CEU eTD Collection

THE POLITICS DISCOURSES OF FEMINIST LITERARY CRITICISM IN In partialfulfilmentIn the of requirements the degree for of Supervisor: Professor JasminaLukić Master Arts of Gender in Studies OF LITERATURE AND PERFORMANCE: Department of Gender Studies Central European UniversityCentral European Budapest, Hungary By Andreja Pevec CROATIA Submitted to 2011

CEU eTD Collection

CEU eTD Collection

matters the theoretical and methodological framing of their texts. T about the prevalent modes of criticism inCroatian literary studies. This is effectively done in Feldma Čale that argue I studies. literary isposition articulated in relationto the prevalent modes production in ofCroatian knowledge Zlatar and Govedić Feldman, Čale of writing the particular socio order to explore different ways whichin feminist authorsthree – ofas discursive (1995)a notion on Elizabethtext Grosz’ feminist positioning. a criticism andraising the issue of the politics of feminist literary criticism. The analysis relies and feminism in Croatia by offering a detailed analysis of the discourses offeminist literary farnot so discussed detail.have been in aims In criticism incontemporary Croatia. It offers insight inseveral issues related to the topic that thesisThis on focuses knowledge infieldproduction the of feminist andliterary theatre Abstract and theoretica and

- cultural context of Croatia in the2000s and in 1990s of Croatia cultural context nra ltr Ld Čl Flmn n Ntš Govedić Nataša and Feldman Čale Lada Zlatar, Andrea l frameworks in Croatian literary scholarship. n, Govedić, and Zlatar raise important questions questions important raise Zlatar and Govedić, n, i

to contributeto to are discussedare how feminist see order to in

ideasfunction in literarycriticism hey hey the researchin literary studies

. Several issues. Several central to also assert – are are new subject The t The analyze exts by exts in the the in d in d in - CEU eTD Collection

Acknowledgements

Fani, for valuable andc for Fani, suggestions the moments we have shared Gorica, for Augustas,Biljana, Maria, Nikola, t Thanks and Branka acknowledg and guidance for Lukić would I like to thank to my supervisor Jasmina ii

o my o my ements ai fr aeu proofreading careful for Čačić fellow gender students also also go to Katarina Seljan e ncouragment. , and especially , andespecially offee breaks.offee

Vera, Ana, My My all . CEU eTD Collection Conclusion The politics of literature in AndreaZlatar’s critical discourse theFraming analysis Introduction Acknowledgements Table of contents Govedić The performance: politicscritical of Lada of Feldman discourses Čale and Nataša Bibliography of theThe role context of theTowards politics counter Feminism as Socio by any other any name politicsby and Performance onThe nation stage onstage Gender stageofOn the theory Theater's“flexible essentialism” ofbody Dictionary the an Feminism The uses of personal in feminist criticism (De)construction of women's literature positioning“ “discursive Feminism as

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CEU eTD Collection iv

CEU eTD Collection theater Introduction – analyze matters, theoretical framing andarticulation of feminist political position. In this thesis, Iwill literary criticism exists in Croatia. However, rarely is what addressed in those studies the is variety of inwhich ways feminist mainstreamliterary studies and feminist criticism Luki (e.g. with a feminist movement Zlatar, (e.g. 2010) th on put mostly is development. and The focus itsemergence about issues number of important not from perspective. only feminist a discussed literary criticis have also becomemore visible, entering academi knowledgeacademia. outside feminist production focus thatareof in feminist Theissues journals bring articles written fromfeminist a perspective. Also, there is a considerable literary studies as arecognizable critical practice, feminist literary criticism has became in visible Croatian havethat so far not been discussed in detail. Since the1980s, when has it first been addressed e socio to to differentexplore whichways in femi

This thesisThis on focuses knowledge inproduction the field of feminist andliterary This refers to thedifferences between feminist discourses regarding their subject The literature that reflects on feminist literary and theater criticism in contemporary Croatia. It offers insight in s discourses by three authors – - cultural context that influenced articulation of feminist politics, such as connection

(see Sabli(see ć

(e.g. (e.g. Tomi Č

ć ale Jakobovi Feldman,2001; ć , 2005) , 2003) Andrea Zlatar, Lada Čale Feldman and Nataša Govedić Nataša and Feldman Čale Lada Zlatar, Andrea . , and political intervention in relation to the , relationship between current literary production The books are published and majo academic r and published are books The nist 1

ideas function in literary criticism the in everal issues related to the topic ć

Fribec, Luki 2006; criticismCroatiain raises a c curiculla and being curiculla c ć , 2003) - . CEU eTD Collection have transformedhave disciplinary fields traditional the in second halfof20 the on literature and literary and relevant when talking about feminist literary criticism in Croatia. of published them the 1990s. in late already some 2000s, early the in written essays of collections are books Feldman's Čale and Govedić wiltext I l refer to in the course ofmy were analysis published in the However, 2000s. are indicative for feminist criticism in the field of Croatian literary and theater 1 criticismCroatia in a reflection of nation discourses in literary studies that emerge in Croatia. I do not consider feminist literary feminist referdiverse I to label, By categories. takingnational feminismnational and along theoretical as such discourses, critical essay,critique. and discussion, Zlatar’s and Govedić Feldman, Čale in traced notion of feminist literary criticism. flexible analytical models. Bearing that in mind, in the text that follows, I will mostly use the establishment and the more questioning to ofdisciplinary contributing discourse, borders the connectedness betweendiscipliunderlining different brings together diverse ofareas scholarship. The authors willanalyze I theater between haveborders disciplines been put which question, in concerns studies literary and particular socio excerpts from Zlatar's from excerpts for thesis in this appear t in Croatia, studies feminist literary

The excerpts from their texts which will here be

I find itI important to point to someme Further on, it Further studies aswell. This particularly refers to feminist criticism fields inthese because it theater - cultural context ofcultural thecontext andin 1990s Croatia 2000s. theat Rječnik tijela Rječnik

criticism in Croatia, Irefer to a body of texts belonging to feminist writing is equally is problematicorganize to discoursessu er , but also to some other subject to some alsoother ,but

(2010) (2010) the in second chapter are translated by Katarina Seljan.

It will also be used torefer todifferent genres that can be analyzed, as well as those from literature the feminismon and al identity. However, I suggest that it did emerge suggestthat However,I al identity. 2

he first time in English in my translation. The in my timefirst translation. English he in thodological dilemmasthodological I consider which - nes, even between critical and literary matters. After all the

By about talking feminist 1 ch as literature, criticism

I beliveI thattheir texts

in this thesisin this also are

trajectories that studies. All the studies. the All th

century, the

CEU eTD Collection aim of this thesis is to fill this gap. different feminist literary criticisms, there has been a little analytical attention to them. The studies literature on itaddresses the specific and complex relationship between literature, literary ways inwhich Croatian feminist literary criticism has so far been discussed. I find that the approaching feminist literary criticism in Croatia. After that, I will provide an overview of the feminist criticism and feminist politics in order to lay out the theoretical framework for context relationship discourse between the the and i the fromdrawing understanding Foucauldian ofThis discourse. method attention also draws to Tonkiss assumptions. To analyze instudies, as production literary Croatian such subject articulated in to is them position thefeminist relation prevalent modes in of knowledge how see to order in Zlatar and Govedić Feldman, Čale of writing the to central issues several will explore I context. asemerges from something that specific understood a be should meaningassumed, feminism. by to fixed feminist is of Grosz, suggested quality Astexts it anti itan provides positioning because Croatia. For this Irely on Elizabeth Grosz’ (1995) notion of a feminist text as a discursive theory. feminist of context in as wider a well literary as studies, Croatian contextualized contemporary in from specific historical, political and scholarly

In the first chapter, Ther and politics that has influenced feminist literary criticism in Croatia. Although (1998) e is alsoe is aconceptual issue of what feminist is about feminist literary criticismin . Discourse analysis focuses on the production of meaning through texts, meaning of production through texts, analysis onthe focuses . Discourse

my sources, I willanalysisoutlined apply I as discourse byFranmy sources,

I will discuss of feminism willthe discuss I assumptionsabout relationship and

- essentialist framework which does no 3

context. Thetext Iwill n which certain discourse located.is - m atters, methodology, and politicalatters, analyze t attribute pre

will be

- CEU eTD Collection phenomenon. In this thesis I thesis this phenomenon. In theatrical and anthropological as performance in interested scholar a is Feldman Čale agency. of collection around a organized book is notions essays the performance, of and gender, studije who2002published activist in lit in interested both Govedić, and matt will two. I look feminist at the which position is articulated her through choiceof subject between academicnegotiates writing, literary and boundary oftenblurring betweenthe the (2010). Zlatar is intereste and ženskoj književnosti thematizi books development of feminist literary criticism in Croatia. That kind of a research still needs to be and matters of position kind what feminist subject their betweenand the performance relationship I will address how examine they of disciplinesrange and argue for establishment of interdisciplinar an theater here are collections of essays and theoretical studies on gender and performance inliterature, andtheatre literature folklore, folkloru,j kn teoriji, ers and and framingers methodological ofanalyze her s. Rječnik tijela: dodiri, otpor, žene otpor, dodiri, tijela: Rječnik

Govedić and Čale Feldman Čale and , folklore, mediaGovedić popularculture. and [ In the the In third will point I chapter, theto difference discoursebetween The second chapter focuses on examination of Zlatar’sdiscourse by looking at her two This thesis notThis does tend provideato comprehensive historical ofoverview Choice of a of aborder:StudiesChoice of role, shift in literature, theatre and film ng literature,gender body: osuvremenoj the Tekst, and tijelo, trauma: ogledi iževnosti ikazalištu [

[ Text, body, trauma: body, EssaysText, incontemporary women’s literature] d in issuesd in ofand discourse such subjectivity textuality,her while

will ] (2001) and Feminaludens and ] (2001) Izbor uloge, pomakIzbor uloge, Književne, granice: kazališnefilmske i analyze erature and and erature in performance

[ Dictionary of the body: Touches, resistance, women Euridice’s Turns Euridice’s

Euridikini osvrti: O rodnim izvedbama u u booksosvrti: O izvedbama her rodnim Euridikini is articulated in their discourses. 4

: On: gender performances in theory,

(2005). . Govedić is a critic, editor and editor critic, a is Govedić Both of her books I refer to refer I Both ofbooks her y analytical framework.

draw froma wide s

of Čale Feldman Čale of ] (2002). This

(2004), - ] -

CEU eTD Collection issue of the politics of feminist literary criticism. of analysis the discourses of detailed a by offering to contribute to hope I However, done. the research in literary studies and feminism Croatia in 5

feminist literary criticism and raising the CEU eTD Collection chapter discuss other important aspects of feminist literary criticism in Croatia. instudies. argueproduction literary that Croatian Nevertheless, I the texts Ireview in this until studythis has there been alittle attention given tothe differences infeminist critical t literary criticism. Iwill refer to several ways in which feminist literary criticism in Croatia has and feminist criticism are raised to address summarized inGrosz’ “Sexual text signatures: Feminism after thedeath of theauthor” of definitions of the termfeminism and assumptions about feminist critical practice are constitutes femin “discursive positioning“ as Feminism Croatian literarystudies. discussed so far willalso be addressed, pointing totheparticular context of emergence its in concept of a feminist text. The ways inwhich feminist literary criticism inCroatia has been Nataša Feldman, Čale Lada discuss I Zlatar. by Andrea and Goved ić texts the analyze to and Croatia, 2000s’ the and 1990s’ Framingthe analysis aken partinaken the Within feminist literary criticism, there have been extensive debates about what In this chapter I lay out a framework to approach feminist literary criticism in the

ist perspective in literary studies. Complexity of these debates and a variety transformation of literary studies in Croatia. I conclude by pointing out that Croatia. out in concludebypointing studies I transformationliterary of The issues of fem

wha plays, what investments it bears, what aims achieves, it feminism, ask atermto howToa term, question like is it the term feminism as Iwant to use t alterations it undergoes. it alterations (Butler,t 180) 2004,p.

inist self to the differentfeminist of infield the approaches 6

- representation, politics of literary studies it, relying on Grosz’

