Abstract
In this paper, I approach to the relationship between the art and the democracy via discussion of two histories of Yugoslav literatures. I propose and try to defend a thesis that both accounts of the history of Yugoslav literatures synchronize temporalities of the different national literatures, reducing thereby differences between them. Both histories substantialize Yugoslav literature as a remnant of the lost community. They argue that immediacy of that community had dissolved into the variety of nations, which led separate lives under the rule of empires. In the name of that mythical past, heterogeneous temporalities are synchronized to the single temporal flow. However, the similar substantializing operation and synchronization is present in the more recent concept of (post)-Yugoslav literature.
Highlights
Mono-kronološki ‘post’: sinkronizacija međuvremena nacija u povijestima jugoslavenske književnosti Antuna Barca i Pavla Popovića i-jugoslavenska književnost*
I approach to the relationship between the art and the democracy via discussion of two histories of Yugoslav literatures
I propose and try to defend a thesis that both accounts of the history of Yugoslav literatures synchronize temporalities of the different national literatures, reducing thereby differences between them. Both histories substantialize Yugoslav literature as a remnant of the lost community. They argue that immediacy of that community had dissolved into the variety of nations, which led separate lives under the rule of empires
Summary
Prva rečenica Jugoslavenske književnosti (1954) Antuna Barca uspostavlja etničku podlogu nacije, pri čemu pojam književnosti ima odlučujuću ulogu: „Izraz ‘jugoslavenska književnost’ zajednički je naziv za literature Srba, Hrvata, Slovenaca i Makedonaca, okupljenih u Federativnoj Narodnoj Republici Jugoslaviji“ (Barac, 1954, 5). Dva puta javljaju se pojmovi povezani sa združivanjem, kada se izraz jugoslavenska književnost određuje kao zajednički naziv za književnosti pojedinih naroda i kad se ti narodi opisuju kao okupljeni u jednoj državi. Barac prvo govori o „literaturama“ u pluralu četiriju naroda koji su okupljeni u zajedničkoj državi. Tako su strukturirana poglavlja knjige Jugoslavenska književnost u kojima se slijede književnosti pojedinih nacija, ali samo triju od spomenute četiri u početnoj definiciji: hrvatska književnost, srpska književnost, slovenska književnost. Od romantizma pa do razdoblja koje se označava kao Između dva rata prvo se prikazuje srpska pa potom hrvatska i slovenska književnost. Kao što ni povezivanja i razmjene ne moraju nužno voditi prema jednoj i/ili jedinstvenoj književnosti, tako ni razlike i razilazne razvojne linije nisu nužno prepreka u nastajanju potonje. Divergencije se u Barčevoj koncepciji povijesti jugoslavenske književnosti nastoje ostaviti po strani jer one iziskuju zasebne, pojedinačne i međusobno nesvodive temporalnosti vremena između
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
