DOCSLIB.ORG

The Yugoslav Partisan Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Yugoslav Partisan Art SLAVICA TER 17 SLAVICA TERGESTINA European Slavic Studies Journal VOLUME 17 (2016) The Yugoslav Partisan Art SLAVICA TER 17 SLAVICA TERGESTINA European Slavic Studies Journal VOLUME 17 (2016) The Yugoslav Partisan Art SLAVICA TERGESTINA European Slavic Studies Journal ISSN 1592-0291 (print) & 2283-5482 (online) WEB www.slavica-ter.org EMAIL [email protected] PUBLISHED BY Università degli Studi di Trieste Dipartimento di Scienze Giuridiche, del Linguaggio, dell’Interpretazione e della Traduzione Universität Konstanz Fachbereich Literaturwissenschaft Univerza v Ljubljani Filozofska fakulteta, Oddelek za slavistiko EDITORIAL BOARD Roman Bobryk (Siedlce University of Natural Sciences and Humanities) Margherita De Michiel (University of Trieste) Kornelija Ičin (University of Belgrade) Miha Javornik (University of Ljubljana) Jurij Murašov (University of Konstanz) Blaž Podlesnik (University of Ljubljana, technical editor) Ivan Verč (University of Trieste) ISSUE COEDITED BY Jernej Habjan and Gal Kirn EDITORIAL Antonella D’Amelia (University of Salerno) ADVISORY BOARD Patrizia Deotto (University of Trieste) Nikolaj Jež (University of Ljubljana) Alenka Koron (Scientific Research Centre of the Slovenian Academy of Sciences and Arts) Đurđa Strsoglavec (University of Ljubljana) Tomo Virk (University of Ljubljana) DESIGN & LAYOUT Aljaž Vesel & Anja Delbello / AA Copyright by Authors Contents articles 9 The Yugoslav Partisan Art: Introductory Note Югославское партизанское искусство: Введение в тему ❦ Gal Kirn 18 The Partisan Symbolic Politics Партизанская символическая политика ❦ rastKo MočniK 40 The Partisans in Print Партизане в печати ❦ MiKlavž KoMelj 70 A Further Note on the Partisan Cultural Politics Дополнительная заметка о партизанской культурной политике ❦ rastKo MočniK 86 The Partisan Art Revisited Еще раз о партизанском искусстве ❦ MiKlavž KoMelj 100 Towards the Partisan Counter-archive: Poetry, Sculpture and Film on/of the People’s Liberation Struggle К партизанскому анти-архиву: поэзия, скульптура и кино в/о народно-освободительной борьбе ❦ Gal Kirn SLAVICA TERGESTINA 17 (2016) ▶ The Yugoslav Partisan Art 126 Slovenian Sociology of Literature and Slovenian National Poet: France Prešeren between the Partisans, Dissidents and Theorists Словенская социология литературы и словенский национальный поэт: Франце Прешерн между партизанами, диссидентами и теоретиками ❦ jernej Habjan REVIE Ws 148 The Return of the Partisan Art Возвращение партизанского искусства ❦ andraž jež 160 It Is About ‘Now’, Comrades. On Gal Kirn’s Partizanski prelomi Речь идет о «сейчас», товарищи. О книге Partizanski prelomi Гала Кирна ❦ boris buden 172 On the New Life of the Partisan Songs in ex-Yugoslavia О новой жизни партизанской песни в бывшей Югославии ❦ srđan atanasovsKi 178 Retracing Images after Yugoslavia Отслеживание образов после Югославии ❦ stefano PetrunGaro 7 The Yugoslav Partisan Art: Introductory Note ❦ Gal Kirn ▶ [email protected] GAL KIRN ▶ The Yugoslav Partisan Art: Introductory Note 1 After the break-up of Yugoslavia in the early 1990s, the vast major- Numerous exhibitions, books and newspaper ity of commentators, opinion leaders and social scientists of the new articles have been dedicated to the ‘dark nation-states proclaimed a final farewell to everything connected to side’ of the ‘totalitarian regime’ and even to the Yugoslav socialism. As a consequence, even the anti-fascist legacy nationalist recount- ing of the bones from of the Partisans, which had been inscribed in the official ideology of World War II. 1 the former state, received a much more negative connotation. But 2 For a good long-term already in socialist Yugoslavia the revolutionary dimension of the analysis of the rise of nationalism during Partisan culture and art was neglected whenever the (local) commu- the last years of social- ist Yugoslavia, see nist leadership decided to instrumentalise them for celebrations of Wachtel. For the rise of (post)fascism in the various