CEU eTD Collection matter, and its style . subj the reader, author, the relationship between contextual and complexa Grosz, to a according text'sis, never finished ensures status fixed.Thus, what is and feminist of text a ma onthe The emphasis positioning”. Grosz defines it it defines positioning”. Grosz of afeminist notion as a “discursive offeredGrosz’s text in is style, and content the reader, sex the of the author, of sex the element, one only the reducethem but i.e. not does to reading feminist. objects of feminist literary criticism, or that a style of the text indicates that particular text is intention to read them as feminist. It is equally problematic to assume that there are distinct thesetextsfeminist to due themmy are intentionsinscribed that thein to due own author’s or basis on the doesof guarantee not gender feministthe text’s Also status. it cannot be argued analyze in this thesis are written by femal understood unique a is groundtheproblematic as I Althoughif for it interpretation. all texts thereader, andcontent of style the text.Each of one theseassumptionsproves be to link the meaning of a feminist text respectively with the sex potentials forimportance understanding of text. feminist any here. Forundertake my study, the most important is critical and theoretical texts, hence itproves to be useful in the research that I plan to analysis of feminist texts not only when itcomes to literature, but also when itcomes to (1995) . Grosz’ discussion ofnotion of the a feminist text offers useful a framework for author and and productivityreaders, and author theand corporeality of readers residues ortraces, thetext'smateriality, and its effectsmaking in bodies of the the between complexof a the corporeality the relation author, that it, the author's textual of and of takes concernthe complexity processes writing that into the The position Grosz examines definitions of feminism in feminist literary studies that were trying to

teriality of processes of reading and writing implies that the meaning as

e critics, the identification of the author or the reader 7

the the emphasis on context,social and its

of author,the sex the of the (1995, p.18) . ect ect CEU eTD Collection following section, Iexamine the literature that reflects on feminist literary and theater of the in which Croatia texts in arethe 2000s analyze positioned.thecontext and 1990s I In an discourses. plural and text, Iapproach feminist literary criticism in Croatia as web of specific, context whom w to and placecontext, context, is by these appelationsdepend the patriarchal: howused, its in on its it Grosz' text “no words, be once can classified for and all wholly as or feminist wholly is that it directs attention to the compl emerges In text feminist. a which as conditionsex under scholarshipmy feminist Croatiansincethe to in studies 1990s literary find in useful approach studies and theater studies inCroatia? Govedić the ask I Govedić, and Zlatar questions Feldman, Čale by texts the of analysis my In astext feminist is that a feminist text, asGrosz proposes, must help 1995,p.23) (Grosz, the standard which masculinist waysin the authoroccupies position the of enunciation” visible” communication and context feminist text “must render the patriarchal and phallocentric presumptions governing its swer to the question of what enabels us to describe a text as feminist. My approach to feminist literary criticism in Croatian will follow Grosz' threefolded One ofimplicationsdrawn the fromof asGrosz' feminist conteptualization text a thatI In my view, part ofmy t part In view,

w kno themodes of dominant problematize : what is rendered as feminist in their texts? In what ways Čale ways what In texts? their in feminist as rendered is what : textual production and and production reception“ (Grosz,textual 1995,p.23) that contest the limits and constrains currently at work in the regulation of spaces facilitateto productionthe of new and perhaps discursiveunknown,ght unthou hat effect“p. 23) (1995, . The third thing which has to be taken into account when classifying a a accountwhen classifying thingtaken be into to has third which . The -

new styles, modes of analysis and argument, new genres and forms and argument, and new genres modes- new of analysis styles, he answer tothesequestions inthe is particular socio (1995, p.22) (1995, . Th . us, us, 8

drawing fromdiscussion ofdrawing Grosz’ feminist a . Second, feminist text feminist. Second, text must“problematize l edge production in the field of literary of in field the production edge

. First,Grosz argues, a Feldman, Zlatar and - dependant following following - cultural

CEU eTD Collection work in the 1980s in 1980s the work wo Ugrešić's in appeared agenda feminist Direct feminism. on discussion theoretical the in part take or movement feminist to belong not did Ugrešić Drakulić, Unlike (1984). published in book the change in its usage and meanings over time see Lukić (2003) and Zlatar (2004). journalistand wroteabout feminism a and gender as worked Drakulić Croatia. in nationalism and politics mainstream 1990s early the to confrontation opened and Irena Vrkljan wrote literature that “affirmed gender awareness“ (Luki Sabli publication criticaland reception of literary texts bywomenwritten (seeLuki authors their work was later analyzed from a feminist perspective. Č literary criticism seeks to perform in relation to mainstream literary studies criticism feminist and production feministthe movement (e.g. Zlatar, 2010) socio particular context of Croatia during the last three decades. mostly onthe Thefocus is put a knowledge in production of feminist complexity into the offersinsight valuable studies 3 2 as conceptualized by Hélène Cixous and Luce Irigary. In theanalysis of the relationship with ' Socio and in context literary positioning ofthe theater discourses ofstudies. feminist Croatian critic

Ugrešić and Drakulić are are Drakulić and Ugrešić ‘ ale Feldman, Jakoboviale 2001; Women's writing' is still one of the central notions in crit feminist literary central notions the of still is one writing' Women's ism inCroatia because it raises anumber of important issuesabout development and ć - žensko pismo' cultural context that influe -

historical context Tomi Feminist literary criticism in Croatia appears in the early 1980s, influenced by The existing literature about ć , 2005) (see Jambreši Smrtni grij Smrtni ('women's writing') . The 1980s are the period when Slavenka Drakulić, Dubravka Ugrešić, Dubravka Drakulić, Slavenka when period the are 1980s The . recognized as important figures of Yugoslav feminism due to their litrerary tex litrerary their to feminism due Yugoslav of figures important as recognized esi feminizma: Ogledi o mudologiji o Ogledi feminizma: esi ć

Kirin, 2008; L 2008; Kirin,

ć Fribec, Luki 2006; nced articulation of feminist politics, such as connection with (e.g. Luki (e.g. feminist literary crit 3 , along the theoretical discussion on theoretical discussion the , along ó - related issues inrelated popular and political magazines, themsome of r á nd, 2007;Luki 9 ć

, 2003) , the relationship between current literary ć , 2003) rk after 1990, but it is recognized in her literary literary in her it recognized is but after rk 1990,

[ ć Mortal sins of feminism: Essays in testicology in Essays feminism: of sins Mortal , or to intervention which feminist which intervention to , or , 2006; Zlatar, 2004) Zlatar, , 2006; icism in the field of Croatian literary .

2

All three authors are associ icism in Croatia. For discussion on For discussion Croatia. icism in

.

ć , 2003,p. 78) écriture féminine,

in Croatia (e.g. ć , 2003; ts and and ts , and and , ated ated ] CEU eTD Collection influences feminist critical production in Croatia until present in until present Croatia production critical feminist influences text wellthe as Woolf, Virginia Kristeva, Julia Cixous, Hélène feminist literary criticism in Croatia. 1983dedicatedin to ‘women’s writing’ oneas ofcrucial events the which influenced magazine literary of issue special of publication the to refers (2005) Tomić Sablić Sylvia Plath, Beauvoir, Lessing,Doris Woolf, Virginia Walker (L Alice percieved as exemplary figu 5 4 knowledge feminist production and art women’s movement. In present, it is also 2004)Zlatar, academic milieu, but also inmedia, public debates and literature feminism the 1980s presenceis in the of feminist discouse not only in intellectual and different disciplines and several internat onwomen research in theory, wavefeminist second Belgrade,embracementand the of the late 1970s and theearly 1980s, there was emergence of several feminist groups in Zagreb 2004; Jakobovi movement feminist Fribec, Yugoslav (see 2003, p.77) justopposite: the feminist criticism was it Croatia 1990s' the in that argues Lukić 1980s. the in rare was view of point feminist a from literature on discussion critical that notes (2003) Lukić Jasmina reception, its and between productionliterary thatpromoted gender and feminist iss former often Yugoslavia coincide. the former Yugoslavia were kept during the war period, and the turns that feminism was thought of in terms of Yugoslavia, but that connections between feminists from different parts of Croatia

As Lóránd (2007) argues, argues, (2007) Lóránd As This issue, edited by Slavica Jakobović Fribec, brings translations of feminist literary theory by Luce Irigary, Irigary, Luce by theory literary feminist of translations brings Fribec, Jakobović Slavica by edited issue, This cannot separatedbe fromYugos Feminist literary criticism in the Encounter offeminism andliterar y studies inCroatia is extent toalarge influenced by . . In the. In late 1970s beganpublication the of about texts women “ writers Yugoslavia had a coherent women'smovement and consequently

res of world's literature lav feminism. This means that not only the break that until lavonly feminism.not means This 5

was ional conferencesfeminism.What on characterizes

(see Luki muc 1990s’ Croatia also kept itsclose connection to relatedto civil societyinstitutions interested in 10

h more visible then women'smore visible then h (Luki writing (see Sabli ć , 2003; Sabli ”

like Marguerite Duras, Simone de s written by several Croatian critics, and and critics, Croatian several by written s ć ć

Fribec, 2006; 2010) Zlatar, Fribec, feminism took in the countries of the Tomi (L ć , 2005; Zlatar, 2004) Zlatar, 2005; , ć ór ues in and Croatia Serbia

Tomi á nd, Luki 2007; ór ć á , 2005) nd, 2007, p.32) feminism in in feminism - up of Yugoslavia Yugoslavia of up . In 1994 1994 . In Republika who were .

ć , 2003; 4 . In In . ć . ,

CEU eTD Collection and feminist artistic production. feminist artistic and and carried by individuals who cannot be simply related either to academia or civil society institutions. society either academiacivil simplyindividuals who cannot to by be related or carried Arsenijevi b institutionalized been not have Croatia they in fact that the despite nation political. and discussed literary howfeminist criticism has Croatia 1990s’ positioned the itselfas in that follows, politicsstudies literary Croatian ofin feminist issue the Iexaminehas how question: what constitutes a feminist perspective in literary scholarship in Croatia magazinefrom Treća 1998 feminism studies, literary publishes books and in theory feminist women’s and and literature, only1995, the institution Croatia in providing education in women studies 8 7 6 post and war ofconsequence only not textuality, Thi and war such exile. autobiography,and as testimony,subjectivity topics appr academic interdisciplinary different growing and between delimitation disciplines studiesliterary Croatian 1990s relationtoprevious the in in the absence period is the of clear literary studies but in other disciplines as well Roses ]. Ženska infoteka academic discourse public and lack feminismof and in feminist to activism diverse mainstreamrelation feminismin coded as activism”, system (but systemactual (but

The early 1990s in Croatia are a period of double transformation: transition from socialism to transition transformation: double in are of a period 1990s Croatia early The that writes Kašić In the 2000s in Croatia there was integration of gender and women’s studies issues in academic curricula, their

state, with with state,

The growth of fem ofThe growth inThe 1990s are Croatia marked feminist byextensive implementation into academic curricula, research on gend on intoimplementation research academic curricula, Centar za ženske studije [ ć

, Demiragi - war period war Croatia. in the outbreak of war (1991 war of outbreak the ly one The Cent

[ Women’s Infoteka ć , & Petrovi , - party rule until year 2000) and e r for Women’s Studies Women’s for the changes in literary studies globally, also studies but of literary changes in ofinfluence the the (Ka

[ inist literary criticism in Croatia since the 1990s raised another The Third The ši ć

, 2008) , ć - 220 pp. 2006, , The Cent 8 .Promotion of feministperspective in kno -

] began to magazine] to Kruh began publish ruže i 1995) ] . .

