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Psihoanaliza i njezine sudbine: Radovi šestog Okruglog stola Odsjeka za filozofiju
Get PDFUzimajući za povod obljetnice dvaju najpoznatijih Freudovih djela, u napetosti između znanstveno-teorijskog optimizma Tumačenja snova i kulturno-povijesnog pesimizma Nelagode u kulturi, željeli bismo iznova ispitati istraživačke potencijale i/ili granice Freudova djela u njegovim različitim aspektima i primjenama na kritičko promišljanje suvremenih fenomena 21. stoljeća. Iako su ta Freudova djela već davno prerasla okvire i doseg pojedinačnih teorema psihoanalize i postala ishodištem kako mnogih znanstvenih doprinosa tokom 20. stoljeća tako i društvenih i kulturnih formi života, poput terapijskih praksâ i primjenâ psihoanalize u akademskim studijima, polazimo od pretpostavke da ta djela i dalje predstavljaju neiscrpljeno teorijsko uporište i metodološki pokretač bazičnih istraživanja od metapsiholoških i analitičko-praktičkih preko filozofskih i znanstveno-teorijskih do njihovih različitih interdisciplinarnih primjenâ na društvene fenomene, uključujući i preoblikovanja psihoanalitičkih teorema u bliskim izvanznanstvenim područjima psihoterapije te prikazivačkih i izvedbenih umjetnosti. (Iz Uvodne riječi.)Uzimajući za povod obljetnice dvaju najpoznatijih Freudovih djela, u napetosti između znanstveno-teorijskog optimizma Tumačenja snova i kulturno-povijesnog pesimizma Nelagode u kulturi, željeli bismo iznova ispitati istraživačke potencijale i/ili granice Freudova djela u njegovim različitim aspektima i primjenama na kritičko promišljanje suvremenih fenomena 21. stoljeća. Iako su ta Freudova djela već davno prerasla okvire i doseg pojedinačnih teorema psihoanalize i postala ishodištem kako mnogih znanstvenih doprinosa tokom 20. stoljeća tako i društvenih i kulturnih formi života, poput terapijskih praksâ i primjenâ psihoanalize u akademskim studijima, polazimo od pretpostavke da ta djela i dalje predstavljaju neiscrpljeno teorijsko uporište i metodološki pokretač bazičnih istraživanja od metapsiholoških i analitičko-praktičkih preko filozofskih i znanstveno-teorijskih do njihovih različitih interdisciplinarnih primjenâ na društvene fenomene, uključujući i preoblikovanja psihoanalitičkih teorema u bliskim izvanznanstvenim područjima psihoterapije te prikazivačkih i izvedbenih umjetnosti. (Iz Uvodne riječi.
Izleti u Drugo: mit, klasa i rod : (rasprave o ruskoj književnosti, filmu i popularnoj kulturi)
Get PDFThe book deals with various Russian and Soviet cultural texts (literature, film, and popular culture) from a comparative perspective and through the methodological frameworks of myth, class, and gender. These are observed through their own performativeness and symbolic languages, but also in their interdependence: almost all analyses show that class articulations are coded through gender power relations, while some claim that the mythological gradually transfigures the class and gender field of the Russian and (post-)Soviet literatures and cultures.
The book is divided into four parts: 1. Consumption, Class and Gender; 2. History, Memory and Trauma; 3. City, Resistance and Commodification; 4. Mother, Motherhood and Literature.
In the first part, I explore the meanings inscribed in the representation and articulation of consumer practices and materiality in general and the ways in which these representations contribute to our understanding of class and class relations in the context of Russian and Soviet literature and culture. The analysis of Tolstoy’s famous novel Anna Karenina (1873–1878), which depicts Russian aristocracy during the period of its severe crisis, shows that, while articulating and positioning herself/himself through the various forms of the Other and otherness (which, as the novel demonstrates, are to be understood as specific perspectives and not stable entities), an individual simultaneously also produces her/his own otherness – her/his own exposure, criticism and vulnerability. Furthermore, in the chapter about the film Conspiracy of the Doomed (Zagovor obrechennyh), the novels The Twelve Chairs (1928) and The Golden Calf (1931) by Il’f and Petrov, and advertising posters, I explored the precarious position of traditional gender roles as a mechanism of promotion and regulation of consumption in (early) Soviet socialism, which was a period marked by the NEP (New Economic Policy) and Stalin’s formation of a privileged class in the 1930s. Political and ideological treatment of certain consumer practices – a synthesis of abundance for some and “rational consumption” for others – required constant negotiation of the boundaries of the ideologically and morally acceptable. This is where gender roles, and particularly the role of women as consumers and of women as keepers of (symbolic) boundaries came to the forefront.
In the second part of the book, the complex relationship between history, memory and trauma are analyzed, where trauma is at the same time the Other of national histories, but also where the memories of the excluded, “voiceless” individuals unfold. In the comparative analysis of Karlo Štajner’s memoirs 7000 Days in Sibiria (1971) and Danilo Kiš’s A Tomb for Boris Davidovich (1976), I explore the paradigm of literary exchange and circulation in the text through the cultural transfer of Štajner’s memories in Kiš’s literary masterpiece. I observe this transfer as a diegetic expression of Kiš paying off his so-called “literary debt”, which includes the following: Kiš’s Tomb on the one hand canonizes the status of Štajner as an immediate witness of the Gulag, and on the other hand, Kiš expresses his position as a writer burdened with postmemory, as defined by Marianne Hirsch. The chapter about Soviet melodramas from the period of late Soviet socialism (Cranes are Flying, 1957, and Ballad of a Soldier, 1959) shows that both films, rooted in a specific metaphysics of time “out of joint” (J. Derrida), can be seen as an expression of the deconstruction of the optimistic myth of a “socialism with the human face” which announced (a bright) future. The films are also observed through their gendered “blind spots”: since war is perceived as an exclusively “male zone”, Cranes are Flying could not have had such unreserved support from the public and political elite as Ballad of a Soldier. As in Kiš’s Tomb, in the films Wings (1966) by L. Shepit’ko and The Thief (1997) by P. Chukhrai, the figure of the absent man/father (the lost object) is where the mythical and the traumatic simultaneously unfold. Through the complex theoretical frameworks of memory and postmemory, myth and trauma, and of the uncanny as the very core of traumatic recollection, the chapter analyzes complex relationship between history, memory and trauma, where the cruelty of war turns into the cruelty of a lie.