anniversaries connected to the People’s Liberation Struggle cultural apparatuses of the new nation- 1941–1945. A rich network of museums, galleries and community cen- states, especially in Slovenia, see Močnik, tres across Yugoslavia was employed in the exhibition and archiving Extravagantia. of the Partisan art. However, this statist glorification of the Partisan past effectively ended long before the break-up: as Lilijana Stepančič notes, the last major exhibition of the Partisan art took place in 1981 (see Stepančič). Thus, the 1980s introduced an increasingly dominant view of the Partisan art as something belonging to a history that had been long gone, an object of ritualistic reproduction by the state, which in turn began to be viewed by many commentators as an authoritarian, even totalitarian system. In the post-Yugoslav climate of ‘historical revisionism’ (Buden; Močnik, ‘Excess’) and nationalism,2 the Partisan legacy became either a marginal refuge of the old generation, which continued to visit the ‘sacred places’ of the People’s Liberation Struggle, or else an element of the Yugonostalgia of a certain subculture of the urban youth (see Velikonja). No serious political, academic or cultural group would address the history of the Partisan art, now a spectre of the former ruling ideology. By the end of the 1990s, the Partisan art seemed to have been left on the ash heap of history. 10 SLAVICA TERGESTINA 17 (2016) ▶ The Yugoslav Partisan Art However, twenty-three years after the last exhibition and almost 3 The term archive is fifteen years after the break-up of Yugoslavia an unexpected return used here in the sense developed by Jacques to the Partisan art took place. In 2004–2005, the exhibition Partizanski Derrida. For Derrida, there is no ‘authentic’ tisk / The Partisans in Print, curated by Donovan Pavlinec and held in beginning of any ar- chive, since any begin- the International Centre of Graphic Arts (MGLC) in Ljubljana, intro- ning is always already determined by political duced a selection of Slovenian Partisan graphic art created mostly or scientific authority. Hence, the existence in the framework of an organised art initiative during the last two and continuation of the archive is linked years of World War II. The exhibition was supported by an excellent to power relations and discursive formations, catalogue which consisted of a series of archival artefacts that were as implied already by the old-Greek word put in dialogue with theoretical texts, one of which in particular trig- arché. Arché as begin- ning is linked to the gered exceptional theoretical effects. A new edition of this essay as specific space of the archive as well as to well as a series of responses are published in this volume. The core of archonts, the political body of sovereign the volume consists of the debate between Rastko Močnik, the author leaders. The latter not only guards the space of the original essay, and Miklavž Komelj, the author of a subsequent of the archive, but also interprets its meaning. seminal book on the Slovenian Partisan art; other articles either draw This is why the archive cannot be taken in a on this debate or review and build on other notable contributions to historicist and naive terms as a reservoir of the above-mentioned return to the Partisan art and culture. objective truth, or the space of ‘authenticity’, but is always already ‘infected’ by political tHe contours of tHe MočniK–KoMelj debate and discursive strug- gles. (See Derrida.) No matter which side one takes in the debate between Močnik and Komelj, one thing is certain: it is to be viewed as belonging to a series of recent processes that have made the Partisan art and culture a valid object of investigation, a recognised subject matter among artists, and even a driving inspiration for a number of cultural and political or- ganisations. In short, due to such events as this debate the Partisan art has become a ‘living archive’3 that can again be reappropriated, revisited and elaborated on. Of course, one cannot attribute this re- newed interest in the