, that positioned itself as “connecting theory, art and art theory, itself as “connecting , that positioned 221) e r 11

market capitalism, and from multi from and market capitalism,

for Women’s Studies . . majors interestsIts educstudies are in ation women’s (see L (see er ór - á related issues and promotion of women’s nd, 2007) (Potkornjak, exist ut academiaoutside (Potkornjak,

critical production not only production only critical not in ] . One ofchanges the in 6 , founded in, founded Zagreb in wledge production is also also is production wledge - 7 ethnic federal to state federal ethnic , offers courses in multi

? [

Bread andBread - In the text the In party party oach to to oach s was a s was a

been CEU eTD Collection about the close connection of feminist theory and practice, namely women’s movement, as women’s practice,namely theory and feminist of close connection the about that all of them are in similar ways related to the politics offeminism at large. Assumption not does implyHowever, this unifor feministliterary criticism, politics functions as the element which gives itconsistence. assumptions. with relationship between feminist textual production and feminist struggles, just as is the case lit committed and struggle patriarchy concernfor to against a gendersexism, in only not criticism as “a specific kind of political discourse: a critical and theoretical practice criticism is concisely summarized in Toril Moi’s (1989, p.117) then as still acoherent discourse. What propose I to see ascoherence in feminist literary notionGrosz’ oftextoffers possibility feminist a a tofeminism see homogeneous, as not if literary criticism and feminist politics. literary criticism in Croatia, Iwill address assumptions about the relationship of feminis betweenthe unproblematicand of relationship feminist them.Beforepolitics discussing Croatia has been Although feminism with and approaches large. at the development of literary criticism in and Theytheater culturalstudies. in enter dialoguesdiverse both other with critical Croatia and Iuse that term to counter as Feminism erature”. Grosz' notion of a feminist text context a oftext as feminist a notion Grosz' In the variety of critical approaches which can be embraced under the common variety the of embraced approaches be the under can In which of term critical Despite the emphasis on different modes of feminist textual production, find that textual I feminist modes of different the emphasis on Despite argued, there already have Asis I no onemodel of feminist literary criticism in In Moi's definition of feminist literary criticismthere is an assumption about close

influenced by feminist movement, that does not imply that there is there simple a movement,influenced byfeminist thatdoes imply not - discourse

comprise different feminist perspectives in Croatian literary,

mity offeminist positions articulated in different texts, or

12

- related discoursrelated e that challanges patriarchal

definition of feminist t CEU eTD Collection 9 analyze alism. with1990s confrontation the opened nation - (1991 outbreakwar offollowedby the of nationstate, foundation and Croatian Yugoslavia up of (L communist one“ looked butplatfor for “common a also have position, they feminism. post knowledge governingfeminist power m the relations productionparticular in a in embedded and contextual as but criticism understood feminist be granted, should for taken be p. 73) feminism asa andstrategies counter thus and betweeninto feminismtheinsight relation politics. and institutionalization 1980s, offers findits the thatshe valuablein USI the academia since Rooney well as the assumption about theoretical work as inherently political are raised by Ellen positioning in positioning in 1980s’ the Yugoslaviaand the Croa 1990s’ more detail see Lukić (2003) and Lóránd (2007). ethno criticism of proclaimed to be “witches“ and “raping Croatia“, “raping and “witches“ and be proclaimed to Lovrić Jelena

In 1992, five Croatian intellectuals, Slavenka Drakulić, Dubravka Ugrešić, Rada Iveković, Vesna Kesić and Kesić Vesna Iveković, Rada Ugrešić, Dubravka Drakulić, Slavenka intellectuals, Croatian five 1992, In - socialist Yugoslavia . Howeve 1995). Consistence counter in She deals mycarefully In Lóránd assumptions aboutShe view, with feminist politics. Here Iwant to point to Zsófia Lóránd’s th is What about Rooney warns s public s engagement, writ (2006)

leaves itspoliticsleaves unexamined. Sheargues thatfeminism representational involves She argues She that Yugoslav feminists aimed thecreation at of acounter -

not all of them taking part in feminist movement or associating themselves with feminismwith themselves associating all or movement in part themfeminist not of taking - critique ofoppression” order” (Rooney, dominant critique “patriarchal and 2006, “the . Althou nationalistic disc nationalistic r, the politics of feminism in the field of feminist literary criticism should not those those ór á nd, 2007,p.43) - different gh Rooney reacts gh Rooney reacts theto development of feminist criticism, literary i narrative positioning,narrative rooted in the understanding ofpolitics the

because it ouse on mass rapes in war and repression on the freedom of expression. For

socio ing personal and considers narrativesshe bythree authors

in a careful way examines feminist s - ind of positioning after break after the of kind positioning . Feminism this kept - discursive alsopositioning of is feminism inevident historical at feminism often forgets that it

13

not being enough patriotic. This

(2007) research on feminism socialist in and tia. 9 contexts brings consistence to Yugoslav consistenceto contexts brings

Lóránd

m of discussion and debate with a with debate and m discussion of finds thatcounter is itself an ideolo elf

- was caused their by was positioning in oment. oment. - - discursive discursive -

were were gy, .e. of of -

CEU eTD Collection blind and patriarchal Croatia criticism literary feminist of in politics the Towards andspecific context political. Instead of that, Iconsider political implications that the this willin analyze I texts thesis approachthe donot . Thus,I universalization devaluate political claimsmade fromfeminist a perspective but tochallenge questionsembedded.To raise about the politics of feminist literary criticism doesm not Croatia because brings it greater awareness about t literary studies a important to national literary canon without challenging political implications of literary classification Feldman perspective.feminist Čale studies there are different critica literary Croatian in that out point (2006) Fribec Jakobović Slavica and (2001) Feldman Čale studies. literary beliefautonomyof in the canon, disclosing literary of formation and writers Croatia that has influenced literary and critical production. that, it also addresses p.31) (2007, concludethat to w feminism, to approaches different represent they that finds Lóránd Iveković. Feminist literary criticism in Croatia The discussion about the relationship between feminist movement criticism, and Croatian feminist literary critics have raised the of issue marginalization of women i n

. Yugoslav feminism, i.e. writers Drakulić and and Drakulić writers i.e. feminism, Yugoslav

nd politics is important for my analysis of feminist literary criticism in “ neither women’s experience nor feminismcan be universalized” assuch - dependant. a the specific intersection of gender and national theidentity in 1990s' national intersectionand ofthe gender specific ssumpt ions

to women authors and not all of a not and them all to entail approaches womenl authors

of mainst the is critical towards attempts to incorporate women writers

has 14

articulate ream literary studies in Croatia. Other than he power relations relations power weallhe which are in d

its gei, n pioohr Rada philosopher and Ugrešić, position se texts raise as something

by challenging gender hich leadsher as inherently ean to to ean its -

CEU eTD Collection century Croatian women writers writers women Croatian century aside as the foregin body, unsuitable for 'local' conditions“ scene” is theoretical literary feminist transnational “the arguesthat propulsive She studies. practiced in the 1990s’ Croa 113) oftraditionidentity“ guadrian national and mostsalient tocontinued the be troubling recepetion of semiotics into Croatian academia was, Biti argues that “literature of its identity in the of context changed socio (1995) out, Biti the 1990sforpoints early Croatian are literary periodofa studies redefinition national literature, along nationalistic politics, refers to importance of literature in the construction of interest 2006,p.80) (Rooney, beyond.” respect this ‘ideology’,with precisely an one conse objective, purely isolated fromand advocated livedvalues,wasin consciously unconsciously “Thethatbe is could production politicallyidea mainstream neutral: knowledge knowledge particular context, Rooney says, feminist literary criticism challeng that In academia. U.S. 1970's criticism emergencethe of in the literary Rooney about their writing 11 10 marginalized becauseofbeen the commitment of literary studies partto the take in theater studies inCroatia inthe1 (2005) Tomić argues, until there is no clear feminist critical perspective in literary studies. and can

The example of such work is Dunja Detoni Dujmić's historiogr Dujmić's Detoni Dunja is work such of example The The other reason of Čale Feldman’s dissatisfaction with the ways in which feminist criticism has been been has criticism feminist which in ways the with dissatisfaction Feldman’s Čale of reason other The . The 1990s’ Croatia is chara Croatia The 1990s’ In theIn analysis and evaluation of the position of feminist criticism in literary and on formation.

identity in gender in in production.ofin literaryboth critical Prevailinggender and understanding

and opensand spaceup the for new interpretations. Similarargument is made by

on women workon because of importance about any authors the writes (see 10 Č

ale Feldman, Jambreale 2001; Marginalization of women authors remains an issue, Jakobović Fribec Jakobović issue, an remains authors women of Marginalization tia is general absence of contemporary theory from theory theater contemporary of absence Croatian literary and tia is general Ljepša polovicaknjiževnosti

990s, cterized byre Čale Feldman (2001) Feldman Čale 15

- historical circumstances. Writing about how

( Č š

aleFeldman, 2001, p. 40) - [ i The prettier half literature half of prettier The patriarchalizationmarginalizationand of ć

Kirin, Luki 2008; aphical study on the 19th and the early 20th quences within the university and universityand quences within the

argues that feminist criticism has ed theed view thatthe ć . , 2003)

] (1998). ] (1998).

“explicitly pushed pushed “explicitly . 11 As Vladimir

u Sablić But

it (1995, p. affirms affirms CEU eTD Collection feminist literary criticism exists in Croatian literary studies. This refers literary criticism in Croatia but they constitutive duties of literature“ (Jambre contributes to theclaim “co that writers that problematise “otherness, difference, non component“ articistic integrity as parts of a single literary project, and not as detached and separable affirmed authors into the canon and to see their “critical political engagement and aesthetic, literary canon. At the same time,there was a hesitation to include some internationally the 1990s mainstream literary studies inCroatia had been wanting to create aunified n in that argues (2008) Kirin Jambrešić Ugrešić, Dubravka of work the in exile on analysis the includes Ugrešić Zlatar,2006; 2004) ontheir and feminist also anti 1990sduring the and in earlythe 2000s puts focus onth happened that perspectivefeminist a from work Ugrešić's and Drakulić's of reception Critical literary studies still characterizes feminist critical production in literary studies in Croatia. necessary “critical intervention politics. The author emphasizes the potential of feminist literary criticism to with the mains establishment of astrong national identity. She argues that Croatian literary studies are laden The The In myIn strong the view, patriarchalnationalisticemphasis and onthe assumpt

and Drakulić's work in Croatia, that were otherwise recognized otherwise were that Croatia, in work Drakulić's and strong criti strong studies that I have addressed in this chapter focus on different aspects of feminist (Jambreš tream nationalpolitics and falsely deny theconnection between literature and . The discussion about marginalization and marginalization absence about . Thediscussion cism of the implicit politics of Croatian literary studies. For example, in i ć

Kirin, 2008, p.147) “ - nationalistic engagement Jambre (e.g.

and “feminist revision“ (2001,- pp.45 revision“ “feminist and - producation of national identity and national pride national and pride ar ofidentity producation national

rarely addressrarely and analyze thevariety ofin which ways š i ć Kirin, 2008,pp.147- 16 . The author thatsuchconcludes treatment of

- belonging, marginality of any kind“any marginality of belonging, e literary aspects of their work, but 148) .

š 46) i

ć of wider reception of of reception wider

. internationally, alsointernationally, Kirin, 2008; LukiKirin,

to the differencesto the bring in bring ions ofions ational e still still e ć ,

CEU eTD Collection Govedić byAndrea Lada Zlatar, Feldman Čale texts Nataša and articulation offeminist position. Concerning that, in the following chapters Iwill analyz regarding feminist theirbetween discourses subject 17

- matters, theoretical framing and .

e CEU eTD Collection book on conceptual level. book onconceptual Croati contemporary 12 women's literature of (De)construction critical of feminist point of women'snotion Tekst, tijelo,in trauma literature text The politics of literature in Andrea Zlatar’s critical discourse literary criticism the raises issueof authorship in another w questioningpoststructuralist ofas of the originator author the meaning the in text. Feminist with an been have issue significant implications. They political not easy the could rest with byfemalewritten authors. (2010). tijela body about Rječnik the literaturein imaginativeand examine author's writing the the self and experience in Zlatar's writing as a part of critical argument. Thirdly, Iwill

In this chapter, I use the notion women’s literature in the sense that Zlatar uses it. that the Zlatar sense uses in literature women’s chapter, I the use this notion In s '

feminist status on thematic and methodological level. Iwill first examine how the

T In this chapter, I will analyze the characteristics of focushe of authors. an Tekst

intervention. Secondly, I will analyze the discursive construct discursive the analyze will I Secondly, intervention.