The third part of the book analyzes the ways in which the city produces the Other and otherness in literature and popular culture. This perspective opens up a series of insights relevant for both the local (Russian/Soviet) and the global context. The comparative analysis of Aksenov’s and Slamnig’s novels, both written in 1959, aims to answer the question to which extent the cultural contract between gender and the urban, which carries distinctly progressive and liberal meanings, reverberates through the novels’ poetics of gender. The chapter about the graffiti in Moscow and Saint Petersburg analyses what (post-)modern graffiti in these two Russian cities can say about the wall as the object of authority par excellence in the context of urban political economy through the dual nature of resistance and commodification of graffiti.
Departing from the image of women as “ahistorical bearers of children” (“ahistorijska rađalica”, B. Despot), i.e. as subjects that biologically, symbolically and culturally reproduce the nation (N. Yuval-Davis), the final part of the book analyzes the representation of motherhood by juxtaposing the mythological image of women in the role of mothers on the one hand, and the literary and artistic articulation of motherhood on the other. This opposition, exemplified through the forms of representation of motherhood in the popular Soviet journal “Rabotnitsa” and literary works of I. Grekova (1963), N. Baranskaia (1969) and L. Petrushevskaia (1992), shows that the intersection of the mythical and the literary is a place of deep inner tensions and conflicts. The novel Medea and Her Children (1996) by L. Ulitskaya, analyzed in the final chapter of the book, presents a fictional world in which gender differences are not mutually exclusive. Ulitskaya’s Medea serves as an alternative or, more precisely, a compromise subject: she is the “other” First, or, even more precisely, she is “above”, “on the other side” of the binary gender oppositions.
The title of the book is, of course, of an intertextual nature and refers to the canonical travelogue written by Miroslav Krleža. The following quotation from Krleža’s afterword to his Journey to Russia illustrates my reading of Russian and Soviet literature, film and popular culture: “During this journey, more than in the statistics, the author was interested in people, human relationships, developments, political movements of the masses, public lighting, the broad Russian spectrum of this Slavic continent. The author observed the Russian churches and the ungodly with a lyrical eye, listening to the song of the Russian wind and thinking about the past and about the cultural issues more than about the statistics.” (Krleža 1973: 299). These desires – to observe people and human relationships in the broad spectrum of the “Slavic continent” and the wide field of art and popular culture – shaped my analytical optics and motivated me to go on a journey, me, the other, a foreigner and an alien, to Russia as the Other, but also to the otherness of Russia – through her myths, gender and class relationships and tensions, to the places where they intersect, blend and evade articulation.The book deals with various Russian and Soviet cultural texts (literature, film, and popular culture) from a comparative perspective and through the methodological frameworks of myth, class, and gender. These are observed through their own performativeness and symbolic languages, but also in their interdependence: almost all analyses show that class articulations are coded through gender power relations, while some claim that the mythological gradually transfigures the class and gender field of the Russian and (post-)Soviet literatures and cultures.
The book is divided into four parts: 1. Consumption, Class and Gender; 2. History, Memory and Trauma; 3. City, Resistance and Commodification; 4. Mother, Motherhood and Literature.
In the first part, I explore the meanings inscribed in the representation and articulation of consumer practices and materiality in general and the ways in which these representations contribute to our understanding of class and class relations in the context of Russian and Soviet literature and culture. The analysis of Tolstoy’s famous novel Anna Karenina (1873–1878), which depicts Russian aristocracy during the period of its severe crisis, shows that, while articulating and positioning herself/himself through the various forms of the Other and otherness (which, as the novel demonstrates, are to be understood as specific perspectives and not stable entities), an individual simultaneously also produces her/his own otherness – her/his own exposure, criticism and vulnerability. Furthermore, in the chapter about the film Conspiracy of the Doomed (Zagovor obrechennyh), the novels The Twelve Chairs (1928) and The Golden Calf (1931) by Il’f and Petrov, and advertising posters, I explored the precarious position of traditional gender roles as a mechanism of promotion and regulation of consumption in (early) Soviet socialism, which was a period marked by the NEP (New Economic Policy) and Stalin’s formation of a privileged class in the 1930s. Political and ideological treatment of certain consumer practices – a synthesis of abundance for some and “rational consumption” for others – required constant negotiation of the boundaries of the ideologically and morally acceptable. This is where gender roles, and particularly the role of women as consumers and of women as keepers of (symbolic) boundaries came to the forefront.
In the second part of the book, the complex relationship between history, memory and trauma are analyzed, where trauma is at the same time the Other of national histories, but also where the memories of the excluded, “voiceless” individuals unfold. In the comparative analysis of Karlo Štajner’s memoirs 7000 Days in Sibiria (1971) and Danilo Kiš’s A Tomb for Boris Davidovich (1976), I explore the paradigm of literary exchange and circulation in the text through the cultural transfer of Štajner’s memories in Kiš’s literary masterpiece. I observe this transfer as a diegetic expression of Kiš paying off his so-called “literary debt”, which includes the following: Kiš’s Tomb on the one hand canonizes the status of Štajner as an immediate witness of the Gulag, and on the other hand, Kiš expresses his position as a writer burdened with postmemory, as defined by Marianne Hirsch. The chapter about Soviet melodramas from the period of late Soviet socialism (Cranes are Flying, 1957, and Ballad of a Soldier, 1959) shows that both films, rooted in a specific metaphysics of time “out of joint” (J. Derrida), can be seen as an expression of the deconstruction of the optimistic myth of a “socialism with the human face” which announced (a bright) future. The films are also observed through their gendered “blind spots”: since war is perceived as an exclusively “male zone”, Cranes are Flying could not have had such unreserved support from the public and political elite as Ballad of a Soldier. As in Kiš’s Tomb, in the films Wings (1966) by L. Shepit’ko and The Thief (1997) by P. Chukhrai, the figure of the absent man/father (the lost object) is where the mythical and the traumatic simultaneously unfold. Through the complex theoretical frameworks of memory and postmemory, myth and trauma, and of the uncanny as the very core of traumatic recollection, the chapter analyzes complex relationship between history, memory and trauma, where the cruelty of war turns into the cruelty of a lie.
