The book Post-Socialist Translation Practices explores how Communism and Socialism, through their hegemonic pressure, found expression in translation practice from the moment of Socialist revolution to the present day. Based on extensive archival research in the archives of the Communist Party and on the interviews with translators and editors of the period the book attempts to outline the typical and defining features of the Socialist translatorial behaviour by re-reading more than 200 translations of children's literature and juvenile fiction published in the Socialist Federal Republic of Yugoslavia (SFRY). Despite the variety of different forms of censorship that the translators in all Socialist states were subject to, the book argues that Socialist translation in different cultural and linguistic environments, especially where the Soviet model tried to impose itself, purged the translated texts of the same or similar elements, in particular of the religious presence. The book also traces how ideologically manipulated translations are still uncritically reprinted and widely circulated today.
COBISS.SI-ID: 50405986
This is the fist volume of collected works of Vladimir Bartol, including his collection of short-stories "Al Araf". It contains the entire philological-critical apparatus as well as extensive treatise on "Al Araf".
COBISS.SI-ID: 264865024
This article focuses on the issue of the "nationalist" interpretation of Vladimir Bartol's 1935 collection of short stories Al Araf. Relying extensively on the manuscripts from his estate and published documentation, it seeks to prove that this issue does not have any unilateral answers. The commonly held impression is that while writing his collection Bartol treated the ethnic issue solely as one of the many ideas he experimented with in his stories. This was also how his contemporaries understood him at that time. However, more recent, "nationalist" interpretations can nonetheless find firm support in Bartol's postwar self-explanation and especially in the fact that the writer's novellas thematized the type of subjectivity that Slovenians needed to carry out great historical changes and in some way predicted these changes.
COBISS.SI-ID: 50803042
The expression "barbarically primitive artist-genius" that Srečko Kosovel used in his diaries of early 1924 followed the idea of the zenithist barbarogenius because he used it together with other zenithist syntagms and refers to broken-down European art and its revival with the help of the elementary and wild Balkans. This was a destructive poetic phase in Kosovel's life. However, from April 1925 onwards Kosovel accepted the concept of barbarianism outside the futuristic, zenithist, and other contexts; he thus renounced definitions of this concept based in poetry studies and nationalism, and began applying a distinctly political understanding of the concept of barbarianism connected with the threat that fascism posed to Slovenians living in the Littoral region.
COBISS.SI-ID: 50802274
The thematization of space in Slovene literary scholarship took place in the context of narratology, genre analyses of rural and regional prose and the historical novel, thematic and intercultural literary historical research. There is a wealth of data on literary space in the notes to Slovene poets and prose writers' collected works, in particular in the critical edition of Ivan Tavčar's works that Marja Boršnik edited. The notes satisfied curiosity about the actual motivations for literary settings and about the spaces in which writers lived. Authorial creativity was discovered in the disjuncture between the literary and historically attested geographical spaces.
COBISS.SI-ID: 50401890