12 For feminist literary critics

, Women’s literature invoked is asmaterial a entity,a literature

tijelo, traumatijelo, Zlatar uses the notion of women’s literature to organize her female author; ina certain sense, they create her. Feminist critics do not rediscover just or reclaim the

18

is literatureis written by women, especially

(2004) is what as (2004) understood relates to a theoretical conceptions oftheoretical author of Zlatar's of

- to socio the pointing ay,

discourse pointing to the

(Felski, 2003, p.64) (Felski, historical

ion ofion ship ship

CEU eTD Collection cannot belongcannot to dominanthe t, male, self and not does roots its at that something as body, foreign “a as perceived been have Drakulić, and Ugrešić especially and Vrkljan, says, Zlatar beginning, the From 1990s. the in literature the intersection of patriarchal and nationalistic a been have Ugrešić and Drakulić Drndić. Daša and Drakulić Slavenka of the time Tekst, tijelo, trauma characteristics of literature which have not been w Felski. Zlatar directs attention towards authors, aswell astowards thematic and formal recognise the historicallyconstructed.Sheargues that differences whichrecognise in women are (1990) be to appears problematic in the ofcontext the debateover category “ emergestrauma as an important feminist work in the context of Croatian literary studies. controversial about issues the legacy fascism. as ofsuch Tekst, history find that Thus,I tijelo, femininemodel of écriture Croatian literature” of for in conceptualization l authorship feminist ofposition the female and feminist author politics.Rita Felski suggests that crucial the issue four contemporaryUgrešić, women writers in Croatian Dubravka literature: Irena Vrkljan,

F In my view, women’s literature in 2003, p.88) reliable about themotives, desir anything tell myths;donot arefictionsor best speculative they readauthorship as of highlighting distinctive traits that connect texts. other (…) In words, of allegories striking is a image waya of worksto grouping pulling individual into coherent gether a criticizes feminist politics organised around identity categories because it fails to eminist criticism working with notions of women authorship and women's literature women's and literature authorship women of criticism notions with eminist working

(ibid., p.82)

n rain ieaue wie rdć n e nvl rie many raises novels her in Drndić while literature, Croatian in the work the to work dedicated ofbookis Central the part was published. marginalized by mainstream criticism and the public due to . Vrkljan oneis of themain representatives of the poetic As I have already mentioned in the previous chapter, mentioned in previousthe chapter, already have As I es, orsituations of actual female authors. (Felski, Tekst, tijelo, trauma - satisfied discourse of the 19 19

iterary criticism is visibility idely accepted in Croatian literary studies at ssumptions which characterized Croatian

is is used asit is described by women th . Shearguesthat

and 20 and “ . Judith Butler. Judith th

century century

CEU eTD Collection identification” female writers together. are thatthere noargues subject Croatian women’s literature and suggests it is impossible to regard it in terms of tradition. She literaturefeministrepresen asa intervention. women’s literature is solved by referring to a particular context that requires a feminist 2006, p.89) critical text is related to what is understood as feminist political commitment Rooney, (see constructthat and deconstruct “women” can alsobe seen as political forces. In that sense, a a representationis and historically determined, on “women” as“material”, e.g. “non Shestrategies. suggests that the cansolution be found a in materialist approach,which insists be ifown political questionsproposes, its assumptions it political representational and categories like feminist literary criticism is, as Rooney (2006) bring not powerdoes the relations that construct it question.into However,contemporary sharedfemininity, ofwhich politics supposedly new identity accounts normalizes feminist I propose I to see Zlatar’s simultaneous construction deconstruction and of women’s As is it discussed in the second chapter, feminist literary criticism can, Rooney “to tear down the ‘identity’ woman” or “to seek academy politicalwithin any the programThe whatsoever, alternative elsewhere. or Without by thecategory grounding provided the woman, not it is possible to pursue 85- not an alternative politics. Itis a retreat from the political as such. 2006,pp. (Rooney, 86) Tekst, tijelo,, trauma thetension Tekst, . In between co

“ (ibid., p. 79) (ibid., w omen “ . She writes:

There is an “obvious ‘absence’ of common literary key of key literary of common ‘absence’ “obvious an is There , but female writers are related by their social positioning. Zlatar tational strategy. of the continuity idea in The author discusses - matters or style characteristics that would bring different

- discursive” entity. If representational all practices are 20

production of the meaning, than critical texts than meaning, ofproduction the argues, not ready to detachfrom to not ready argues, identity the

some otheridentity altogether” – nstruction nstruction and of deconstruction

is is –

CEU eTD Collection the center subject 2004, p.83) novels Drndić’s in fictional and documentaristic of mixture the and work, Ugrešić’s by Irena prose” different poetic models of contemporary Croatian women’s literature. These are: “intimistic literary criticism by the time the book was published. Zlatar identifies and analyze fours interpretationsvaluable of author literature not only by straightforward articulation offeminist politics but also by offering dire from moves away from theidea of establishing adistinctive female writers’ tradition, as well as conceptualization of wom conceptualization autobiography, testimony. experiences in thetext. Some ofissuesinher the focus are gender, sexuality, exile, trauma, of construction theoretical discussion anaylsis variousand identities of textual and Luhmann, Paul Manfred Niklas Hall, Jay, Frank, Roland Barthes. She Jean subjectivity textuality,Ervinand Goffmann,AnthonyGiddens, i.e. Zlatar identity poststructuralist, suggests understanding frameworkconstructivist of that by theoretical literature.The and gender analysis ofwomen’s literature in Tekst, tijelo, trauma - In my Zlatar’s view, discourse functions asfeminist because succeeds it to assert new In Although feminist literary theory is introduced in the discussion about theoretical examines anthropological, and sociological, philosophical lit

matters in Croatian literary scholarship. and emphasizes the complexity of relationship between the text and the subject the and text between the of relationship and complexity emphasizesthe ct linkage between linkage gender. literatureand ct

,trauma author canon tijelo,the makes the Tekst, in intervention an of national of hercr . Vrkljan, “femininity” in the novels of Drakulić, autobiographical and ironic in ironic and autobiographical Drakulić, of novels the in Vrkljan,“femininity” itical interest, but also to a en's writing and social position social and writing en's of authors women s havethat not been in the focus of mainstream Croatian 21

wider range of topics related to the theme of This

ref ers not only to to only iners thenot who authors are erary scholarship on scholarship erary - Luc Nancy,Stuart

is interested in

is is throughout prepared (Zlatar, .

CEU eTD Collection methodology well. of as level as her onthe discourse feminist see to textfollows, the propose In that I studies. literary tijelo, trauma Zlatar does not rely on feminist theory in her interpretations. Neverthless, Ifind that Tekst, 13 to ofthe “therelated constitution issue and of authority the production inof critical theory” 1- act of criticism” that in personal criticism. Miller defines it as “an explicitly autobiographical performance within the 1980s US feminist writing, Nancy Miller calls the usage of personal in feminist writing how i see to order in personal raises association with Tekst, tijelo, trauma to pronounreference with singular and person first ofuse the detected be is in workofcan Zlatar the Andrea througharticulation of the position feminist femini in usesof personal The history (e.g. Virginia Woolf'sOwn One's of Room A writing involve autobiographical self. meet requirements the discourse,of autobiographical but allnot uses of in personal her protagonist specified in the notion of the “autobiographical pact” classified as autobiography,classified the text must render theof life, instory his particular personality” is individual the where focus his existence,

Lejeune Lejeune defines 2) . She emphasizes that feminist usage of personal in the 1980s’ academic writing has been T One of methodological practices associated with early feminist literary criticism which he first person pronoun has often been us oftenbeen has person pronoun first he articulates feminist positionarticulates feminist byintroducing new focus of themes the Croatian in autobiographyas“retrospective narration written byreal personconcerning his [sic!] own

and and cludes “self the the

Rječnik tijela Rječnik feminist slogan “personal is political”. I analyze Zlatar’s use of t relates to feminist politics below.

st st - narrative woven into critical argument” 1991,pp. (Miller, criticism

13 include different uses of personal. Some of them do differentinclude uses of Some themdo personal. of self

Ar - evident ticulation of personal in Zlatar’s discourse also 22

ed by feminist critics. In her analysis of her In analysis the critics. byfeminist ed

the the identificatio (Lejeune, 1989, p. 5) p. 1989, (Lejeune, , Cixous'of écriture notion féminine

n of the author, narrator and personal experience. Zlatar’s .

(1989, p. 4) p. (1989, ). ). To be ), ), CEU eTD Collection categories of analysiscategories “contextual“, are “contested“ “historicizing“ (ibid.: 790) of experience in the sense of Foucauldian genealogy of the discourse, since all experience” experience” experience. representation. feminist and bychallenged of poststructuralist of emphasis construction subjectivity self and as self grounding a ofargument.the experience and the especially female body, “invisible” and “silent”. In relation to that,personal criticism assumes 14 (2004, p.5) exclusively.” women. Almost thoroughly, particularly and affiliated. Women's books books, wr preferences. says: Zlatar “Inlast yearsthree have I mostly been reading: continuously, emphasizes the that choice towrite about women's literature is based on herpersonal reading tijelo, to theauthor articulationofe In preface Tekst, relies,th which onthe personal. trauma positioning critical dominant and “abstract”, “de text employed to gain a new a employed object gain on the to perspective of analysis. of bothobject the and personal text, so with reader the with relations, relationshipand self betweenthe dialogic the other isinscribed and with always power stretches beyond individual and reaches other women’s experiences. As Pearce (2004) writes istext seen asaspeaking position. The self sense inthat is understood assomething that possible to use personal and make political claims if theusage of autobiographical self inthe categor discursive truereferents as as but seen be feministnot a in textshould personal and autobiographical Probyn

Joan W. Scott raises the methodological issues related to historiographical writing from the point of view of (Miller, 1991,p.2) Un Already in prefaces to both of her books, Zlatar lays out lays approach to Zlatar in ofbooks, methodological both prefaces her Already (1993) derstanding of the self and experience as a foundation of the discourse has been foundationhas a as of experience and discourse ofself the the derstanding She says: “Itisnot individuals who have experience, but (Scott, 1991, p. 779) 14 , Lynne Pearce (2004)

Feminist authors working frompoststructuralist a framework suc ies ies that get constructed through representation.They suggest thatit is . Millerargues thatpersonal was understood opposi an as

. This implies impossibility of objective knowledge and calls for and callsa for knowledge objective of impossibility implies This

and “contingent“ Zlatar and Linda Anderson Anderson Linda and 23

discourse relies on alot theemployment of - personalized” personalized” theories body, thatrender

(Scott, 1991, p. p. 796) 1991, (Scott,

subjects who are constituted through itten byitten women, about books (2006)

can be strategically .

emphasize that h as Elspeth tion to - CEU eTD Collection (Pearce, 2004, p. 107). exclusion on the one hand, and of commercial/ideological appropriation and exploitation on the other hand“ 15 traumatijelo, . make In distinction. Rječnik such tijela of personal often intertwines with the ‘strategic’ use of self but often q is it foundationalcategory as primaryself and usage forThis critical point ofargument. reference pronoun. p.12) (2010, publicistic or literary, Zlatar refers to her critical work as “autobiographical literary criticism“ tijela self. Rječnikautobiographical In strategy which articulates personal as asite toreflect on social and political context. construction of the self and experience in Zlatar’s writing as a feminist self Croatian literary studies. In the next section I will analyze in problematize theoreticalmethodological and productions critical assumptions ruling in literary Croatian studies. discoursepersonal, the aims Byto critical she opening to construction textual ofandmore subjectivity introduced. experiences,are easily Zlatar’s books. In this way certain subject subchapters. refer to autobiographical, confessional self italicized are orseparated chapters and autobiograph writing:ical memoir, diary, travel and writing poetry. even Thesections that tijela autobiographical writing. Rječnik value. Today selfvalue. Pearce

F or overview and a detail analysis of different uses of personal pronoun in contemporary feminist writing see (2004) In In In my view, Zlatar's discourse is put in contrast “neutral”voic with 15 Tekst, tijelo, trauma tijelo, Tekst,

Zlatar’s . Pearce also warns that the usage of personal pronoun might not always have the epistemological

. They are thematically and methodologically connected to analytical parts of bo - writing has also been “associated with a cultural tradition of self of atradition bourgeois with has “associated cultural writing also been The discourse is characterized by intertwining of literary criticism

critical discourse can be classified aspersonal criticism, i.e. theuse of the

and and jči tijela Rječnik

personal ispersonal more in present than the in discourse Tekst, - , creating adiscourse that is neither academic, matters in are that the author’s analytical focus, e.g.