The third part of the book analyzes the ways in which the city produces the Other and otherness in literature and popular culture. This perspective opens up a series of insights relevant for both the local (Russian/Soviet) and the global context. The comparative analysis of Aksenov’s and Slamnig’s novels, both written in 1959, aims to answer the question to which extent the cultural contract between gender and the urban, which carries distinctly progressive and liberal meanings, reverberates through the novels’ poetics of gender. The chapter about the graffiti in Moscow and Saint Petersburg analyses what (post-)modern graffiti in these two Russian cities can say about the wall as the object of authority par excellence in the context of urban political economy through the dual nature of resistance and commodification of graffiti.
Departing from the image of women as “ahistorical bearers of children” (“ahistorijska rađalica”, B. Despot), i.e. as subjects that biologically, symbolically and culturally reproduce the nation (N. Yuval-Davis), the final part of the book analyzes the representation of motherhood by juxtaposing the mythological image of women in the role of mothers on the one hand, and the literary and artistic articulation of motherhood on the other. This opposition, exemplified through the forms of representation of motherhood in the popular Soviet journal “Rabotnitsa” and literary works of I. Grekova (1963), N. Baranskaia (1969) and L. Petrushevskaia (1992), shows that the intersection of the mythical and the literary is a place of deep inner tensions and conflicts. The novel Medea and Her Children (1996) by L. Ulitskaya, analyzed in the final chapter of the book, presents a fictional world in which gender differences are not mutually exclusive. Ulitskaya’s Medea serves as an alternative or, more precisely, a compromise subject: she is the “other” First, or, even more precisely, she is “above”, “on the other side” of the binary gender oppositions.
The title of the book is, of course, of an intertextual nature and refers to the canonical travelogue written by Miroslav Krleža. The following quotation from Krleža’s afterword to his Journey to Russia illustrates my reading of Russian and Soviet literature, film and popular culture: “During this journey, more than in the statistics, the author was interested in people, human relationships, developments, political movements of the masses, public lighting, the broad Russian spectrum of this Slavic continent. The author observed the Russian churches and the ungodly with a lyrical eye, listening to the song of the Russian wind and thinking about the past and about the cultural issues more than about the statistics.” (Krleža 1973: 299). These desires – to observe people and human relationships in the broad spectrum of the “Slavic continent” and the wide field of art and popular culture – shaped my analytical optics and motivated me to go on a journey, me, the other, a foreigner and an alien, to Russia as the Other, but also to the otherness of Russia – through her myths, gender and class relationships and tensions, to the places where they intersect, blend and evade articulation
Historijska gramatika ukrajinskog jezika = Iсторична граматика української мови. 1
Get PDFU udžbeniku je kronološki predstavljen razvoj ukrajinskog jezika na fonološkoj razini. Kreće se od raspada praslavenskog jezika te se u deset poglavlja prate promjene na osnovi kojih je nastao ukrajinski jezik.
U početnom dijelu, definirajući procese raspada praslavenske zajednice autorice prate suvremene ukrajinističke kronologizacije. Sve fonološke promjene, osobina karakterističnih za ukrajinski jezik, no prisutnih i u govorima slavenskih plemena koja su se našla na teritoriju današnje Ukrajine, autorice su podijelile na nekoliko kronoloških skupina: općeslavenske, istočnoslavenske, staroukrajinske, ukrajinske. Ovisno o razini promjena, navode se i paralele s drugim slavenskim jezicima. To se prije svega tiče općeslavenske razine gdje autorice navode rezultate promjena u svakoj od slavenskih jezičnih skupina, no često ih prate i na primjeru promjena unutar dijalekata ukrajinskog jezika, tj. navode reflekse u pojedinim dijalektima.
Cilj je ovog udžbenika približiti studentima fonetske procese i promjene koje su stvorile suvremeni ukrajinski jezik onakvim kakav je on danas.
Knjiga je objavljena kao dio nakladničke cjeline Udžbenici Sveučilišta u Zagrebu = Manualia Universitatis studiorum Zagrabiensis
Slavenski jezici u usporedbi s hrvatskim I.
Get PDFKnjiga Slavenski jezici u usporedbi s hrvatskim I rezultat je dugogodišnjih komparativnih istraživanja slavenskih jezika, ponajprije zapadnoslavenskih i istočnoslavenskih - uvijek u usporedbi s hrvatskim.
Naša su se istraživanja odvijala u okviru četiriju slavističkih jezikoslovnih znanstvenoistraživačkih projekata Filozofskoga fakulteta u Zagrebu, koje je odobrilo i financijski potpomoglo Ministarstvo znanosti, obrazovanja i športa Republike Hrvatske. U nizu koji čine projekti Istraživanje zapadnoslavenskih jezika (1996.-2002.), Istraživanje istočnoslavenskih jezika (1996.-2002.) i Zapadnoslavenski jezici u usporedbi s hrvatskim (2002.-2006.), sadašnji projekt – pod nazivom Slavenski jezici u usporedbi s hrvatskim svjedoči o kontinuitetu naših komparativnih istraživanja...
Izbor tekstova za ovu publikaciju ograničili smo na područja pravopisnih, gramatičkih (fonoloških, morfoloških, sintaktičkih), semantičkih i leksikoloških pojava u suvremenim slavenskim jezicima, i to u okvirima klasične strukturno-funkcionalne lingvistike, kontaktne lingvistike i pragmalingvistike. Oslonjeni na suvremenu normativnu literaturu (koja kodificira konkretne pojave u pojedinim jezicima), naši se radovi temelje na suvremenim jezikoslovnim teorijama, prihvaćenim ponajprije u svjetskoj slavistici. S toga se gledišta kontekstualiziraju i analiziraju pojedina teorijska pitanja vezana uz opis i normativnu obradu hrvatskoga jezika.
Knjiga Slavenski jezici u usporedbi s hrvatskim I je dakle zbirka radova istraživača i suradnika na spomenutim slavističkim projektima – Milenka Popovića i Rajise I. Trostinske, Dubravke Sesar, Nede Pintarić, Branke Tafre, Marije Turk, Ivane Vidović Bolt, Barbare Kryżan-Stanojević, Eve Tibenske, Oksane Timko Đitko, Siniše Habijanca, Petra Vukovića, Tetyane Fuderer i Slavomire Ribarove.