Partisan art only to such things as the debate 11 GAL KIRN ▶ The Yugoslav Partisan Art: Introductory Note 4 between Močnik and Komelj; one can, however, point to a series of Journals such as Arkzin (Zagreb), Prelom effects of such events, effects that transcend the local Slovenian scene (Belgrade) and Agregat (Ljubljana) as well as and ‘infect’ different artistic and theory scenes in the post-Yugoslav autonomous cultural centres in the region space. In retrospect, one can map out a field occupied by individuals were of vital impor- tance in terms of sus- and organisations that are starting to engage critically with the topics taining an emancipa- tory space needed for a of historical revisionism, the legacy of recent wars and the transition critical revaluation of 4 the present to emerge, to capitalism. And in this respect both the Partisan struggle in general as they managed to bring together an and the Partisan art in particular are becoming privileged points of extremely heteroge- neous generation of departure for theoretical, artistic and political critiques of the con- emerging intellectuals, activists and artists temporary ideological conjuncture. from the various ex- Yugoslav countries. The opening question of Močnik’s original essay itself concerns conditions of possibility of returning to the Partisan art. According to Močnik, with time the Partisan art was able to be viewed beyond the ruling ideology of the former state. However, while it is true that the collapse of the state has finally made the Partisan art intelligible beyond the official ideology, we should also be able to approach this art beyond the opposite ideology, the one of aestheticisation, Močnik argues, and to ascribe to the Partisan art a political dimension that is irreducible to the politics of the former state. One of the most informed attempts to escape this double bind of real-socialist politicisation and post-socialist aestheticisation in relation to the art of Slovenian Par- tisans is arguably Miklavž Komelj’s 2009 book Kako misliti partizansko umetnost? (How to Think the Partisan Art?), a text that is also one of the key theoretical effects of the Močnik–Komelj debate.
Load more

Recommended publications
  • KATJA MIHURKO PONIŽ: »Nisem Prijatelj Ženskih Pisateljev«, Apokalipsa, Št
    KATJA MIHURKO PONIŽ: »Nisem prijatelj ženskih pisateljev«, Apokalipsa, št. 90/91/92, 2005, str. 249–260. Page 1 Literarno vrednotenje in slovenske pisateljice med obema vojnama Literarno vrednotenje na Slovenskem zelo dolgo ni bilo povezano z ženskami, ne v vlogi kritičark kot tudi ne v vlogi literarnih ustvarjalk. Glede na zgodovinska dejstva ni nič posebnega, da se prve kritičarke (Marja Boršnik, Milena Mohorič in Silva Trdina) pojavijo šele v tridese- tih letih prejšnjega stoletja, saj je bila ženskam pot do univerzitetne izobrazbe zelo dolgo zaprta. Vzroke za njihovo majhno prisotnost že v omenjenem obdobju lahko vidimo tako v tem, da niso pripadale raz- ličnim intelektualnim skupinam, ki so svoje poglede razlagale v različ- nih literarnih revijah, kot tudi v posebnem položaju kritika, za katere- ga sta se predpostavljali široka razgledanost in sposobnost presojanja, ki ju je marsikdo tedaj ženskam odrekal. Ne nazadnje pa je bilo potreb- no imeti za ukvarjanje z literarno kritiko tudi dovolj časa. Biografije tis- tih Slovenk, ki so se pred drugo svetovno vojno občasno ukvarjale z literarnim vrednotenjem, nam ne razkrivajo le, kako težko jim je bilo dokazovati, da niso nič manj razgledane in sposobne vrednotiti kot nji- hovi sodobniki, ampak tudi to, da je bilo v njihovem življenju mnogo manj trenutkov, v katerih so se lahko ukvarjale s kritiko. Dovolj eksem- plarična je v tem smislu gotovo biografija Marje Boršnik. Drugi problem, ki se nam odpira, ko povežemo literarno vrednote- nje z ženskami, je odnos kritike do besedil pisateljic. Če bi naredili sta- tistično raziskavo o tem, koliko kritik je bilo na Slovenskem do druge svetovne vojne posvečenih delom pisateljic in koliko izmed teh bese- dil so napisali moški, bi se nam gotovo razkril zelo nizek odstotek.