24 includes different modes of confessional

I find different uses of the first person find offirst I uses the different

more detail the discursive e that prevails in - - indulgen representational uestionable to

ce and ce and , and , and th th CEU eTD Collection with: view ofShe emphasizes areader. that herchoice toread is popular literature she can identify feminine, isgoing not to approached be from point a of view of critic a from but of point a form popular to devaluated a ofconsiders be literature contemporary gendered is that as she which and lit, writers todebateonwomenchick thather the signals approach Zlatar attemptto re personal as an argument dominates in parts where there is evocation of feminist discourse and references to aparticular historic time, 2000s theearly inCroatia. experience can be regarded asmethodological choice related to theauthor's feminist agend book. discourse of literary ipof relationsh between the gender and literature in this chapter differs quite a lot from the “essentially self self in Zlatar’s critical writing is informed Pearce’ by ofLife“][“The Everyday tijelo, Archeology trauma from(2004). Tekst, women’s literature, I will 'reading the and Feminism fantasy

I find that combination of critical commentary with the articulation of personal The text is The textis aroundorganized the theme fiction, andwith reading of gender, popular could (Zlatar, 2004,p.186) I her? else identifywork. Howwith in lives forty, some Europea life. Death to historical novels and masked heroines’voices! want I a heroine that is amusingcheerfully, and books byurban written women, everyday with dealing and I will say it simply an In orderIn to - inscribe conventional understanding of gender and literature in positive terms. - directed” autobiographical and “strategic” use of The theself. thematization discuss the construction of construction the discuss interpretation look more closely at svakodnevnice“ the “Arheologija chapter d clear – d clear

and theoretical discussion dominates which of the rest that n metropolitan city, and has problems both at home and at home and at and problemsn metropolitanhas city, at both '

over the last few years,have I preferred toread 25

the self and experience in Zlatar's writing on s (2004, p.84) I find that the usage of the usage find that I

My approach to the approachto My distinction between a.

CEU eTD Collection a “resisting “resisting whoa by reading reader” the“against what controls grain” patriarchal texts doto understood as subversive practice. For example, Judith Fetterly argues that feminist reader feminist been has in literary important svakodnevice” early Reading often has theory. been

subversive.writes: She studyRadway’s Reading the romance to positiveconsidered be values of popular women’s literature. Zlatar draws from Janice personal andself commodification passivity culture, and authors in positive terms. Female has reader since modernism been stereotypical image female ofthe and reader devaluate popular fiction writtenby female 18) equally problematic to deny that this is – completely denied from aperspective of theories of reading. As Pearce says, seems “it tobe criticized such have maybe Though poststructuralists assumptions,identification not generalizations about women’s experience as something shared and reflected in literature. several ways. This refers toassumptions about reading as identification, aswell asto . The discourse o original) readers’ self neither educative nor instructional but does facilitate the processes of the female make not playfulness does it less This ofvaluable. kind fiction women’s urban is women’s female point of view in experiences depiction and of case of events.In fiction, this of agency on subversive subversiveand function the actually insists women’s fiction, Contemporary In my thenarrative view, of female experience articulated is to rewrite the Zlatar’s onautobiographicalZlatar’s relying self and experience be could

- right to publicright to representation of narrator as a makes reader possible it toaddress what are - realization and self chicklit

n readingsimilar toposition the Zlatar that articulates in “Arheologija –

let us finally call it by its real name -

comes about asa (see Felski,2003;(see 1986) Huysmann,

on oc - affirmation. (1984)and argues that chick litis potentially 26

casion – (Zlatar, 2004, p. 191; emphasis in 2004, emphasis(Zlatar, p.191; in part of the the part of right to quality literature reading fantasy

associated with mass

contemporar

problematic in . Evocation of. Evocation ” , and it, and (1997, p. p. (1997, y urban

is is s CEU eTD Collection Tolić Tolić 16 literature written by women authors in positive terms. feminist intervention into the field of literary studies by re svakodnevice” on the use of theself suggests feminist politics. The author aims tomake a her jči tijela Rječnik partas onchicktook inlit sexist. context the which the debate Zlatarthat uses the self and personal put to a new to object perspective the of text and render are who Jeger, Rujana and Rudan Vedrana Čulina, Arijana , discredited some unjustly be to considers she books of them written by Croatian writers like Croatia. in2000s inearly the part that took onwomen literature and ofdebate a as the part seen be written and popular literature read byfemale authors readers. that reading literatureare and gendered, to a point to subtext sexist of the debateon shifting betweenconstant ofreader position the and position of criti the svakodnevice”, “Arheologija andIn in feministinterest gender. early reading critical the representation of feminist critic asa r

The debate raised the issues of gender, high and popular literature, (see Felski, 2003; Pearce, 1997)(see Felski,2003; Pearce, (2006) In myIn Zlatar’smethodological view, choice to her arguments base in “Arheologija I find it important to note that Tekst, tijelo, trauma Zlatar uses personal and constructs thereader in thesense inwhich Felski describes anti question a is fornot thoughtful investigation, simply excuse an to emote an alibi for experience aesthetic in Theroleofpleasure and illuminate emotion to other. each the using and scholarlythe confessional, and interweavespersonal, critical the 16

There is no is referenceThere tothe specific events from thedebate but Zlatar refers to and Visković - intellectual sentiments” p. (2010, 56) , a text that largely relies on the autobiographical self. My attention will be (2006) .

eader, in Felski’seader, in words, . Feminist literature. Feminist onreading and for pleasure 27

.

In the In following will I section, atlook literary value. literary value.

was publi argue associated with chick lit. argue In -

inscribing formsdevaluated of For more details For more details shed shed 2004,canin it and c is used to illuminateused to c is

see see Oraić CEU eTD Collection placed asmeansobjects.“or culture arecontemporary defined“[t]he b odies through their even function when they are not On by that can of termothersplit overbridged be usage the “functional“. the in hand, ofbodytranformations the contemporary in She literature“]. argues against the body/mind for had she the book was“Funkciona subtitles ofpossible one the that writes she Inpreface, the and culture. literature contemporary her ownconfidence body. builds frameworktheorize the nceptual to co tijela While in way. tijela focus ofthe Rječnik from frameworkand a poststructuralist involving feminist literary theory. These stayissues in rape, touch, thesexuality, ofbody,e.g. illness, belongingto connotative field the literature literary themes. In to between li boundary belonging to of different autobiographical writinggenres literaryand criticism, the bluring women body the Dictionary of literature. focused on Zlatar’s methodology and politicsimplied in the thematization of the body and Tekst, tijelo,. trauma Tekst, Zlatar is one offew a literary critics in Croatia interested in those

the literature is a productive source ofimages around which Zlatar with a lot of ] In In jči tjl: oii opr že otpor, Dodiri, tijela: Rječnik

(2010),

jči tijela Rječnik trauma Tekst, tijelo, organized around the issues of body, gender and literature, consists of literature, texts and of body,gender issues the around organized Tekst, tijelo, trauma terary and critical discourse. The theme ofthebodyalso been has central

, Zlatar addresses the issue of representation of the body in ofbodyin issueof addressesthe , Zlatar the representation

but the body brought the in but is (Zlatar, 2010, p. 10) the focus was onthe body a as literary topic, in Rječnik

the author analyzes several themes incont ne lne pretvorbe tijela u književnosti“ [“Functional

[ Dictionary ofDictionary the body: Touches, resistances, 28

. Zlatar argues that example of such relation to literature in quite a different

emporary CEU eTD Collection 17 to therelated concept body.Central body that standsfor the is touch: tijela quot This Theof terms materiality. in and source bodyimages ofsuch in agency found literature: is categories are toalarge extent rendered from contemporary fiction. (e.g. Maurice Merleu of Westernembodiementmind/body theories philosophyand the divide in of of the criticism Courtine GeorgesJacques and Vigaarello. Rječniktijela Histoire Corbin, byMichelecollection de and corps Marzano, byAlain Jea edited , edited Filozofija tela lia Ju Kristeva).Douglas, The works that are most oftenrefered to are Mikhail Epstein's fiction and anthropological, sociological, philosophical and feminist literature (e.g. Mary Zlatar'sof and corporeality literature. body the approach to build uponis contemporary both embodiment bodies,femalestandardize especially beauty and industry fashion which ones. she addresses medicalization and its individual abilities are brought to the maximum development“. on, Further possible of wherebodymachine, “transformed the usefound be sport, is negative a ofbodycan in to the society financially. cases In 10)

“We have to be healthy in order to fulfill our social functions better, and that way we will contribute to the

.

In In I find it interesting how Zlatar does not re The book is organized around concepts which are metaphorically or metonymically or which metaphorically concepts around are organized The bookis 2010,(Zlatar, p.11) objectivation instereotypical representations, against uses and abuses ofbody. the directly and indirectly speaking against functionalization fact, In ofreading the literature, contemporary i.e. the fortexts themselves, was e illustrates not only political implications but not methodology political e also only the ofillustrates Rječnik Rječnik tijelaRječnik (see Grosz, 1994) Grosz, (see

[ Philosophy of the body the of Philosophy -

of illness and ageiand ng, we illness of are burden to society, Ponty, Elizabeth Grosz). However, the vocabul Grosz). However,the Elizabeth Ponty, the body is not invoked only through oppression. It is also is represented It through oppression. only bodyinvoked not the is

17

and aesthetizationand of body, the is which inevident the ways in but

builds her own conceptual the frameworkaddress issues to ] (2009), collectionducorps ] (2009), Dictionnaire 29

ly only the rich oftradition philosophyofthe

is also in a dialogue with the tradition and that and

of the body, against its of body,against the

costs it.“ it.“ costs ary andary analytical (Zlatar , 2010, p. p. 2010, ,

(2007),

n- CEU eTD Collection the sensation ofthe touch. 19) (2010, mediated p. byorgansensation” that isas of human skin that surroundings, agency touch, because “inits basics, it [touch] assumes i the writes haptics, theoryof about Following Epstein,Zlatar other. and embodiment, self and body/mindalongparts the divide. offield connotations thatare rewriting the body the against withcommon bodily associations andliterary academic, andcritical imaginative The writing. sensation of opens touch upa associated with resistance. Inth material. psychicand understanding ofbodyas the of bina interpretations of literature,mostly contemporary organized around ofthe transgressionidea 2010,pp.17 Zlatar, body(see mindthe and emotional, rational and marginalized culturally negatesbut oppositionsand self sensationbetween the that the other, writing of contemporary feminist critics cultural criticism, Pearce argues . The author arguesthat individualsget sense ofself the and experience the social owingto The association ofThe association the bodywithopens likecommunication, touch upthemes haveAs I In Zlatar’s writing, which metaphorically the are Zlatar’swriting, concepts oftenIn the related to body are consciously c we cannot thatmemory reliable sole reason greatestfor the our storage, The bodyis remembers. touch disappears in an instant. It lasts at least from theinside, because the body As timefinger. by goes it goes,where how does it flow down, wipewith youfollow itsway, then your it trace, indelible and invisible. As a trace of atear on one's face. You know exactly Touch was lef as well as a ‘limit’ or ‘boundary’, is seen to be of a particular intere This metaphoric conceit of theskin as a‘border’, that aboutis contact and connection ries, emphasize thecomplexity of therelations between the self and others, and already argues, Zlatar's discourse often transcends the border between t somewhere behind, existing as a trace on the skin. (…) Touch and (…) as ontheTouchand behind, somewhere trace skin. existing a t Touch is at same at the Touch is the timeand connection, border the traces fade away,traces markinscribed the skin on the by someone's ontrol 2010,p. it. (Zlatar, 17) e analysisof that such conceptualization of the body is often found in the the of in conceptualization often found that such bodyis the :

30 the body as metaphor the metaphor conte bodyas in

nteraction of its individual an with nteraction

- 30) m porary feminist porary . Theauthor's st to feminists a c omplex omplex CEU eTD Collection

mainstreamcriticalproduction in to literaturebut related relations to the questioningalso to of power relatedis to what is perceived as object of feminist critical intervention. This refers not only both the thematic le uponand agents. acted The exclusively female bodies. andageing bodies, ill uglyold bodies, uncontrollabeThey mostly, bodies. are not but tijela defamiliarizationconventionaland of its Therepresentations. bodies in Rječnik The

semantic To conclude, Isuggest that feminist politics in Zlatar's critical discourse is present on (2004,masculinist p.140) thought. in it to adhere towishing reclaim bodyfrom the more the negative and reductive connotations that field of the body that Zlatar refe vel inand methodology. Thematiz

y cultural are representationsmaterial and bodies. They are Croatian literary literary Croatian 31