Radovi su razvrstani u četiri tematske skupine: I. Gramatičke i pravopisne usporedbe, II. Iz kontaktne lingvistike, III. Leksikologija i frazeologija i IV. Pragmalingvističke usporedbe. Knjiga obuhvaća 20 radova, uz ostalo i radove vanjskih suradnika (Marije Turk, Eve Tibenske). Popis literature kojom su se autori služili nalazi se na kraju knjige i donosi 437 naslova.
(iz Predgovora / D. Sesar)Knjiga Slavenski jezici u usporedbi s hrvatskim I. rezultat je dugogodišnjih komparativnih istraživanja slavenskih jezika, ponajprije zapadnoslavenskih i istočnoslavenskih - uvijek u usporedbi s hrvatskim.
Naša su se istraživanja odvijala u okviru četiriju slavističkih jezikoslovnih znanstvenoistraživačkih projekata Filozofskoga fakulteta u Zagrebu, koje je odobrilo i financijski potpomoglo Ministarstvo znanosti, obrazovanja i športa Republike Hrvatske. U nizu koji čine projekti Istraživanje zapadnoslavenskih jezika (1996.-2002.), Istraživanje istočnoslavenskih jezika (1996.-2002.) i Zapadnoslavenski jezici u usporedbi s hrvatskim (2002.-2006.), sadašnji projekt – pod nazivom Slavenski jezici u usporedbi s hrvatskim svjedoči o kontinuitetu naših komparativnih istraživanja...
Izbor tekstova za ovu publikaciju ograničili smo na područja pravopisnih, gramatičkih (fonoloških, morfoloških, sintaktičkih), semantičkih i leksikoloških pojava u suvremenim slavenskim jezicima, i to u okvirima klasične strukturno-funkcionalne lingvistike, kontaktne lingvistike i pragmalingvistike. Oslonjeni na suvremenu normativnu literaturu (koja kodificira konkretne pojave u pojedinim jezicima), naši se radovi temelje na suvremenim jezikoslovnim teorijama, prihvaćenim ponajprije u svjetskoj slavistici. S toga se gledišta kontekstualiziraju i analiziraju pojedina teorijska pitanja vezana uz opis i normativnu obradu hrvatskoga jezika.
Knjiga Slavenski jezici u usporedbi s hrvatskim I. je dakle zbirka radova istraživača i suradnika na spomenutim slavističkim projektima – Milenka Popovića i Rajise I. Trostinske, Dubravke Sesar, Nede Pintarić, Branke Tafre, Marije Turk, Ivane Vidović Bolt, Barbare Kryżan-Stanojević, Eve Tibenske, Oksane Timko Đitko, Siniše Habijanca, Petra Vukovića, Tetyane Fuderer i Slavomire Ribarove.
Radovi su razvrstani u četiri tematske skupine: I. Gramatičke i pravopisne usporedbe, II. Iz kontaktne lingvistike, III. Leksikologija i frazeologija i IV. Pragmalingvističke usporedbe. Knjiga obuhvaća 20 radova, uz ostalo i radove vanjskih suradnika (Marije Turk, Eve Tibenske). Popis literature kojom su se autori služili nalazi se na kraju knjige i donosi 437 naslova.
(iz Predgovora / D. Sesar
Hrvati, hrvatske zemlje i Bizant
Get PDFOdnosi Bizanta i Hrvata održavali su se dugo i bili su vrlo slojeviti, jer je Carstvo na hrvatskom prostoru bilo na razne načine prisutno gotovo isto toliko koliko je i trajalo: dakle, gotovo punih 12 stoljeća. Tijekom tih stoljeća, bez obzira što su osnovne društvene i ideološke postavke Bizanta ostajale u načelu nepromijenjene (kršćanstvo kao vjera, helenistička kultura i rimski pravni sustav), ipak se mnogo toga promijenilo i u Carstvu i na hrvatskom prostoru. Tako su se i utjecaji Bizanta na hrvatske zemlje i na Hrvate na jedan način očitovali u 6., a na drugi u 12. stoljeću. Očigledno su u tim višestoljetnim doticajima izmjenjivala razdoblja konjunktura i kriza, odnosno vremena intenzivnih događanja i kontakata, i vremena kada tih kontakata gotovo da nije ni bilo
Izleti u Drugo: mit, klasa i rod : (rasprave o ruskoj književnosti, filmu i popularnoj kulturi)
Get PDFThe book deals with various Russian and Soviet cultural texts (literature, film, and popular culture) from a comparative perspective and through the methodological frameworks of myth, class, and gender. These are observed through their own performativeness and symbolic languages, but also in their interdependence: almost all analyses show that class articulations are coded through gender power relations, while some claim that the mythological gradually transfigures the class and gender field of the Russian and (post-)Soviet literatures and cultures.
The book is divided into four parts: 1. Consumption, Class and Gender; 2. History, Memory and Trauma; 3. City, Resistance and Commodification; 4. Mother, Motherhood and Literature.
In the first part, I explore the meanings inscribed in the representation and articulation of consumer practices and materiality in general and the ways in which these representations contribute to our understanding of class and class relations in the context of Russian and Soviet literature and culture. The analysis of Tolstoy’s famous novel Anna Karenina (1873–1878), which depicts Russian aristocracy during the period of its severe crisis, shows that, while articulating and positioning herself/himself through the various forms of the Other and otherness (which, as the novel demonstrates, are to be understood as specific perspectives and not stable entities), an individual simultaneously also produces her/his own otherness – her/his own exposure, criticism and vulnerability. Furthermore, in the chapter about the film Conspiracy of the Doomed (Zagovor obrechennyh), the novels The Twelve Chairs (1928) and The Golden Calf (1931) by Il’f and Petrov, and advertising posters, I explored the precarious position of traditional gender roles as a mechanism of promotion and regulation of consumption in (early) Soviet socialism, which was a period marked by the NEP (New Economic Policy) and Stalin’s formation of a privileged class in the 1930s. Political and ideological treatment of certain consumer practices – a synthesis of abundance for some and “rational consumption” for others – required constant negotiation of the boundaries of the ideologically and morally acceptable. This is where gender roles, and particularly the role of women as consumers and of women as keepers of (symbolic) boundaries came to the forefront.
