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Demarqinallzations and Destinationts) of Post-Yugoslav Literary Canons

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Demarqinallzations and Destinationts) of Post-Yugoslav Literary Canons Neohelicon (2019) 46:575-590 https://doi.org/10.1007 /s11059-019-00493-2 Demarqinallzations and destinationts) of post-Yugoslav literary canons Dubravka Djuric1E> · Aleksandra Nlkcevlc-Batricevic' Published on line: 10 August 2019 © Akadernlai Kiad6, Budapest, Hungary 2019 Abstract The focus of om paper is on the changing status of female authors in post-Yugoslav literary canons caused by feminist interventions. We will point to the broader con• text of the fall of communism and the decomposition of socialist Yugoslavia, its transition to capitalism and the reintroduction of feminism. We will discuss the dif• ferent aspects of the politicization of the national canon ranging from pointing to its gender bias, and the restoration of female authors, who have not been part of the canon. Then we will point to the political function of the literary canon in (re) constructing post-socialist, post-Yugoslav national identities and the supporting of female authors as part of the process of European-integration, as well as the possi• bilities of experimental writing in post-Yugoslav literatures. The essential thing will be to point to feminist reception of post-Yugoslav literatures as an important part of the processes of reconciliation after the Yugoslav war in the first part of the 1990s. In the final part of the paper, we will discuss the anxieties caused by feminism and the stance of most female authors who seek the diversification of female literary production which will move between the positions of particularity and universality. Keywords Feminism· (De)marginalizations · Post-Yugoslav literature· Destination(s) · Women authors Bl Dubravka Djuric [email protected] Aleksandra Nikcevic-Batricevic [email protected] Singidunum University, Karadjordjeva 65, 11000 Belgrade, Serbia University of Montenegro, Danila Bojovica bb, 81 400 Niksic, Montenegro ~ Springer Apstrakt U ovome radu analizira se promjena statusa autorki u književnom kanonu koja je uzrokovana djelovanjem teoretičarki i kritičarki koje nastupaju sa fona feminističkih studija. Rad ukazuje na širi istorijski kontekst u kojem se opisuje pad komunizma i raspad Jugoslavije, prelazak na kapitalistički poredak i ponovno uvođenje feminističkih studija. Osvrćemo se u radi i na različite aspekte politizacije nacionalnog kanona koja se kreće od rodne komponente i uvođenja u kanon autorki koje do tada nijesu bile dio književnog kanona. Potom se ukazuje i na političku funkciju književnog kanona u rekonstruisanju postsocijalističkih, postjugoslovenskih nacionalnih identiteta, kao i na podršku autorkama koja je uzrokovana uvođenjem tekovina evropskih integracija, kao i mogućnostima koje se iniciraju eksperimentalnim pisanjem u postjugoslovenskim književnostima. Najznačajniji aspekat ovoga rada jeste fokus na feminističkoj recepciji postjugoslovenskih književnosti koji se uklapa, u istorijskom kontekstu, u segment priče o pomirenju na postjugoslovenskim prostorima, nakon rata devedesetih godina. U završnom dijelu našega rada, razmatra se anksioznost koju kod nekih autorki izaziva termin feminizam, kao i na njihovu težnju da svoj književni tekst smjeste u središnju tačku, između partikularnog i univerzalnog. 576 D. Djuric, A. Nikcevk-Batncevk Introduction: the position from which we narrate As feminist scholars from the former Yugoslav region, 1 it is in this paper that we have decided to make a provisional map of the complex impact of feminism after 1990 on literature, especially on poetry, as an artistic practice at "the periphery of cultural imagination" (Bernstein 2011, p. 43), on experimental drama, as well as on prose writing. What is important to stress is that our approach is marked by our position in om own cultures as Americanists and as critics focusing on modernist oriented national Montenegrin and Serbian poetry. When using the terms modernist and modernization, we refer to the efforts of Yugoslav writers in the context of the socialist Yugoslavia and/or post-socialist former Yugoslav nations to posit modern• ist forms of literature as hegemonic in the local context of literary production which are rooted in the European concept of Modern writing usually connected with sym• bolism, with the urban thematic, the usage of free verse and accompanied by the cosmopolitanization of literary production. We are also interested in political and economic transformations in the former Yugoslavia, especially the transformation from socialism to post-socialism, and the evident impact of this transformation on literary destination(s), with its emphasis on the structuring of the new position of women writers and critics under the influence of global feminist trends. It