Rječnik tijela rs to in Rječnik studies. ation of literature, gende

also assumptions ruling invokes disruptioninvokes r and body the

are are CEU eTD Collection half of the 20 perfor essentialism” “flexible Theater's izvedba Govedić Nataša and Feldman The politics of performance: critical discourses of Lada Čale those various same not those disciplines, the does have performance often formeaning them. is It studies, comparativecultural philosophy, sociology, literature.Butas situated in the context of Croatian literary and theater characteristic subject methodological frameworks to relationship out between bypointing the their several and texts Govedić’s and Feldman Čale analyze will I that, After studies. performances of framework the regarding different quite are political framework feminist and methodological them.articulated in position discourses critical Govedić’s and Feldman Čale that traditional disciplinary fields but also between theater subject folklore, film,literature, popularculture, theater mances studies, an interdisciplinary area of scholarship that has developed in the second - Performance asacharacteristic of various cultural is discourses critical Govedić’s and Feldman Čale of concepts central the of One To address these issues, inthis chapter, willI first situate them in the theoretical matters from an interdisciplinary perspective that blurs the boundary not only between (performance). appears obje an Thenotion of as performance th

century asintersection of disciplines such as theater - matters, fro mwhich their feminist politics emerges. They willalso be

32

, performance approach Bothauthors their art. studies. and everyday practices. However, I find However,I everydaypractices. and

practices has been inthecent

ct of their of analyzes studies, anthropology,studies,

concept common to commonconcept to

e r

of of CEU eTD Collection characteristic t critical discourses articulate. Idiscuss that in more detail below, pointing to their to addresses their subject them allows writing Govedić's and Feldman Čale in present is that performance of character “fictional”material representational, and onboth emphasis the find that In ways.” both and de project 198) associations of theatricality with “both theconcrete and themimeticp. mode“2003, (Jackson, feminist political assumptions into question. with an emphasis on themateriality of theatrical pe feminist politics. Jackson argues that feminist theater implications of understanding poststructuralist of are too subject ambivalent regarding n ae eda ad oei’ txs Acrig o hno Ja Shannon to characteristic offeminist theater According texts. Govedić’s and Feldman Čale in space betweenrecognition of difference the the oftheater the (2002) Der workofby the Jacques understanding from ofderived performativity, - L. J. Austin's speech regulated as of aset cultural practices which constitute individuals in different ways. Such proce the refers to theoreticalcontemporary discourse used in relation to the terms performativity and theatricality. The term performativity in . Jackson p.199) (2003, , refers to the specificity That made is possible by theatricality's “flexible essentialism”, which tothe refers The elision of the concepts performance, pe performance, of concepts The elision the - hemes. essentialize it, theatricality’s flexible essentialism allowed feminism tohave it - ma

rida andrida Judith Butler. Theatricality, according toJosette Féral writes: “In a feminist struggle that wanted tomaintain a political tters in ways that are productive for feminist intervention their studies. For feminist theorists of theater

of theatrical, stage

33

rformativity and theatricality rformance in a way that does not bring bring not does way a that in rformance ss by which subjectivity is produced and is subjectivity bywhich ss -

related performance that rests on the scholars oftencombine performativity and the space the and of out it. act theory, is represented ckson and performance, the and the performance, (2003)

can be found be can

, that is several several CEU eTD Collection that genderthat created is through various performative acts that render as it “natural” and argues Butlerperformativity. gender of theory Butler’s in Butler, of criticismFeldman’s Čale theorists contempo byfeminist in used and rary theory interested in performance: I Here Jackson’sturn to summary waysinof the the which notion of theatricality beenhas theenters debate and about performativity theatricality in contemporaryof theories gender. izvedbom“ text“Nevoljes the t scholarship. In [“Performance knowledge bothmore a production in traditional performance. she which thatchallenges Thewaythe in does the prevailingassumption in performance. the frameworkanalytical thatwould,in view, her on enablemore gender profoundand approach to elaborate to order in positions theoretical various discusses Feldman Čale (2005), assuch Peggy Phelan and Elin Diamond. both In Euridikini osvrti performance V of on workof byButler.Theauthorrelies represented the anthropologists as performativity indiscourse anthropology of performance, feminist performance and studies theoryof theory stageof the On Examplethe association of again to ofturn theatricalitywe found, “real”be with can if literal, thestable, or the naively metaphysical “real“ theorists in the late with the figural, allegorical, and surrogated nature of representation, a host of critical for theground authentic. While of history a Western though associates theatricality contexts,anti an as other for in representation and, metaphor a as used itself on theessentialist as anti find as can easily polemics, and convenience, uponcontext, Depending theatricality gen of theories different with dialogue a enters Feldman Čale Č ale Feldman'sale “flex ictor Turnerictor and Richard Schechner, and on feminist theorists of performance,

- ible essentialism”ible emerges from thetheoretical grounding of her twentieth century used theatrical examples tocharacterize the - essentialist side of aconceptual binary. Theatricality is 34

theater

studies contemporary in and feminist (Jackson, 2003,p.189) (Jackson, rouble“] (2001), Čale Feldman Čale (2001), rouble“]

(2001) Femina and ludens - der, text and and text der, representation

CEU eTD Collection performance. essentialism” “flexible functions her in theorizing and interpretations (and) of gender Feldman's Čale how demonstrate to going am I part following the In subversive. be equally performances role' gender ( 'fictional and but actuallypostulated tentative and conventional ontological distinction“ between 'real actor' theatrical conventions should alsobe seen as“citations” that arbitrarily guarantee “viability of basisofthe theatrical performance ashardly subversive. theatrical conventions assure “fictional” status of performance in the theater about in genderdiscussion performance and representational status of theater resignification and emphasizes its potentia l to destablize and subvert categories of identity. possibility ofpossibility anti Butler writes: Gender “prediscursive”. In ’ s But in fact, Čale Feldman writes, “theatrical gender identity is also ’readable’ only on only ’readable’ also is identity gender “theatrical writes, Feldman Čale fact, in But Butler criticizes Feldman Čale (Butler, 1990, identity. (Butler, stable p.136) falnor surface inscribedand onthe then ofit seems bodies, genderscan that neither be true If the inner truth of gender is a fabrication and if a true gender is a fantasy instituted

understa formerly established gender cultural codes“

se, but are only produced as the effectstruth of a ofdiscourse primary and -

gender and theatrical gender and nding of performative as gender - essential ist Č

trouble: Feminism and the subversion of identity of subversion trouble: andthe Feminism ale Feldman, 2001, p.109) Feldman,2001, ale

politics. Performativity makes

– on the basis ofneglect on the basis . She argues that Butler too easily dismisses the have “fhave

35

. In her view, Butler is is . view,wrong t her Butler In ictional” and “authentic” character and can

has been widely accepted by feminists asa . Thus, the author emphasizes, both authoremphasizes,both the . Thus, (2001, p.109) identity unstable, fluid,identity open

of performer's materiality materiality performer's of theater . She emph that. She asizes , which renders renders ,which o assume that

(1990), she (1990), she

to to CEU eTD Collection and “material” at the same time.implies That that thebody on thestage should be understood refers to is theatricality’s “flexible essentialism”, i.e. the status of performance as“fictional” gender in theatrical performance. One ofparadoxes the of theater the text “Paradoksi spola/roda u kazališnoj teoriji praksi” i [“Paradoxes of sex/gender in studies and feminist theory that did not capture the complexity of and performance gender. In of misfits the out points often Feldman Čale performance. in/and gender of theory the feminist theory at large, Iwant to point to some themes that are in her focus. First of them is studies. critical discourses have important part in those transformations ofCroatian literary and theater perspective. suggestI that cert bee mainstreamknowledge inproduction Croatian literary and understanding of performance theatricality. and I matters. Theoretical framing of her analyzes includesgen theater that challenge prevalent modes and of theoretical criticial i production be especially important regarding the local context in which she is situated as a critic. the the performance applicability and of her theoretical framework is convincingly demonstrated in Gender onstage n present. Todaythere is gro a w analyze

Toturntheto positioning ČaleofFeldman’s critical discourse subject introduces Feldman’s Čale view, my In The studies. In her analyze studies. her In theory and practice”]auhtor theory and (2001), the the points to materiality instability and of

s of in performance folklore, viability of Čale Feldman’s intervention in feminist theories of gender and and gender of theories feminist in intervention Feldman’s Čale of viability

ain aspects of Čale Feldman’s, as well as Zlatar and Govedić’s and Zlatar as well as Feldman’s, Čale of aspects ain s, she demonstrates interdisciplinary approach to her her sheinterdisciplinaryapproachto subject s, demonstrates ing bodyof froming literaturewritten interdisciplinary an theater 36

, literature, popular culture. I conside nterdisciplinarity - matters and and matters approachmethodological der performativity, anthropolog theater theater

that the title of the essay studies but it has always

in the in never prevailed the in n Croatian literary and

local context and context local

r thatr to theater ical -

CEU eTD Collection 72) ethical and ontological nothingness“ are as well present in the 20th century theories of performance p. (2005, physionomy, also and the idea about woman as actress a priori, bare mask projected bymasculine desire 18 want tosubvert “traditional masculine objectifying gaze” can actually perpetuate it: of theaterhistory revisionist feminist theater neglected been inhave theof history Western theater authorNevertheless, the thatgendered suggests perspective criticism ofboth traditional theater performances. ofout theater performances govern gender that relations social But,according her, to byitself. subversive performancegender subversion. with Shedoes assume not thattheatrical cross outimpossible otherwise oftheater the of thus construct, perceiveda couldbeen as have stage on the performed men cross authorelaborates, by the but, European related theatrical thatanother paradox is gender to She argues theater in binary, often associated with the binaries sex/gender and female/male, functions in theater s both as theories of acting all the way to the 20th century involve the idea of “sexual difference”. both theater historicallypresent complex in ways

Čale Feldman writes that “the idea about the actress as a woman a priori priori a woman a as actress the about idea “the that writes Feldman Čale .

cig n atess r to te iprat hms o Čl Feldman’s Čale for themes important other two are actresses and Acting between male perfomer and spectator, similar happened inwomen's theater imaginary (cultural) fetish that mediates the communication about its “nature“ If traditional masculine pecific material body and as a sign. Čale Feldman examines how the nature/culture the how examines Feldman Čale sign. a as and body material pecific theater

hallenged when they differ from more conventional theatricalgender and more conventional challengedare differ from when they

” women were not allowed to on act the stageand female roles were (2001, p. 88)

theories are that essentializing and perpetuating “patriarchal

schema extruded feminineschema as extruded third, a transforming into it . For example, she argues feminist that performances that

studies and feminist criticism Čl Flmn s ey aeu aot soito of association about careful very is Feldman Čale . 37

-

dressing of fictional characters and actors itself and in theatrical theory since the

studies. in theory and actress as a theme fering possibility to do what was dowhat to possibility fering Čale Feldman is also critical to critical also is Feldman Čale –

inconceivable, artisticaly untaiming untaiming artisticaly inconceivable, . She arguesthatge e historye th of. In the - dressing isdressing

, which by, which nder is in is nder feminist feminist

18 – .

