Mapiranje Egzila U Djelima Postjugoslavenskih Autora
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Filozofski fakultet Iva Kosmos MAPIRANJE EGZILA U DJELIMA POSTJUGOSLAVENSKIH AUTORA DOKTORSKI RAD Zagreb, 2015 Filozofski fakultet Iva Kosmos MAPIRANJE EGZILA U DJELIMA POSTJUGOSLAVENSKIH AUTORA DOKTORSKI RAD Mentor: dr. sc. Dean Duda, red.prof. Zagreb, 2015 University of Zagreb Faculty of Humanities and Social Sciences Iva Kosmos MAPPING OF EXILE IN WORKS OF POST- YUGOSLAV AUTHORS DOCTORAL THESIS Supervisor: Dean Duda, PhD, full professor Zagreb, 2015 Informacija o mentoru Dr. sc. Dean Duda (Pula, 1963) studirao je komparativnu književnost i filozofiju na Filozofskom fakultetu Sveučilišta u Zagrebu, gdje je 1992. magistrirao i 1997. doktorirao. Danas je redovni profesor na Odsjeku za komparativnu književnost na Filozofskom fakultetu Sveučilišta u Zagrebu na kojem radi od 1990. Autor je dvije knjige iz područja kulture putovanja: Priča i putovanje: hrvatski romantičarski putopis kao pripovjedni žanr (Matica hrvatska, Zagreb, 1998.) i Kultura putovanja: uvod u književnu iterologiju (Ljevak, Zagreb, 2012.). Drugi značajan znanstveni interes predstavljaju kulturalni studiji koje je u hrvatskom akademskom polju promovirao na Odsjeku za komparativnu književnost i na Poslijediplomskom studiju književnosti, izvedbenih umjetnosti filma i kulture. Objavio je knjigu Kulturalni studiji: ishodišta i problemi (AGM, Zagreb, 2002.) i priredio zbornik Politika teorije: zbornik rasprava iz kulturalnih studija (Disput, Zagreb, 2006.). Autor je i nagrađivane knjige eseja Hrvatski književni bajkomat (Disput, Zagreb, 2010.) u kojoj se bavi suvremenim hrvatskim poljem književnosti i kulture te tranzicijom polja iz jednom društveno-ekonomskog sistema u drugi. Jedan je od autora Lektire na dlanu (Sysprint, Zagreb 2001-2002) i Malog leksikona hrvatske književnosti (Naprijed, Zagreb, 1998.) Suradnik je i Leksikografskog zavoda, svojedobno urednik u Zarezu, a niz godina pisao je za Feral Tribune. SAŽETAK Rad se bavi analizom troje autora koji su devedesetih godina prošlog stoljeća tijekom rata napustili svoje domove, preselili se na Zapad, i ostvarili uspješne karijere: Aleksandar Hemon (1964.), Dubravka Ugrešić (1949.) i David Albahari (1948.). Rad polazi od teze da različita stvaralaštva ovih pisaca nije moguće razumjeti izvan literarnog polja u kojem djeluju. Pojam literarnog polja preuzimam od Pierrea Bourdieua, te on predstavlja metodološki temelj rada. Taj pojam omogućuje nam da tekstualnu analizu spojimo s analizom produkcijskih uvjeta u kojima nastaju literarna djela. Svaki se pisac nalazi u određenom okruženju (literarnom polju), koje nalaže drugačija pravila kulturne produkcije, javnog ponašanja, literarnog pisanja. Svako literarno polje obilježavaju i specifični kulturni kodovi, pozicije koje pisci mogu zauzeti i odnosi moći među njima. Hemona zato analiziramo unutar američkog polja, Ugrešić unutar internacionalnog, a Albaharija unutar srpskog. Literarno polje strukturirano je poput zemljovida na kojem pisci mogu zauzeti različite uloge i pozicije; strukturu polja uređuju specifični odnosi moći i simbolički kapital pripisan različitim pozicijama. Prvenstveno nas zanima kako se pisci pozicioniraju unutar polja i to ne samo literarnim tekstovima, već i pomoću ne-literarnih strategija, kao što su javni nastupi i pojavljivanje u medijima. Pokazati ćemo da se Hemon pozicionira kroz kategorije imigranta i izbjeglice koje su specifične za američki društveni kontekst, kao i njegova kasnija uloga „pisca s crticom“, koji izražava dvoju kulturnu pripadnost. Dubravka Ugrešić pozicionira se kroz ulogu političkog egzilanta, odnosno, disidenta, i kulturnog brokera koji prevodi bivšu Jugoslaviju za internacionalnu publiku. Proučit ćemo i ulogu predstavnice visoke kulture koju oblikuje nešto kasnije. David Albahari pozicionira se kao svenacionalni i apolitički pisac na srpskom polju, a pokazati ćemo da je takvo pozicioniranje moguće upravo zbog fizičke odsutnosti, namjernog odbijanja da govori o ratu, i zbog romana koji se laćaju društveno-politički aktualnih tema na izuzetno kompleksan način. ABSTRACT In the 1990s a number of writers emigrated from ex-Yugoslavia because of the war and found permanent residence in the so-called West (the European Union of that time, USA and Canada). I carried out three case studies on three representative authors that present different possibilities of writing in (and about) exile and immigration. Aleksandar Hemon (1964), originally from Sarajevo, Bosnia and Herzegovina, lives in Chicago and writes in English as a Bosnian-American writer. Dubravka Ugrešić (1949), on the other hand, left Zagreb and rejected any attachment to Croatian national literature and its community, but is highly admired in the international community, where she publishes regularly and