    [Show full text]
  • GO GIRLS! When Slovenian Women Left Home When Slovenian Women G O G Left Home Irls !
    Published titles “Slovenian girls, stay at home! But if you do leave, do not bring shame to your home- Go Girls! When Slovenian Women land and your nation.” Left Home is not about researching Zvone Žigon: IZ SPOMINA V From a booklet entitled Če greš na tuje (If you go abroad), published in 1934. PRIHODNOST and writing only about female emi- Mihael Kuzmič: SLOVENSKI IZSELJENCI “Man is a head, woman is a heart; he bears reason, she bears emotion.” gration, some kind of “women’s mi- IZ PREKMURJA V BETHLEHEMU V Janez Bleiweis, an important figure in Slovenian political, social, and cultural life in the gration”, but is among other things ZDA 1893–1924 second half of the 19th century, in his lecture in Graz in 1866. focused on understanding the com- Zvone Žigon: IZZIVI DRUGAČNOSTI SEZONSTVO IN IZSELJENSTVO V “Housewife, wife, and mother. Three roles that the Creator ensconced in women’s plexity, multi-facetedness and of PANONSKEM PROSTORU (edited by hearts. A housewife, who props up three corners of the house, who like a bee tirelessly course the multi-gendered aspect of Marina Lukšič - Hacin) takes care of a hundred tiny, often invisible things... A mother! Above all a mother! To migrations. This can only be done by Marie Pislar Fernandez: SLOVENCI V be a mother is the most natural thing... A mother, who in a blessed union gives birth focusing on a missing but constitu- ŽELEZNI LORENI (1919–1939) skozi to a new generation for the nation and for God, and through sacrifice and suffering družinske pripovedi / SLOVÈNES EN raises them to be valuable members of human society..
    [Show full text]
  • Slovenski Esej: Kronološki Uvid Terminoloških Rešitev
    Slovenski esej: kronološki uvid terminoloških rešitev AnitA lAznik Šolski center Celje, Pot na Lavo 22, SI – 3000 Celje, [email protected] SCN VII/2 [2014], 67–78 Esej je posebna zvrst miselne proze, ki v literarni vedi doprinese v tistem delu raziskovanja literature, ki ni mogoč z izključno znanstve- no razpravo. Članek prikazuje reševanje terminološke variabilnosti problematike eseja v slovenski literarni vedi, in sicer bo predstavljen kronološki pregled razprav o eseju v slovenski literarni vedi, ki so izšle v knjižnih oblikah – od Literarnega leksikona Esej do Slovenske esejistike v drugi polovici dvajsetega stoletja Mirana Štuheca. The essay is a specific genre which is beneficial for the study of lit- erature in those areas of research literature that cannot be dealt which solely through scientific discussion. This article presents solutions for the terminological variability pertaining to the essay in Slovenian literary studies, namely, by presenting a chronological overview of published discussions that have appeared in book form – from Esej in Literarni leksikon to Miran Štuhec’s Slovenska esejistika v drugi polovici dvajsetega stoletja. Ključne besede: esej, esejistika, kronologija, literarna veda Key words: essay, essay writing, chronology, literary science 0 Izhodišče članka je esejistika, zvrst miselne proze, ki kljub številnim literarno- teoretičnim ali pregledno kronološkim razpravam ostaja relativno odprt prostor, vsaj v pogledu, ki predstavlja izčiščenost osnovnih pojmov in terminološko enoznačnost pojava. Prikazala bom reševanje terminološke variabilnosti proble- matike eseja v slovenski literarni vedi, in sicer bo članek predstavil kronološki pregled razprav o eseju, ki so izšle v knjižnih oblikah – od Literarnega leksikona Esej do Slovenske esejistike v drugi polovici dvajsetega stoletja Mirana Štuheca ter zaključil pregled z aktualnim pogledom na esej Toma Virka.