CEU eTD Collection doublingco ] (2008), 19 f rain crse Mr Fra ad n Begović. Ena and Furlan Mira actresses Croatian roles and personal narrative of postbetween postkomunizma posthumanizma“ i [“It's apitty she's a whore: Actress and her doubles body.essaythe In “ interest of Croatian scholarship, like popular culture, media, ritual, autobiographical writing, address from afeminist perspective the themes that were for along timemarginal to the ludens performance art. examples of female performers of arte commediadell' ais complex web of material bodies, social constructions a and (2005, order“ p.71) of ontological any the structure discloses specificities canthat not be easily subsumed thesign “under of identity“ and thesame at time sexual difference, spites att onquotes Feder Zakin’s and text about Derrida and “women” to argue that“acting, justas Feldman Čale heterogeneous. and fluid is performance because “fiction” to or “real” the to on Diamond (2005),Butler,[“Actress' relying and aura“] she argues that acting is irreducible take female not does forthat granted bodyon stageis subversive.“Aura the In glumice“ Feldman Čale suggested, already have I as But, in. part take they system the and themselves performances. her In view, gender and both theatrical performance should on emphasis text foundthe be her complex in theatrical dynamicand social of

Čale Feldman's book, Čalebook, Feldman's

of women about male “culture“. ( maleof women “culture“. about male of of use bodyand i extrusion In my view, the approach to performance Euridikini approachto my in the In view, osvrti Feldman's Čale in essentialism” “flexible theatricality's of importance that suggest I hoeia faeok alw Čl Flmn to Feldman Čale allows frameworks theoretical brings various (2005) that together - communism post and

- written with Morana Čale, focuses on the “phenomenon of doubling, understood as a o dvojništvu Studije U kanonu: empts ontologicalanchoring“, that ofand produces reliable “acting tt šo e uv: lmc i jzn donšv između dvojništva njezina i Glumica kurva: je što Šteta

- humanism“] (2005), Čale FeldmanČale (2005), humanism“] Č ale Feldman,2001,p.89) ts ownts “nature“, realizes theatrical communication 38 [

In the canon: Studies about the phenomenon of the phenomenon about Studies canon: the In , and the 20th late century female . She. illustrates that performance esthetics bybringing in the

s potentially destabilize analyze (2001) Femina and s media image, 19

In an an In CEU eTD Collection of motive“ co national approached theater literatureand thathave amongcritics first the One offocuses the ofanalytical her interest has been Croatian drama and theater theoryof theoryand feminist The interdisciplinary approach. boundarythe fiction between theatrical and everyday life also therefore and requires ofthat representations gender nationaland function identity ain complex way thatoften blu demonstrates convincingly Feldman Čale that argue to want I point, this At identity. national of body the actress functions asa sexualized object of theatrical gaze, media commodification and how shows Feldman Čale transition, of period the thorough period socialist analysis ofthechanges of theactress' in status Croatian popular culture and theater Femina ludens contemporary authors. She especially is interested intheissue of feminist theater offers what consider I tobe comp literature and theater of as formation, addressing prcanon well in of process the of questioning her in is writing critical Feldman’s Čale of intervention major interventionfeminist into field the of in production humanities. Croatian knowledge The other of view nstant anthropological structure and as a sign of modernity, a psychic obsession and literary figure, procedure nation ae eda’ dsore s a I ae led age, h st o itreto into intervention of site the argued, already have I as is, discourse Feldman’s Čale The author gives a lot of attention analysis lot a of the dramato Croatian The author gives of theater and attention

feminist criticism and performance studies. Ifind her analyzes tobe valuable to (2008, p. 355) p. (2008,

on stage

(2005) she points of Ivana Croatian Sajko points to play (2005) she the author contemporary in in relation to the construction ofidentity and national politics. .

performance, especially in the relation to Croatian humanities. lex andlex incisive analyze 39

oblematic oblematic ofpositioning of institutions the s of both canonical and

from of point a

practice. In

. She was

from from

and and rs rs

CEU eTD Collection allegory thatallegory is “far from transgressive Euripides’ Medea rebel” challengesSajko conventionalsentations repre of gender theatrical and strategies, Göncz’ play is apolitical Médea Médea (see corporeality performance characteristics the of 1970s’ performance practices thatchallenge the fiction/realitbinary 22 21 20 It ofis category a gender. character. between character and the addressee of thetext, as well as identification of theauthor with a gender of characters, between character and person upon which the character is based, gendering”. “Sexual metathesis”, she writes, refers totherhetorical practice of achange in “cross over Paglia, Camille from taken metathesis”, “sexual term the prefers Feldman Čale odan Slob and Pavličić Pavao Marinković, Ranko Matković, Marijan Vojnović, gender inversion, about cross theatrical metalepsis in Croatian modern and postmodern drama”] (2001), the author writes metalepsa u hrvatskom dramskommodernizmu postmodernizmu“ i [“Sexual metathesis an intervention is the canon of Croatian literature theater and affi theto genre of theater important to note that some parts of deconstruction well as of as gender, transgression of the border representation/reality. It is sometimes] asafeminist and “post Medea, Archetype awoman performance: speaks for monologue who aplayed from Bilješke sodigrane pre andSlobodan Šnajder Marinković are important figures of Croatian drama of the s Dickinson

Čale Feldman take the term from late 19 the is Vojnović Ivo The term “post rm themes that are marginal from a position of traditional literary and theater [ Hungarian Medea Hungarian As I have already suggested, another important site of Čale Feldman's feminist feminist Feldman's Čale of site important another suggested, already have I As

(1990). (1990). 22

o Čl Flmn cross- Feldman, Čale For

- rm” ae eda tks rm Hans from takes Feldman Čale drama”

arecontemporary writers. ] due to the similar social context, i.e. context, post ] social to the similar due

dstave: Arhetip Medeja, monolog za ženu koja ponekad ArhetipMedeja, koja govori ženu monologza dstave: th and literaryand review. In my they view, point to author’sthe to wish

and the early 20 early the and Č aleFeldman, 2005, p. 188) - Paglia's book

dressing practices and actress as acharacter inthe work of Ivo Euridikini osvrti - th drama”

gendering in performative practices challenges performative the in gendering century dramatist and novelist. Marijan Matković and Ranko Ranko and Matković Marijan novelist. and dramatist century

Sexual personae: Art and decadence from NefertitiArt to and Emily personae: Sexual decadence 40 20

. Sajko's play is juxtaposed to Árpád Göncz’ Magyar econd halfofthe 20 play built around idea of ambiguity and and of around ambiguity idea built play (2001) and and (2001) (2005, p. 190) p. (2005, - Thies Lehman who uses it to describe the - socialism. Čale Feldman argues that while while that argues Feldman Čale socialism. .In “Spolnametateza kazališna i Femina ludens .

th

century,whilePavao Pavličić y and put emphasis on (2005) belong (2005) belong studies. Šnajder

[

Notes Notes . 21 d -

CEU eTD Collection will Govedić’s analyze I site of feminis discussion them,in with thoughtful resulting analyze literary feminist performancesand theories to scholarship,and Croatian inenters productive a ethics, hybridity and and hybridity l ethics, literary, film and theater and Thebookbringstogether critical everydaylife. ofpractices andart, ethics politics theory,performance feminist contemporary politics and Performance of canon. revision theproduction. literary forfeminist Croatian a She calls and identitytheater shape literary and of constructions gender national particular which “resists”and inscription of identity. T national literature and theater original) in emphasis p. 214; against – female position finds ana she The author thatthe plays oei' dsore in discourse Govedić's to hoped Feldman'As I illustrate, Čale male and female genderp.214) (2001, culture to appoints that also of but privileges attributes gender of only not distribution which is, thanks to that, strategy critically seen as sexual economy of culture, strategy that dramatizes and problematizes thecategory of gender ascultural construct,

that canon“ and 'subvert' culturally distributed gender attributes ( gender attributes distributed culturally 'subvert' and that canon“ t t intervention Croatian to and literary theater especially female experience and female body –

female bodyis an archetype of the nation, its representations changes iminality. Izbor uloge, granice uloge, tijelo Izbor

criticism, organized around the topics such as freedom of choice, by any other name . She argues that although throughout thatalthough . Sheargues

I want to demonstrate author demonstrate ways to the want that the which I in Izbor uloge, pomak granice Izbor lyze s “fit into the existing canon of the thematization of

studies, and philosophy and raises questions of philosophyand and questions raises studies, s critical discourse that introduces contemporary 41 . he authorcalls forabout awareness the ways in

(2002). (2002). s, represents asignificant and promising

studies. In the rest of this chapter,

but at the same time the draws from(2002) the

the history ofCroatian Č ale Feldman, 2001, Feldman,2001, ale work work

CEU eTD Collection various texts and performances that,according toher, destabilize fix in approach such of examples finds Govedić discourses. and disciplines different between the text, the author argues for “performative” critical practice that transgresses the borders theoretical“dialogic” model.Byanti layingout as centraluloge, notionsappear Izbor in pomak granice fixation of identities, which makes and textual theatrical practices polit She argues that performance is characterized by resistance to thebinary thinking, hierarchies, endless transition” the represents and openness to the other,a else” “sign the is performer same asa [in theater Govedić, For unstable. inherently therefore and performative as language of understanding which toa extent large frames critical her discourse, G as performer: the limits of literary text and the liminal theater “Znak kao performer: granice književnoga teksta liminalni i teatar Jacquesa Derride” [“Sign deconstruction. uponDerrida’s based in film, etc. text,performances, literary essentialist way. The notion of performance that frames the author’s analyze ofs various contributeto to the transformation.book: social establishes a dialogue with awide range of theoretical texts point to the central idea of the (Govedi growth oftheatricalityp.60) growth oftext.(2002, the the multiple porosity of internal and external limits. Intense liminality also results in the performance, andprivate political A aesthetical, texti public.(…) and audience, writerthe director,performer play and performer, and drama the and text Theater In my view, Govedić aims to demonstrate in her writing what she describes as a a as describes she what writing her in demonstrate to aims Govedić view, my In Govedić elides the notions of performativity, performance and theatricality in an anti an in theatricality and performance performativity, of notions the elides Govedić ć

, 2002,p. 60) is aprocess of permanent thematization of theborder between performer and (Govedi ć , 2002, p. 51) . She writes . Shewrites howabout moves performance borderself/other the . G s well as the openness of stage, “a synonym of ovedić writes: writes: ovedić ]”, “asupplement is it maska ofsomething 42

- essentialist understanding of performance an (2002).

vdć noe poststructuralist invokes ovedić

of Jacques Derrida”] (2002), ed and conventional ed conventional and ical. These issues In the text theIn text s infinite d - CEU eTD Collection 279; emphasis in original) in emphasis 279; critical “theatricality” of Marina Cvetaeva’s work, Cixous’ écriture feminine difference between literary and critical, and literary and politi cal, “hybridity”and She some lists “performances” achieve that transgression: Nabokov’s choice notmake to plural meanings “perform“the and body on stage is a sign, a body onstageis writes: Govedić complex of the refers culturalinscriptionthe to uponthe also which processes body.Butsince appearance), byitsmaterially (e.g.race,age, marked sex, performancealways body in is Grosz, Irigary,Elizabeth Luce practices that are restrictive tothebody. Inthat sense, she analyzes ballet danc e. criticize social to order bodyin emphasizescorporeality of author performing the find that I theaterboth emphasizes She position. political feminist of articulation Govedić’s for part important analogyanother between the theatricality deconstruction of Derrida’s and the andplurality Shesays: texts. complexityof cultural embody only under under only the as maskparadoxicalabsence. hence a sign, of bodies. As well as in the theater Relying on of Rosi HélèneRelying theorists Cixous, feminist embodiment,i.e. Braidotti, As well as in the Apart f externaland identifications. (Govedi strategies ofintonations, gestures, offense emotionalpriorities, defense, internal and ofofdistortions creativejudgment both donotpluralities many include were),gender that egalitarian they or author(rega male any knowfemale epoch, donot any or really I

theory” opened to other disciplines and critical practices (Govedi

and deconstructive writing characterized are by unstable corporeality: rom emphasizing plurality, their inherent instability political and potential, the text, but both of them are mediated by a performing body and spectator bodyand mediated performing bya both are but of them text, the . Govedić argues for a a for argues Govedić . theater Judith Butler, Sandra Lee Bartk , [in the , [in the text]are border there manymove to the ways subject