In the second part of the book, the complex relationship between history, memory and trauma are analyzed, where trauma is at the same time the Other of national histories, but also where the memories of the excluded, “voiceless” individuals unfold. In the comparative analysis of Karlo Štajner’s memoirs 7000 Days in Sibiria (1971) and Danilo Kiš’s A Tomb for Boris Davidovich (1976), I explore the paradigm of literary exchange and circulation in the text through the cultural transfer of Štajner’s memories in Kiš’s literary masterpiece. I observe this transfer as a diegetic expression of Kiš paying off his so-called “literary debt”, which includes the following: Kiš’s Tomb on the one hand canonizes the status of Štajner as an immediate witness of the Gulag, and on the other hand, Kiš expresses his position as a writer burdened with postmemory, as defined by Marianne Hirsch. The chapter about Soviet melodramas from the period of late Soviet socialism (Cranes are Flying, 1957, and Ballad of a Soldier, 1959) shows that both films, rooted in a specific metaphysics of time “out of joint” (J. Derrida), can be seen as an expression of the deconstruction of the optimistic myth of a “socialism with the human face” which announced (a bright) future. The films are also observed through their gendered “blind spots”: since war is perceived as an exclusively “male zone”, Cranes are Flying could not have had such unreserved support from the public and political elite as Ballad of a Soldier. As in Kiš’s Tomb, in the films Wings (1966) by L. Shepit’ko and The Thief (1997) by P. Chukhrai, the figure of the absent man/father (the lost object) is where the mythical and the traumatic simultaneously unfold. Through the complex theoretical frameworks of memory and postmemory, myth and trauma, and of the uncanny as the very core of traumatic recollection, the chapter analyzes complex relationship between history, memory and trauma, where the cruelty of war turns into the cruelty of a lie.
The third part of the book analyzes the ways in which the city produces the Other and otherness in literature and popular culture. This perspective opens up a series of insights relevant for both the local (Russian/Soviet) and the global context. The comparative analysis of Aksenov’s and Slamnig’s novels, both written in 1959, aims to answer the question to which extent the cultural contract between gender and the urban, which carries distinctly progressive and liberal meanings, reverberates through the novels’ poetics of gender. The chapter about the graffiti in Moscow and Saint Petersburg analyses what (post-)modern graffiti in these two Russian cities can say about the wall as the object of authority par excellence in the context of urban political economy through the dual nature of resistance and commodification of graffiti.
Departing from the image of women as “ahistorical bearers of children” (“ahistorijska rađalica”, B. Despot), i.e. as subjects that biologically, symbolically and culturally reproduce the nation (N. Yuval-Davis), the final part of the book analyzes the representation of motherhood by juxtaposing the mythological image of women in the role of mothers on the one hand, and the literary and artistic articulation of motherhood on the other. This opposition, exemplified through the forms of representation of motherhood in the popular Soviet journal “Rabotnitsa” and literary works of I. Grekova (1963), N. Baranskaia (1969) and L. Petrushevskaia (1992), shows that the intersection of the mythical and the literary is a place of deep inner tensions and conflicts. The novel Medea and Her Children (1996) by L. Ulitskaya, analyzed in the final chapter of the book, presents a fictional world in which gender differences are not mutually exclusive. Ulitskaya’s Medea serves as an alternative or, more precisely, a compromise subject: she is the “other” First, or, even more precisely, she is “above”, “on the other side” of the binary gender oppositions.
The title of the book is, of course, of an intertextual nature and refers to the canonical travelogue written by Miroslav Krleža. The following quotation from Krleža’s afterword to his Journey to Russia illustrates my reading of Russian and Soviet literature, film and popular culture: “During this journey, more than in the statistics, the author was interested in people, human relationships, developments, political movements of the masses, public lighting, the broad Russian spectrum of this Slavic continent. The author observed the Russian churches and the ungodly with a lyrical eye, listening to the song of the Russian wind and thinking about the past and about the cultural issues more than about the statistics.” (Krleža 1973: 299). These desires – to observe people and human relationships in the broad spectrum of the “Slavic continent” and the wide field of art and popular culture – shaped my analytical optics and motivated me to go on a journey, me, the other, a foreigner and an alien, to Russia as the Other, but also to the otherness of Russia – through her myths, gender and class relationships and tensions, to the places where they intersect, blend and evade articulation.The book deals with various Russian and Soviet cultural texts (literature, film, and popular culture) from a comparative perspective and through the methodological frameworks of myth, class, and gender. These are observed through their own performativeness and symbolic languages, but also in their interdependence: almost all analyses show that class articulations are coded through gender power relations, while some claim that the mythological gradually transfigures the class and gender field of the Russian and (post-)Soviet literatures and cultures.
The book is divided into four parts: 1. Consumption, Class and Gender; 2. History, Memory and Trauma; 3. City, Resistance and Commodification; 4. Mother, Motherhood and Literature.
In the first part, I explore the meanings inscribed in the representation and articulation of consumer practices and materiality in general and the ways in which these representations contribute to our understanding of class and class relations in the context of Russian and Soviet literature and culture. The analysis of Tolstoy’s famous novel Anna Karenina (1873–1878), which depicts Russian aristocracy during the period of its severe crisis, shows that, while articulating and positioning herself/himself through the various forms of the Other and otherness (which, as the novel demonstrates, are to be understood as specific perspectives and not stable entities), an individual simultaneously also produces her/his own otherness – her/his own exposure, criticism and vulnerability. Furthermore, in the chapter about the film Conspiracy of the Doomed (Zagovor obrechennyh), the novels The Twelve Chairs (1928) and The Golden Calf (1931) by Il’f and Petrov, and advertising posters, I explored the precarious position of traditional gender roles as a mechanism of promotion and regulation of consumption in (early) Soviet socialism, which was a period marked by the NEP (New Economic Policy) and Stalin’s formation of a privileged class in the 1930s. Political and ideological treatment of certain consumer practices – a synthesis of abundance for some and “rational consumption” for others – required constant negotiation of the boundaries of the ideologically and morally acceptable. This is where gender roles, and particularly the role of women as consumers and of women as keepers of (symbolic) boundaries came to the forefront.