    [Show full text]
  • Copyright by Leah Michelle Ross 2012
    Copyright by Leah Michelle Ross 2012 The Dissertation Committee for Leah Michelle Ross Certifies that this is the approved version of the following dissertation: A Rhetoric of Instrumentality: Documentary Film in the Landscape of Public Memory Committee: Katherine Arens, Supervisor Barry Brummett, Co-Supervisor Richard Cherwitz Dana Cloud Andrew Garrison A Rhetoric of Instrumentality: Documentary Film in the Landscape of Public Memory by Leah Michelle Ross, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2012 Dedication For Chaim Silberstrom, who taught me to choose life. Acknowledgements This dissertation was conceived with insurmountable help from Dr. Katherine Arens, who has been my champion in both my academic work as well as in my personal growth and development for the last ten years. This kind of support and mentorship is rare and I can only hope to embody the same generosity when I am in the position to do so. I am forever indebted. Also to William Russell Hart, who taught me about strength in the process of recovery. I would also like to thank my dissertation committee members: Dr Barry Brummett for his patience through the years and maintaining a discipline of cool; Dr Dana Cloud for her inspiring and invaluable and tireless work on social justice issues, as well as her invaluable academic support in the early years of my graduate studies; Dr. Rick Cherwitz whose mentorship program provides practical skills and support to otherwise marginalized students is an invaluable contribution to the life of our university and world as a whole; Andrew Garrison for teaching me the craft I continue to practice and continuing to support me when I reach out with questions of my professional and creative goals; an inspiration in his ability to juggle filmmaking, teaching, and family and continued dedication to community based filmmaking programs.
    [Show full text]
  • Strategija Razvoja Turizma V Občini Šoštanj
    STRATEGIJA RAZVOJA TURIZMA V OBČINI ŠOŠTANJ Delovna verzija PROJEKTNA SKUPINA Naročnik projekta: Občina Šoštanj Trg svobode 12 3325 Šoštanj Župan: Darko Menih Vodja projekta na strani naročnika: Izvajalec projekta: TOPOL, d.o.o. Topolšica 94 3326 Topolšica Vodja projekta na strani izvajalca: Urška Delopst, izvršni direktor Strokovni sodelavci na strani izvajalca projekta: 2 Kazalo PROJEKTNA SKUPINA ................................................................................................................ 2 Kazalo ........................................................................................................................................ 3 POVZETEK PREDLAGANIH INVESTICIJ V RAZVOJ TURIZMA................................................... 6 Seznam predlaganih investicij ........................................................................................... 6 Ocena predlaganih investicij ............................................................................................. 6 Grafični prikaz lokacije predloga ...................................................................................... 6 Viri financiranja izvedbe predlogov .................................................................................. 6 NAMEN IN CILJ TURISTIČNEGA KONCEPTA ................................................................... 6 Uvod ....................................................................................................................................... 7 Predstavitev .....................................................................................................................