is especially known for her essays. David Albahari (1948), in contrast to both of them, is only physically present in Canada, while his writing as well as his literary and public activity are almost exclusively connected to his native Serbia. These writers are marked by a similar historical context: the common experience of living in socialist Yugoslavia, ethnic war, political instability and the dissolution of a country, and a departure from a homeland to Western countries with developed political democracies and capitalist economic systems. In spite of noted similarities each made different literary and career choices. Their writing styles are different, as well as their publics and the topics they tackle, including drastically different treatments of “typical” immigrant topics such as language, home, and rootedness. My main thesis is that differences in their literary works as well as in their public functions are not to be understood outside of the literary field in which they function. Every writer acts in a certain literary field, and as such responds to different literary rules, conditions of cultural production and cultural codes that govern the field. That is why I study Hemon as a part of the American literary field, Albahari as a part of the Serbian literary field, and Ugrešić as a part of the international literary field. Bourdieu’s notion of "literary field" is a theoretical basis for this work and it enables me to combine “internal reading” and “external analysis”. This means that I will provide textual analysis together with an analysis of cultural production, the cultural codes that dominate a particular field, and different power relations in the field. A literary field can be understood as a map of the various positions which might to be taken by actors in the field. Every position is a source of a certain amount of symbolic capital but also comes with a set of formal and poetic rules as well as expectations about an author’s public behavior. A literary field does not over-determine an author’s writing and public performance but it does set the set of possibilities and system of position-takings in relation to which an author defines him- or herself. Every author has a different set of expectations and different publics to which she must respond, through different cultural codes and from a different position. Authors are positioning themselves through their literary work but also through extra-textual tactics such as their public performance, literary readings and festivals, political activism, newspapers profiles, internet communication, promotional campaigns, etc. In this study all noted materials are taken into consideration alongside literary works. My main research question centers on the question of how authors are positioning themselves in the fields they choose to work in. I analyze and describe the process of their position-taking. Aleksandar Hemon positions himself through the categories of "immigrant" and "refugee" that are specific for the American (US) social context. Media presentations and narrations of Hemon's personal story use the American immigrant narrative and the national myths about glorious immigrant history, immigrant national identity, the “American dream” and climbing the ladder of success from bottom to top. In his literary work Hemon incorporates those myths and reflects them critically. The third role that he actively pursues is the role of “hyphenated” writer, Bosnian- American, which is also specific for the American literary field. Dubravka Ugrešić positions herself in the international literary field and is known to metropolitan audience from Berlin and Paris to London and New York (although I concentrated on her work in English since it is the language with highest amount of “literary capital” as Casanova would say). In the 1990s Ugrešić took the role of political dissident. The role was “offered” to hare in the international field because of her political views that opposed the Croatian government and made her a target of harsh public persecution. The role of dissident writer has shaped her international work, since she started to act as a cultural broker between a Western audience and the post- Yugoslav and Balkan cultural space. She performs the role of cultural broker through her essays, the literary form she was not known for before she entered the international field. In the beginning of her carreer she was also known for combining “highbrow” and “lowbrow ” culture, but since leaving Yugoslavia she has profiled herself as representative of so-called "high art." I explain that the change in her position-taking is conditioned with the change of literary field structure that she finds herself working in. The last case study is centered on David Albahari, the writer who remained literarily present in his native