In the second part of the book, the complex relationship between history, memory and trauma are analyzed, where trauma is at the same time the Other of national histories, but also where the memories of the excluded, “voiceless” individuals unfold. In the comparative analysis of Karlo Štajner’s memoirs 7000 Days in Sibiria (1971) and Danilo Kiš’s A Tomb for Boris Davidovich (1976), I explore the paradigm of literary exchange and circulation in the text through the cultural transfer of Štajner’s memories in Kiš’s literary masterpiece. I observe this transfer as a diegetic expression of Kiš paying off his so-called “literary debt”, which includes the following: Kiš’s Tomb on the one hand canonizes the status of Štajner as an immediate witness of the Gulag, and on the other hand, Kiš expresses his position as a writer burdened with postmemory, as defined by Marianne Hirsch. The chapter about Soviet melodramas from the period of late Soviet socialism (Cranes are Flying, 1957, and Ballad of a Soldier, 1959) shows that both films, rooted in a specific metaphysics of time “out of joint” (J. Derrida), can be seen as an expression of the deconstruction of the optimistic myth of a “socialism with the human face” which announced (a bright) future. The films are also observed through their gendered “blind spots”: since war is perceived as an exclusively “male zone”, Cranes are Flying could not have had such unreserved support from the public and political elite as Ballad of a Soldier. As in Kiš’s Tomb, in the films Wings (1966) by L. Shepit’ko and The Thief (1997) by P. Chukhrai, the figure of the absent man/father (the lost object) is where the mythical and the traumatic simultaneously unfold. Through the complex theoretical frameworks of memory and postmemory, myth and trauma, and of the uncanny as the very core of traumatic recollection, the chapter analyzes complex relationship between history, memory and trauma, where the cruelty of war turns into the cruelty of a lie.
The third part of the book analyzes the ways in which the city produces the Other and otherness in literature and popular culture. This perspective opens up a series of insights relevant for both the local (Russian/Soviet) and the global context. The comparative analysis of Aksenov’s and Slamnig’s novels, both written in 1959, aims to answer the question to which extent the cultural contract between gender and the urban, which carries distinctly progressive and liberal meanings, reverberates through the novels’ poetics of gender. The chapter about the graffiti in Moscow and Saint Petersburg analyses what (post-)modern graffiti in these two Russian cities can say about the wall as the object of authority par excellence in the context of urban political economy through the dual nature of resistance and commodification of graffiti.
Departing from the image of women as “ahistorical bearers of children” (“ahistorijska rađalica”, B. Despot), i.e. as subjects that biologically, symbolically and culturally reproduce the nation (N. Yuval-Davis), the final part of the book analyzes the representation of motherhood by juxtaposing the mythological image of women in the role of mothers on the one hand, and the literary and artistic articulation of motherhood on the other. This opposition, exemplified through the forms of representation of motherhood in the popular Soviet journal “Rabotnitsa” and literary works of I. Grekova (1963), N. Baranskaia (1969) and L. Petrushevskaia (1992), shows that the intersection of the mythical and the literary is a place of deep inner tensions and conflicts. The novel Medea and Her Children (1996) by L. Ulitskaya, analyzed in the final chapter of the book, presents a fictional world in which gender differences are not mutually exclusive. Ulitskaya’s Medea serves as an alternative or, more precisely, a compromise subject: she is the “other” First, or, even more precisely, she is “above”, “on the other side” of the binary gender oppositions.
The title of the book is, of course, of an intertextual nature and refers to the canonical travelogue written by Miroslav Krleža. The following quotation from Krleža’s afterword to his Journey to Russia illustrates my reading of Russian and Soviet literature, film and popular culture: “During this journey, more than in the statistics, the author was interested in people, human relationships, developments, political movements of the masses, public lighting, the broad Russian spectrum of this Slavic continent. The author observed the Russian churches and the ungodly with a lyrical eye, listening to the song of the Russian wind and thinking about the past and about the cultural issues more than about the statistics.” (Krleža 1973: 299). These desires – to observe people and human relationships in the broad spectrum of the “Slavic continent” and the wide field of art and popular culture – shaped my analytical optics and motivated me to go on a journey, me, the other, a foreigner and an alien, to Russia as the Other, but also to the otherness of Russia – through her myths, gender and class relationships and tensions, to the places where they intersect, blend and evade articulation
Georgiana: rasprave i ogledi o đurđevečkom govoru i hrvatskokajkavskoj književnosti