    [Show full text]
  • Multiple Temporalities of the Partisan Struggle from Post-Yugoslav Nationalist Reconciliation Back to Partisan Poetry
    https://doi.org/10.37050/ci-08_08 GAL KIRN Multiple Temporalities of the Partisan Struggle From Post-Yugoslav Nationalist Reconciliation Back to Partisan Poetry CITE AS: Gal Kirn, ‘Multiple Temporalities of the Partisan Struggle: From Post-Yugoslav Nationalist Reconciliation Back to Partisan Poetry’, in Multistable Figures: On the Critical Potential of Ir/Reversible Aspect- Seeing, ed. by Christoph F. E. Holzhey, Cultural Inquiry, 8 (Vienna: Turia + Kant, 2014), pp. 163–90 <https://doi.org/10.37050/ci-08_ 08> Multistable Figures: On the Critical Potential of Ir/Reversible Aspect-Seeing, ed. by Christoph F. RIGHTS STATEMENT: E. Holzhey, Cultural Inquiry, 8 (Vienna: Turia + Kant, 2014), pp. 163–90 © by the author(s) This version is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. ABSTRACT: The article departs from the diagnosis of post-Yugoslav contemporary accounts of Yugoslav and partisan events. The critique of nationalist and Yugono- stalgic discourses discloses shared assumptions that are based on the ‘romantic’ temporality of Nation and on history as a closed process. In the main part of the article the author works on the special, multiple temporality of partisan poetry that emerged during the WWII partisan struggle. The special temporality hinges on the productive and tensed relationship between the ‘not yet existing’ — the position of the new society free of foreign occupation, but also in a radically transformed society — and the contemporary struggle within war, which is also marked by the fear that the rupture of the struggle might not be remembered rightly, if at all. The memory of the present struggle remains to be the task to be realized not only for poets, but for everyone participating in the struggle.
    [Show full text]
  • Towards a Theory of Political Art: Cultural Politics of 'Black Wave'
    JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 511 Sezgin Boynik Towards a Theory of Political Art Cultural Politics of ‘Black Wave’ Film in Yugoslavia, 1963-1972 JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 511 Sezgin Boynik Towards a Theory of Political Art Cultural Politics of ‘Black Wave’ Film in Yugoslavia, 1963-1972 Esitetään Jyväskylän yliopiston yhteiskuntatieteellisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston Agora-rakennuksen Alfa-salissa joulukuun 13. päivänä 2014 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Social Sciences of the University of Jyväskylä, in building Agora, Alfa hall, on December 13, 2014 at 12 o’clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2014 Towards a Theory of Political Art Cultural Politics of ‘Black Wave’ Film in Yugoslavia, 1963-1972 JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 511 Sezgin Boynik Towards a Theory of Political Art Cultural Politics of ‘Black Wave’ Film in Yugoslavia, 1963-1972 UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2014 Editors Jussi Kotkavirta Department of Social Sciences and Philosophy, University of Jyväskylä Pekka Olsbo, Ville Korkiakangas Publishing Unit, University Library of Jyväskylä URN:ISBN:978-951-39-5980-7 ISBN 978-951-39-5980-7 (PDF) ISBN 978-951-39-5979-1 (nid.) ISSN 0075-4625 Copyright © 2014, by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2014 ABSTRACT Boynik, Sezgin Towards a Theory of Political Art: Cultural Politics of ‘Black Wave’ Film in Yugoslavia, 1963-1972 Jyväskylä: University of Jyväskylä, 2014, 87 p. (Jyväskylä Studies in Education, Psychology and Social Research ISSN 0075-4625; 511) ISBN 978-951-39-5979-1 (nid.) ISBN 978-951-39-5980-7 (PDF) The point of departure of my thesis is to discuss the forms of ’Black Wave’ films made in Yugoslavia during sixties and seventies in relation to political contradictions of socialist self-management.