is for this reason that we emphasize the fact that the transmission of Western feminist concepts has occurred through the impact of femi• nist non-governmental organizations (NGOs) in most parts of the former Yugosla• via, and that in such a historical moment feminist literary studies have proliferated with the resulting effect of enhanced literary production by women. We also empha• size the importance of women's and/or feminist journal culture that has functioned as a platform for the establishment and further development of feminist theoretical and artistic ideologies. At the end of the text, we deal with the diverse aspects of the politicization of literature and the status of women writers in post-Yugoslav national cultures. What is evident in the context of this narrative is that literature is politi• cal par excellence, if we consider its relation with the national languages and its function in the generating of the modern European nations (Casanova 2004). In this regard, the first thing that may occur to us is the internationally well-known scandal which took place in Croatia when in 1994 in the weekly Globus, a text titled "Croa• tia's Feminists Rape Croatia" was published that pointed to five "witches", the writ• ers, scholars, and journalists Dubravka Ugresic, Slavenka Drakulic, Vesna Kesic, Rada Ivekovic, and Jelena Lovric, who were pronounced traitors (Acevedo 2011). As a result of the public denunciation, some of them left the country and for decades could not publish their work in Croatia. But we have decided to emphasize other examples as well: the formation of a national literary canon in Bosnia and Herzego• vina along with the construction of the national identity of Bosniaks, as well as in Montenegro along with its developing European identity. As feminist criticism has 1 The term region was introduced in the area of the former Yugoslavia as a neutral term, in order to avoid rhetorical use of the adjectives Yugoslav and post-Yugoslav, because in the new situation in the country, these adjectives were described as traumatic, with extremely negative connotations. ~ Springer Demarginalizations and destination(s) of post-Yugoslav ... 577 remained important in the process of reconciliation in the post-Yugoslav area, we point to this practice, considering it to be political. We also point to the rarely dis• cussed concept of the politics of artistic form, which points to the (im)possibilities of radical literary practice in the region. In other words, we discuss how the global feminist trend, when it is localized, has affected the reshaping of the literary field and how it has impacted the status of women writers and their literary destination(s). From socialism towards post-socialism We begin our discussion on feminism and on the status of female authors in post• Yugoslav/ literary cultures (those of Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, and Macedonia) with the claim that their literary canons were constituted in different ways in the period of late-Yugoslav socialism. Within these, the battle to modernize literary expression, which involved greater or lesser diver• gence from local models of the epic patriarchal framework, was fought in different Yugoslav nations during the decades after 1950. At the symbolic level, that referred to the battle for national emancipation in the circumstances of the socialist moderni• zation of Yugoslavia after the Second World War (which entwined industrialization and urbanization of the country) (Djuric 201la, b). From the end of the nineteen-sixties, the national literatures of Slovenia and Croatia had a predominantly modernist and urban character. Serbian literature was constituted through modernist-anti-modernist binary opposition, which implies that anti-modernist tendencies were always strong within it (Djuric and Obradovic 2016). Macedonian and Bosnian poetry was gradually shaped during the nineteen• eighties to become predominantly modernist, while the process of modernization in Montenegrin literature took place during the nineteen-nineties. Male writers domi• nated the prose of all the nations of the socialist republics that had been part of Yugoslavia, while female writers-if there were any-were on the margins of the canon of prose, an appreciated and high-status narrative geure. The situation in poetry was different in each republic.3 Up until the nineteen• nineties, women were a minority in Slovenian poetry, which during the nineteen• sixties was emancipated from traditional poetic conventions, as well as from the 2 Yugoslavia was initially constituted as the Kingdom of Serbs, Croats, and Slovenes, and then it was renamed to the Kingdom of Yugoslavia (1918-1941 ). The Socialist Federal Republic of Yugoslavia was established after the Second World War (1945-1991). The country fell apart due to a series of wars that took place
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