No full textU prvih pet poglavlja obrađuju se različiti lingvistički aspekti đurđevečkoga govora: toponim Đurđevec, komunikacijski obrasci u đurđevečkom, hrvatsko-njemački dodir u đurđevečkoj Podravini, onomaziologija đurđevečkih germanizama te primjena kajkavsko-štokavske dvonarječnosti u nastavi njemačkoga u Đurđevcu. Šesto poglavlje sadrži sročiteljevu jezičnu biografiju. Pet posljednjih poglavlja sadrži književnokritičke eseje o književnicima na kajkavskom narječju: A. Pogačiću, Ž. Kovačiću, V. Miholeku, A. Lenhard Antolin i Đ. Tomerlinu-Picoku.Za dio knjige posvećen jezikoslovnim aspektima treba napomenuti da u mnogim svojim elementima tematizira aspekte hrvatsko-njemačkoga jezičnoga dodira, što opravdava nastanak knjige u sklopu projekta "Hrvatsko-njemački jezični dodiri". Poglavlja koja obuhvaćaju književne teme pisana su đurđevečkim govorom kajkavskoga narječja.U prvih pet poglavlja obrađuju se različiti lingvistički aspekti đurđevečkoga govora: toponim Đurđevec, komunikacijski obrasci u đurđevečkom, hrvatsko-njemački dodir u đurđevečkoj Podravini, onomaziologija đurđevečkih germanizama te primjena kajkavsko-štokavske dvonarječnosti u nastavi njemačkoga u Đurđevcu. Šesto poglavlje sadrži sročiteljevu jezičnu biografiju. Pet posljednjih poglavlja sadrži književnokritičke eseje o književnicima na kajkavskom narječju: A. Pogačiću, Ž. Kovačiću, V. Miholeku, A. Lenhard Antolin i Đ. Tomerlinu-Picoku.Za dio knjige posvećen jezikoslovnim aspektima treba napomenuti da u mnogim svojim elementima tematizira aspekte hrvatsko-njemačkoga jezičnoga dodira, što opravdava nastanak knjige u sklopu projekta "Hrvatsko-njemački jezični dodiri". Poglavlja koja obuhvaćaju književne teme pisana su đurđevečkim govorom kajkavskoga narječja
Germanizmi u govorima đurđevečke Podravine
Get PDFRad je podijeljen u sedam cjelina. U prvom poglavlju predstavljeni su osnovni pojmovi dodirnoga jezikoslovlja i istraživanja posuđenica. U drugom poglavlju obrađen je sociolingvistički okvir njemačko-hrvatskoga jezičnoga dodira u đurđevečkoj Podravini. Treće poglavlje sadrži opis metodologije istraživanja, dok četvrto obuhvaća više od 900 članaka o pojedinim germanizmima razvrstanih prema njemačkim leksičkim modelima. U petom su poglavlju popisani germanizmi prema obliku hrvatske replike, a u šestom se nalaze popisi dijafonskih parova. U sedmom poglavlju prikazani su rezultati istraživanja germanizama u tiskanim tekstovima na govorima đurđevečke PodravineRad je podijeljen u sedam cjelina. U prvom poglavlju predstavljeni su osnovni pojmovi dodirnoga jezikoslovlja i istraživanja posuđenica. U drugom poglavlju obrađen je sociolingvistički okvir njemačko-hrvatskoga jezičnoga dodira u đurđevečkoj Podravini. Treće poglavlje sadrži opis metodologije istraživanja, dok četvrto obuhvaća više od 900 članaka o pojedinim germanizmima razvrstanih prema njemačkim leksičkim modelima. U petom su poglavlju popisani germanizmi prema obliku hrvatske replike, a u šestom se nalaze popisi dijafonskih parova. U sedmom poglavlju prikazani su rezultati istraživanja germanizama u tiskanim tekstovima na govorima đurđevečke Podravin
Interdisciplinary Linguistic and Psychiatric Research on Language Disorders
Get PDFInterdisciplinary Linguistic and Psychiatric Research on Language Disorders is a collection of scientific papers presented at the International Scientific Workshop on Clinical Linguistics, held on 20 November 2018 at the Education Centre of the University Psychiatric Hospital Vrapče.The Erdeljac & Sekulić Sović research group in clinical linguistics, based at the Department of Linguistics, Faculty of Humanities and Social Sciences, University of Zagreb, in collaboration with psychiatrists from the Department of Biological Psychiatry and Psychogeriatrics and the Department of Diagnostics and Intensive Care, both at the University Psychiatric Hospital Vrapče, present a unique example of an academic publication designed to spotlight ongoing research on semantic processing in individuals diagnosed with psychosis spectrum disorders who are native speakers of Croatian.A further value of this book lies in the co-authors’ contributions, written by specialists in clinical linguistics and psychiatry to expand the focus of research in clinical linguistics to other domains of language disorders while showcasing the research being undertaken at prominent institutions such as University College London, the University of Cologne, Johannes Gutenberg University Mainz, Philipps University Marburg, the University of Belgrade, the University of Novi Sad, and Massachusetts Institute of Technology.Jana Willer GoldUniversity College LondonEditor-in-chief
Objavljivanje ove knjige potpomognuto je sredstvima projekta Clinical linguistics: Psycholinguistic parameters in lexical-semantic processingin patients with schizophrenia i sredstvima Klinike za psihijatriju Vrapče.Interdisciplinary Linguistic and Psychiatric Research on Language Disorders is a collection of scientific papers presented at the International Scientific Workshop on Clinical Linguistics, held on 20 November 2018 at the Education Centre of the University Psychiatric Hospital Vrapče.The Erdeljac & Sekulić Sović research group in clinical linguistics, based at the Department of Linguistics, Faculty of Humanities and Social Sciences, University of Zagreb, in collaboration with psychiatrists from the Department of Biological Psychiatry and Psychogeriatrics and the Department of Diagnostics and Intensive Care, both at the University Psychiatric Hospital Vrapče, present a unique example of an academic publication designed to spotlight ongoing research on semantic processing in individuals diagnosed with psychosis spectrum disorders who are native speakers of Croatian.A further value of this book lies in the co-authors’ contributions, written by specialists in clinical linguistics and psychiatry to expand the focus of research in clinical linguistics to other domains of language disorders while showcasing the research being undertaken at prominent institutions such as University College London, the University of Cologne, Johannes Gutenberg University Mainz, Philipps University Marburg, the University of Belgrade, the University of Novi Sad, and Massachusetts Institute of Technology.Jana Willer GoldUniversity College LondonEditor-in-chief
Objavljivanje ove knjige potpomognuto je sredstvima projekta Clinical linguistics: Psycholinguistic parameters in lexical-semantic processingin patients with schizophrenia i sredstvima Klinike za psihijatriju Vrapče
Spomenici otoka Lopuda od antike do srednjeg vijeka