    [Show full text]
  • Go East by Southeast – 13Th Festival of Central and Eastern European
    EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org NECSUS Published by: Amsterdam University Press Festival Reviews edited by Marijke de Valck and Skadi Loist of the Film Festival Research Network Go east by southeast 13th Festival of Central and Eastern European Film Wiesbaden Greg de Cuir, Jr The Festival of Central and Eastern European Film Wiesbaden,1 also known as ‘goEast’, is a key event on the German film festival calendar. This is perhaps in no small part due to the fact that the festival is organised by the Deutsches Filminstitut, also because it enjoys a dedicated following among enthusiasts of the larger, general festival community. GoEast is structured by a modestly-sized feature film competition section which also includes documentaries. The total number of titles in this section in 2013 was 17. There are a number of smaller special programs at the festival, including a retrospective homage to a master cineaste and a multi-part symposium. The symposium format serves as an example of the profitability of the sites of convergence between film festivals and the academic sphere. Many academics have long been involved with curating and programming activities at festivals; this interaction will likely increase with the further development of the burgeoning field of film festival studies – indeed film festivals themselves may be actively driving this development. The goEast symposium functions as a hybrid academic conference/screening series with a slate of lectures and related film projections. The 2013 symposium was titled Bright Black Frames: New Yugoslav Film Between Subversion and Critique, led by Dr. Gal Kirn (Postdoctoral Fellow, Humboldt Uni- versity Berlin) and Vedrana Madžar (Curator/Filmmaker).
    [Show full text]
  • Modern American Grotesque
    Modern American Grotesque Goodwin_Final4Print.indb 1 7/31/2009 11:14:21 AM Goodwin_Final4Print.indb 2 7/31/2009 11:14:26 AM Modern American Grotesque LITERATURE AND PHOTOGRAPHY James Goodwin THEOHI O S T A T EUNIVER S I T YPRE ss / C O L U MB us Goodwin_Final4Print.indb 3 7/31/2009 11:14:27 AM Copyright © 2009 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Goodwin, James, 1945– Modern American grotesque : Literature and photography / James Goodwin. p. cm. Includes bibliographical references and index. ISBN-13 : 978-0-8142-1108-3 (cloth : alk. paper) ISBN-10 : 0-8142-1108-9 (cloth : alk. paper) ISBN-13 : 978-0-8142-9205-1 (cd-rom) 1. American fiction—20th century—Histroy and criticism. 2. Grotesque in lit- erature. 3. Grotesque in art. 4. Photography—United States—20th century. I. Title. PS374.G78G66 2009 813.009'1—dc22 2009004573 This book is available in the following editions: Cloth (ISBN 978-0-8142-1108-3) CD-ROM (ISBN 978-0-8142-9205-1) Cover design by Dan O’Dair Text design by Jennifer Shoffey Forsythe Typeset in Adobe Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Goodwin_Final4Print.indb 4 7/31/2009 11:14:28 AM For my children Christopher and Kathleen, who already possess a fine sense of irony and for whom I wish in time stoic wisdom as well Goodwin_Final4Print.indb 5 7/31/2009
    [Show full text]
  • The Music of the National Liberation Struggle and Social Engagement
    Partisan Resistance Today? The Music of the National Liberation Struggle and Social Engagement Ana Hofman and Martin Pogačar They kept trying to smother the songs of resistance, but they did not smother them, ever, nor the spark of resistance, which was constantly smouldering here and there and burst into a flame of rebellion. (Hercigonja and Karakljajić 1962) Any interpretation of the past can only be a dissonant and dynamic, always political and without doubt a performative process. This spurs the emergence of and competition between alternative interpretations of the past that may also be understood as acts of opposition and even resistance to dominant and/or competing narratives. This is particu- larly clear when references to particular historical periods or events are problematised in daily political struggles and media discourses: recourse to alternate histories or the search for alternative visions of the past can thus be regarded as an attempt to devise a potential con- ceptual framework within which an articulation of alternative politics 21 (visions of the future) is possible. This carries with it certain (political) connotations that in the post-Yugoslav context are powered by the his- torical experience and perpetual reinterpretations of the national lib- eration struggle and antifascist resistance, as well as the entire period of socialist Yugoslavia – these periods have notably defined Yugoslav and contemporary social, (pop) cultural and political milieux, and the responses to it. In this essay, we discuss the shifting meanings and ascribed in- terpretations of the historical experience of the Yugoslav antifascist resistance as expressed through music. In an attempt to encourage this reflection on the musical expressions of the partisan resistance from a historical perspective, we primarily analyse scholarly works and media discourses and combine historical, musicological and cultural studies approaches.