, the presence ofperforming the bodycomes about ć ” , 2002, p. 18; emphasis, 2002,p.18; in original) 43 (Govedi

model of feminist theory that emphasizes model of theorythat the feminist

male and female disguises, citations, ć , 2002, p. 510; emphasis original) in y, Govedić emphasizes that the that emphasizes Govedić y, (Govedi

and feminism, plural “a rdless howrdless misogynist ć ć , 2002, pp. 278- , 2002, p.61)

or gender even

theater

that

or or s’ s’ is is . CEU eTD Collection “ethical subject” takenis from Levinas: of “ethical subject” that contests oppressive and reductive cultural practices. The idea of topointing the liberating potentialof “performance any The traditional disciplinary closures, and takes clear political stance. create an analytical model to address cultural “performances” that studies, cultural studies, feminism,poststructuralism, psychoanalysis – disciplines and theoretical frameworks – cultural institutions, such performance contemporary as dance. and mainstream the of out function that performances various promotes also Govedić death. and body, onthe Sajko's “subversion”stereotypes of focus of gender and the borderbetween life emphasizes Govedić Sajko, Ivana of plays example, as For analyzewell. binaries the in s “conventional”challenge of representations genderhaveother and dismantle potentialto the functions of to is such discourse promote and texts performances that,accordin “performance”: artistic or media representation as well as critical practice. Inmy view, one of role n of explosio of classical control (Govedi potential social protagonists. uniformed stage, the body is the most powerful of site parody or subversion, thus the site of stage. is mask. cultural Anda complicated a bodybyitself On the body,and the publicandas andMovement separated political (private). be from personal never can n oei’ dsore oiia aed i srnl reoial epaie by emphasized rhetorically strongly is agenda political discourse Govedić’s In dialogue between intertextual an various find thatbyestablishing I To sum up, ge, ulo pomak granice Izbor 2002, p.315) body)(the is always intersection of complex critical discourses of social inscriptions

of context the

(2002) strongly emphasizes the political potential of any emphasizesthepotentialof any (2002) strongly political

literary, film andtheater 44

”. Her aim is to engage in the creation

does conform not the to

criticism, performance the author aims to g to her,g to ć – ,

CEU eTD Collection best representedbest byAntigone. Theenters debate a author Hegel,with Irigaray an subj “ethical view, Govedić’s In questions. important politically raise can it because various between positions that form “subject” is important part of the political intervention dialogue she aims to achieve a of establishment the on insistence myIn Govedić’s view, a conventions (gender, class, religious, political), authority and initiate a dialogue: a authorityinitiate and conventions religious, political), class, (gender, to all contest ‘free choice’ byher playsdefined is Anouilh’s and Antigone myth, Sophocles Govedić Croatian academia, intellectuals, and media in the 1990s. In her view, and her academia, In 1990s. ofmedia position the Croatian political in intellectuals, canonical, authorial,gender, social. ofThe author criticizes the “authority”: idea challenge performance criticismfor and a possibility a change, arguesthatthey as social and should relationship between art and politics, wh the discusses Govedić Kristeva, Julia and Said Edward from Drawing nationalism. strong Croatia:post and war situation1990’s political the the in to political a for responsibility of art and criticism. uloge, In Izbor pomak calls author The critique. social for crucial stays and discourse Govedić’s pproach to pproach condition of the formation of the ethical subject. offormationsubject. condition the ofethical the as defined is us question Others the bywhich Theprocess of authority. position human divineOther. or to both disputes the ourLevinas' listening Other other's and l is “listening“ obedience (1969) not [F]orLevinas discourse ofdiscourse love your fellow beings alive alive fellowbeings your of autonomous,choice self conscious heroine’s momentsthe of the enigma) philosophical wouldskip actual I wouldbe not at all interested in the play Antigone The ideaof awriter, and reader acritic as“ethical subject” gives consistence to istening – Otheristening itsquestions contrary,and is, the opennesson the to argues that various

Antigone . She She

as as the thaterasesone the borderof the gain/loss, the borderof loving situat

readings missed see ofhave to t Antigone (2002, p. death. (2002, emphasis)and after 24; - es legitimate way, or it would omit Antigone’s decision to the

herself in a tradition of feministreading ich indicates that she understands literature, 45

(Govedi

granice

if if

(submission to the authority); the to authority); (submission her “solution” (or permanently - ć war period characterized by , 2002,p.188)

(2002) there are references

hat in the classical no matter if itis s

of that text. that of d Butler’ ect” is

pre s -

CEU eTD Collection control of the authority. her arguments from Horkheimer'sidea of internalization of fear and refusal of responsibility that allow the 23 most assertive. find I that st her Feldman, Čale and Zlatar to comparison In critique. social strong a offers Govedić embedded, are they which in relations power and criticism, and art more politicaloffering “democratic” model. oppressive political system but stick to the totalitarian discourse of victimization instead of Serbian play writers and directo Croatian contributes theto preservation of such a system. the In discussion about the politics of idea the that argues Govedić 1990s. the in politics in relation to theoppressive political system she calls “totalitarian”, i.e. Croatian mainstream role of intellectual, criticism and artistic practices (contemporary Croatian theater dvojnik“[“Th totalitarni eaternjegov and its totalitarian Other“], the author writes ab asthey, “cultural authority”

Govedić focuses on the pro the on focuses Govedić In myIn byemphasizing view, dynamicthe relationship theater

and dramaand of onthe analysis the based plays of Croatian contemporary and

blem of 'internalized authority' and 'repressive hierarchy and values'. She renders raightforward articulation of political agenda is its great strength. , took part in “authoritarian” repression.

rs, Govedić argues that they did not challenge nationalism and nationalismand challenge not did they that argues Govedić rs, 46

about depolitization of cultural practices between cultural practices like discourse is rhetorically the 23

In the text “Kazalište i

especially) out theout

CEU eTD Collection and Zlatar.and In my allthree view, Iauthors have Govedić, Feldman, Čale by texts the of framing methodological and theoretical and matters, particular soci Čale by texts the in and Feldman, Zlatar. Govedić, position feminist constitutes what see to wanted I construction, its particular socio I Since have proposed that feminism notshould be taken for sinceit granted emerges from a feminist literary critics in Croatia It feministhas production. done to been related knowledge Conclusion uh s rklć Uršć n Dni, s el s o otmoay ieaue rte by written literature contemporary to as well as Drndić, and Ugrešić Drakulić, as such focusing have books rolein important an critical public and attention toworkof the writers Croatian literarystudies – Zlatar's discourse represents one of the most prevalent modes of feminist literary criticism in literature and criticism.However, theuse of personal by itself does assumefeminist position. on themodes light ofwriting dominat critical in border and Croatia the questions bet Together with the author's thematization of textual respresentation of identity, it casts anew trauma framing analyzemethodological of their prevalent modes of criticism inCroatian literary studies. This is most effectively done in the I have illustrated several different ways in which feminist position is articulated in a This thesis has addressed particular theoretical and methodological assumptions What Ifind to be one of the mostinteresting characteristics of Zlatar's Tekst, tijelo, and and Rječn o- -

historical context, i.e. in Croatia the and 1990s This 2000s. subject concerns historical context in which it is positioned and at ik tijela ik the one interested in the criticismof literary canon. Ifind that her

is the ofvariety usesdifferent of autobiographical discourse.

-

Lada Čale Feldman, Nataša Govedić and Andrea Zlatar. Andrea and Govedić Nataša Feldman, Čale Lada s. s.

47

analyzed raise important questions ree ree th of texts the at looking by the same time takes part in about the ween - CEU eTD Collection In my view, Čale Feldman, Feldman, Čale view, to a particularmy context of literary criticism in which it emerges. In relation the in to has seen be feminist status Their methodological style. assumptions,and and Zl Andrea and Govedić Nataša Feldman, Čale Lada of texts the that illustrated has analysis My and that itis necessary to question what constitutes the politics of feminist literary criticism. which are in embedded. relations power they film Grou criticism transformation, social and one is ofmost the notable characteristics of herdiscourse. straiagthforward way raises the issue of political responsibility and the role of the feminist in and production literary knowledge theater which in effective manner challenges disciplinary borders, subject he approaches who critic a is Feldman Čale that illustrate to tried have theatre studies. I represents a significant and promising site of feminist intervention to Croatian literary and textsliterary pe and performance. Itsvalidity is, myin proven view, by the author's of analysis insightful various and theory, my analysishas illustrated that it effective is inother ways. relymuch body.discoursenot feminist criticism,does the her feminist as Although on such women. Zlatarintroduces into Croatian literary studies themes that have been important for atar I have analyzed can be classified as feminist due to their subject Femina ludens point to the complex relationship between cultural practices like art and criticism, and nded in poststructuralist theories of subjectivity, her - I have argued that it is myIn t view, motn aot ae Feldman's Čale about What consider I to be especially important matters with great self

is the elaboration of theoretical frameworkof gender and the of elaboration foris analysis theoretical rformances in folklore, theater folklore, in rformances e a i wih oei in Govedić which in way he

problematic to assume one model -

reflexivity. Her writing is an example of feminist discourse studies. 48

, popular and culture.my In view, this Izbor uloge,Izbor pomak granice analyze and questions the assumptions in assumptionsin the questionsand

of feminist literary criticism s of literature, theater - matters, theoretical Euridinkini osvrtiEuridinkini

in a in

and and r

CEU eTD Collection emphasis on amaterial and discursive character of any discourse while in f Zlatar is their materialist, but anti Croatia. morewould bring self feminist theory and feminist criticism in Croatian literary s feminist literary criticism in Croatia should address in more detail the issue of reception of between feminist literary criticism and feminist politics. In my view, further research of a be can theoreticalapplied addressprovide framework orderto that in the rela representational strategies and politics of feminist literary criticism in Croatia. It aims to hasundertaken. be to research consistent, a discourses are their which otherwaysin to address order In be related regarding the characteristics of their discourses that challenge disciplinary borders. have already suggested, authors thethree have I Cr framing The texts. methodological of their criticism Croatian in literary studies. This is effectively done in the theoretical and modesof prevalent the theychallange because feminist as function texts Zlatar'sand Govedić, rom theoretical groundingrom theoretical poststructuraliat in theoryand strong onemphasis embodiment, oatian litera My What Ih

Čale Feldman and Govedić's texts, it is a result of “flexible essentialism“, i.e. i.e. essentialism“, “flexible of result a is it texts, Govedić's and Feldman Čale

expectation is that this thesis will prove as a contribution to the analysis of ry scholarshipry . ave found to be similar in foundsimilar be the ave to - awareness to various modes of feminist knowledge production in in production knowledge tofeminist modes various ofawareness

- essentialist approach togender. InZlatar's texts,it emerges y 49 also

d in t in analyzed discourses

suc ceed to tudies. believe I such that research of he course of thesis this can also

assert new subject Čale Feldman, Govedić, and and Govedić, Feldman, Čale (see Jackson, 2003) more detailed more detailed - matters in tionship tionship . As I As . CEU eTD Collection Lukić, J. (2003). J. Žensko žensko godinama.Lukić, i pismodevedesetim pisanje u Z.counterdiscourse (2007).as Yugoslaviain Lóránd, Feminism in contextstwo different On autobiography P. (1989).pact. Autobiographical Lejeune, moments, B. (2006).Kašić, Feminist time R. (2008).u nacionalnomženskoj J. Prognanice Kirin, oegzilnoj Jambrešić kanonu: Fribec,S.korpus:Žensko (2006). Zazornofeministički ginokritika pisanje, Jakobović S. (2003). Thearticality’s genderJackson, properobjects:and Genealogies of performance Mass woman: as (n.d.). Huysmann.culture Modernism’s other.After the great divide: E. (1995).Grosz, Sexual time, Signatures: FeminismDeath Space, the ofAuthor. after the E.bodies. (1994).Grosz, Refiguring pomak granice: Izbor uloge, kazališne filmske N.Književne, i Govedić, (2002). studije t (2002). Theatricality: J. Féral, R. (2003). LiteratureFelski, after Feminism Feldman,Čale Čale, odvojništvu L.,.Zagreb:Naklada & (2008). Studije M. U kanonu: Čale Feldman, L. (2005). Feminaludens Feldman,Čale osvrti: O L. (2001). rodnim Euridikini izvedbama uteoriji,folkloru, Butler,J. (20 (1990). J. Butler, Biti, V. (1995). InstitucionalizacijasemiotikeBiti, udomaći akademski ž subject. Autobiography feminist L. (2006). the The Anderson, and E. RooneyIn (Ed.), Bibliography (2), 66- (2), EuropeCentral University of Minnesota Press. 215- post in anddebates Networks M. Women’sIn E.Croatia. Frysak & E. Lanzinger, (Eds.), Saurer, movements Domknjiževnosti. isvijet 125- (pp. Centar za ženske studije. K (Eds.), D.T.A. A.Ratković, feminizamMajić, & Čakardić In Jelušić, i u Hrvatskoj. T. In ( T. Postlewait C.& theory. Davis MacMillan. postmodernism Modernism, mass culture, perversion: Essays on the politics of bodies 9- (pp. Routledge. London: 22). Zagreb: Centar žensketa studije. 94- Ljevak. književnostikazalištu i Routledge. Cambridge University Press. University Cambridge Routledge. Zagreb:Naklada 122). MD HUDHZ. and Užarević (Eds.), Press. University Cambridge toliterarytheoryCambridge companion feminist ategorički feminizam: Nužnost feminističke teorije i prakse 108. 222). Köln: Böhlau. Köln: 222). 04). Theend04). difference. of sexual 82.

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