opazujemo ti dve osebi v sodobni slovenski kratki pripovedni prozi, predvsem v kratkih zgodbah Andreja Moroviča, Marta Lenardiča in Dušana Čatra. Sledi poskus označitve razlike med urbano izkušnjo, ki jo posredujeta besedili Simmla in Benjamina, in urbano izkušnjo, kakršno najdemo v sodobni slovenski kratki pripovedni prozi

Riesman's and Pekić's understanding of other directed type

This work represents comparative analysis of other directed type, in one sociological text (Lonely crowd of David Riesman) and one literal text (an extract from The Golden fleece, Borislav Pekić). The connection between Riesman's interpretation and Pekić resonance of this type of character is based upon consumer's psychology and initial phase of depopulation which are sinister phenomenons of this social character. Difference between Pekić and Riesman is in degree of emphasising problem of discontinuity which appears together with withdrawal of inner directed type in favour to other directed type. Although he recognizes the appearance of discontinuity, Riesman does not pay much attention to this problem. Contrary to this, Pekić focuses himself exactly on this problem, questioning survival of community based on continuity, in the era in which the dominant role of directing other directed person is in hands of the others-friends/ media/cultural industry. The second important difference between Pekić and Riesman we find in Pekić's anxiety over the maintenance of democracy in era of other directed type's domination

IN QUEST FOR THE PEARL - TREATMENT OF HISTORY IN <em>HOW TO QUIET A VAMPIRE</em> BY BORISLAV PEKIĆ

Connections between Konrad Rutkovski, the hero of Pekić’s  How to Quiet a Vampire and Goethe’s Faust are revealed, among  other  things, in the criticism of science articulated by both  characters. In the case of Rutkovski the criticism of science is seen as the criticism of historiography. The basic reproach to historiography in Rutkovski’s opinion is that it never comes to philosophical meaning of historic event (“the pearl”), but rather to mere historical facts (the “sea shell”). A path to “ the pearl” of philosophical meaning of  historic event, or facts, leads Pekić to poetic polemic with Kiš. Kiš sees his prose as a correction of fictionalized historiography, thus taking role of historical reconstruction of historical facts   dissociating from the fiction. Contrary to this, Pekić dissociates his prose from historical   truth in order to focus it on the task of interpretation of meaning of historical facts, thus   turning    attention  towards  the  philosophical   truth of historical events, in other words what Rutkovski considers as “ the pearl”, the true historical knowledge

Strateška kultura i slike ratova iz poslednje dekade 20. veka u srpskoj prozi

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The change of the concept of poetry in Vasko Popa's later collections

The text starts from the fact that literary critics tend to disregard Vasko Popa's later poetry collections - Živo meso (1975), Kuća nasred druma (1975), and Rez (1981) - thus implicitly or explicitly denying their value. This paper aims to prove that in the given poetry collections there exists a change in the concept of poetry, rather than a mere poetic transformation inside the same concept of modern poetry. First trait of this new poetry concept is the repersonalization of the poetic act, which requires the introduction of the poetic subject (instead of the lyrical subject). The poetic subject of this kind of poetry, does not, however, have anything in common with the Romantic poetic subject, because the issue is not the separation of the subject from the collective of its contemporaries, as was the case in Romanticism. Quite the contrary. So as to understand this shift in the poetic concept, we used the term 'personality.' We defend the thesis that Popa, in his three poetry collections all published in the same year of 1975 (Vučija so, Živo meso, Kuća nasred druma) wanted to demonstrate three spheres of personality: mythical, personal, and collectively-political. In the same way, we tried to show that Popa's poems from the collection Živo meso ought to be read as elements of an experience that is made into a life story of personality, not merely as aesthetical objects independent of any kind of personalization