    [Show full text]
  • Between the House of Habsburg and Tito a Look at the Slovenian Past 1861–1980
    BETWEEN THE HOUSE OF HABSBURG AND TITO A LOOK AT THE SLOVENIAN PAST 1861–1980 BETWEEN THE HOUSE OF HABSBURG AND TITO A LOOK AT THE SLOVENIAN PAST 1861–1980 EDITORS JURIJ PEROVŠEK AND BOJAN GODEŠA Ljubljana 2016 Between the House of Habsburg and Tito ZALOŽBA INZ Managing editor Aleš Gabrič ZBIRKA VPOGLEDI 14 ISSN 2350-5656 Jurij Perovšek in Bojan Godeša (eds.) BETWEEN THE HOUSE OF HABSBURG AND TITO A LOOK AT THE SLOVENIAN PAST 1861–1980 Technical editor Mojca Šorn Reviewers Božo Repe Žarko Lazarevič English translation: Translat d.o.o. and Studio S.U.R. Design Barbara Bogataj Kokalj Published by Inštitut za novejšo zgodovino/Instute of Contemporaray History Printed by Medium d.o.o. Print run 300 copies The publication of this book was supported by Slovenian Research Agency CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 94(497.4)"1861/1980"(082) BETWEEN the House of Habsburg and Tito : a look at the Slovenian past 1861-1980 / editors Jurij Perovšek and Bojan Godeša ; [English translation Translat and Studio S. U. R.]. - Ljubljana : Inštitut za novejšo zgodovino = Institute of Contemporary History, 2016. - (Zbirka Vpogledi, ISSN 2350-5656 ; 14) ISBN 978-961-6386-72-2 1. Perovšek, Jurij 287630080 ©2016, Inštitut za novejšo zgodovino All rights reserved. No part of this publication may be reproduced, distributed, hired out, transmitted, published, adapted or used in any other way, including photocopying, printing, recording or storing and publishing in the electronic form without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law.
    [Show full text]
  • Repe Myths and Ideology
    1 Božo Repe Between Myths and Ideology Some Views on Slovene Contemporary Historiography With Chronological Survey of Slovene History, written by Darja Kerec 2 Between Myths and Ideology Some Views on Slovene Contemporary Historiography (With Chronological Survey of Slovene History, written by Darja Kerec) Author: Božo Repe Reviewers: dr. Dušan Ne ćak, dr. Bojan Balkovec, University of Ljubljana, Faculty of Arts, Department of History © University of Ljubljana, Faculty of Arts, 2009 All rights reserved. Published by University of Ljubljana, Faculty of Arts Issued by Department of History, Faculty of Arts For the publisher: Valentin Bucik, Dean of the Faculty of Arts Ljubljana 2009 First edition Objavljeno 4.12.2009 na URL naslovu: http://www.zgodovina-ff-uni- lj.net/index.php?option=com_remository&Itemid=26&func=select&id=8 Publication is free of charge. CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 930.1(497.4)(0.034.2) REPE, Božo Between myths and ideology [Elektronski vir] : some views on Slovene contemporary historiography / Božo Repe ; with Chronological survey of Slovene history, written by Darja Kerec. - 1st ed. - El. knjiga. - Ljubljana : Faculty of Arts, 2009 Na čin dostopa (URL): http://www.zgodovina-ff-uni-lj.net/index.php?o ption=com_remository&Itemid=26&func=select&id=8 ISBN 978-961-237-335-1 1. Kerec, Darja 248758784 3 Table of Contents: Slovene View of the Surviving State Formations p. 4 Slovenes and Yugoslav Historiography after World War II p. 29 Mythic Notions of Slovenes p. 44 The Myth and Reality of Communism p. 61 How Much Comparativity can be Found in Slovene Historiography? p.
    [Show full text]