Get PDFPrvi dio je uvod autorice Maje Zeman (Elafitsko otočje u antici i kasnoj antici) koji ima za cilj osvijetliti ulogu i funkcioniranje Lopuda (donekle i ostalih Elafitskih otoka) u klasičnom rimskom i kasnoantičkom razdoblju na temelju dostupnih pisanih i materijalnih izvora. Dajući pregled dosadašnje literature i materijala, autorica iznosi i nekoliko novih argumentiranih teza, među kojima, naprimjer, onu o Elafitima kao potencijalnom posjedu rimske države u razdoblju Carstva. Drugi dio, autorice Ivane Tomas (Elafitsko otočje u srednjem vijeku) okosnica je knjige, koji nakon iznošenja dosadašnje literature i kulturnopovijesnoga uvoda (u kojemu se, primjerice, argumentirano priklanja stajalištu Josipa Lučića kako je Dubrovnik vrlo rano, već od ranog srednjeg vijeka bio u posjedu Elafita) donosi sustavan pregled spomenika Lopuda iz razdoblja srednjega vijeka, ponegdje s posve novim pogledima na neke spomenike i probleme. Početke srednjovjekovne graditeljske i klesarsko-kiparske aktivnosti na Lopudu autorica smješta na sam kraj 8. i početak 9. stoljeća te ih povezuje sa srodnim rješenjima iz Dubrovnika i Kotora. To, između ostaloga, svjedoči o snažnoj vezanosti Grada i njegove okolice, ali i o međusobnoj povezanosti Dubrovnika i ostalih istočnojadranskih središta Bizantske Dalmacije. Sljedeću fazu graditeljske i prateće klesarsko-kiparske djelatnosti autorica smješta gotovo stoljeće kasnije, u prvu polovicu, odnosno sredinu 10. stoljeća, nalazeći čvrste analogije u oblikovanju dijelova liturgijske opreme (mahom oltarnih ograda) u Dubrovniku, Stonu i na ostalim Elafitskim otocima. Tu drugu, ili zrelu predromaničku fazu izgradnje i obnove dovodi se u vezu s pojačanim intenzitetom graditeljskih aktivnosti na širem prostoru, s time da se takva pretpostavka argumentira širokim i detaljnim analizama oblikovnih i tipoloških značajki kamene skulpture. Sljedeću, treću značajnu graditeljsku i klesarsko-kiparsku aktivnost na Elafitskim otocima autorica smješta od kraja 11. do sredine 12. stoljeća, u razdoblju koje se okvirno, u skladu s općim stilskim promjenama na južnodalmatinskome području, može nazvati razdobljem rane romanike. Nakon osvrta na graditeljske komponente crkava, slijedi širi pogled na njihovu klesarsko-kiparsku opremu, kao i na vrijedne zidne oslike koji su djelomično sačuvani u nekima od njih. Zahvaljujući upravo analogijama sa zidnim slikama sačuvanima i otkrivenima u staroj dubrovačkoj katedrali te činjenici kako se u kasnjim povijesnim izvorima upravo crkve sa zidnim oslicima na Koločepu i Šipanu spominju kao kanonički patrimonij, Ivana Tomas uvjerljivo osnažuje svoju pretpostavku o oslikanim elafitskim crkvama tzv. južnodalmatinskoga kupolnog tipa kao dijelu posjeda dubrovačkih kanonika. U posljednjemu dijelu, pisanome kao zasebno poglavlje, izložena je cjelovita i temeljita analizu pet srednjovjekovnih crkava na otoku (Sv. Ivan Krstitelj, Sv. Nikola (Grčki), Sv. Ilija, Sv. Petar i Sv. Mauro) te se u opširnim kataloškim jedinicama strukturirano osvrće na povijesne okolnosti nastanka, arhitekturu i opremu svake pojedine crkve.
Knjiga je objavljena u suizdavaštvu Filozofskog fakulteta i Ogranka Matice hrvatske u Dubrovniku, u nakladničkom nizu Biblioteka: Prošlost i sadašnjost, knjiga 49.Prvi dio je uvod autorice Maje Zeman (Elafitsko otočje u antici i kasnoj antici) koji ima za cilj osvijetliti ulogu i funkcioniranje Lopuda (donekle i ostalih Elafitskih otoka) u klasičnom rimskom i kasnoantičkom razdoblju na temelju dostupnih pisanih i materijalnih izvora. Dajući pregled dosadašnje literature i materijala, autorica iznosi i nekoliko novih argumentiranih teza, među kojima, naprimjer, onu o Elafitima kao potencijalnom posjedu rimske države u razdoblju Carstva. Drugi dio, autorice Ivane Tomas (Elafitsko otočje u srednjem vijeku) okosnica je knjige, koji nakon iznošenja dosadašnje literature i kulturnopovijesnoga uvoda (u kojemu se, primjerice, argumentirano priklanja stajalištu Josipa Lučića kako je Dubrovnik vrlo rano, već od ranog srednjeg vijeka bio u posjedu Elafita) donosi sustavan pregled spomenika Lopuda iz razdoblja srednjega vijeka, ponegdje s posve novim pogledima na neke spomenike i probleme. Početke srednjovjekovne graditeljske i klesarsko-kiparske aktivnosti na Lopudu autorica smješta na sam kraj 8. i početak 9. stoljeća te ih povezuje sa srodnim rješenjima iz Dubrovnika i Kotora. To, između ostaloga, svjedoči o snažnoj vezanosti Grada i njegove okolice, ali i o međusobnoj povezanosti Dubrovnika i ostalih istočnojadranskih središta Bizantske Dalmacije. Sljedeću fazu graditeljske i prateće klesarsko-kiparske djelatnosti autorica smješta gotovo stoljeće kasnije, u prvu polovicu, odnosno sredinu 10. stoljeća, nalazeći čvrste analogije u oblikovanju dijelova liturgijske opreme (mahom oltarnih ograda) u Dubrovniku, Stonu i na ostalim Elafitskim otocima. Tu drugu, ili zrelu predromaničku fazu izgradnje i obnove dovodi se u vezu s pojačanim intenzitetom graditeljskih aktivnosti na širem prostoru, s time da se takva pretpostavka argumentira širokim i detaljnim analizama oblikovnih i tipoloških značajki kamene skulpture. Sljedeću, treću značajnu graditeljsku i klesarsko-kiparsku aktivnost na Elafitskim otocima autorica smješta od kraja 11. do sredine 12. stoljeća, u razdoblju koje se okvirno, u skladu s općim stilskim promjenama na južnodalmatinskome području, može nazvati razdobljem rane romanike. Nakon osvrta na graditeljske komponente crkava, slijedi širi pogled na njihovu klesarsko-kiparsku opremu, kao i na vrijedne zidne oslike koji su djelomično sačuvani u nekima od njih. Zahvaljujući upravo analogijama sa zidnim slikama sačuvanima i otkrivenima u staroj dubrovačkoj katedrali te činjenici kako se u kasnjim povijesnim izvorima upravo crkve sa zidnim oslicima na Koločepu i Šipanu spominju kao kanonički patrimonij, Ivana Tomas uvjerljivo osnažuje svoju pretpostavku o oslikanim elafitskim crkvama tzv. južnodalmatinskoga kupolnog tipa kao dijelu posjeda dubrovačkih kanonika. U posljednjemu dijelu, pisanome kao zasebno poglavlje, izložena je cjelovita i temeljita analizu pet srednjovjekovnih crkava na otoku (Sv. Ivan Krstitelj, Sv. Nikola (Grčki), Sv. Ilija, Sv. Petar i Sv. Mauro) te se u opširnim kataloškim jedinicama strukturirano osvrće na povijesne okolnosti nastanka, arhitekturu i opremu svake pojedine crkve.
Knjiga je objavljena u suizdavaštvu Filozofskog fakulteta i Ogranka Matice hrvatske u Dubrovniku, u nakladničkom nizu Biblioteka: Prošlost i sadašnjost, knjiga 49