Yugoslav Literature Research Articles

Confronting (Post-)War Precariousness and Precarity: Socialist Yugoslav Literature for Children

In this article I examine how literature for children re-established itself in the socially, economically, and institutionally devastated and nascent revolutionary precarious situation of the post-war period. I draw on a larger study of socialist Yugoslav literature for children (1945–91) and with reference to the first post-WWII issues of the Slovenian children's magazines Ciciban (1945–present) and Pionir (1945–90). I also explore how the emergent literature for children, particularly magazines, addressed a generation who had experienced violence, persecution, orphanhood, flight, internment, famine, occupation, and armed resistance, followed by post-war daily life. I draw on the concepts of ‘precariousness’ and ‘precarity’ (Butler) in the sense of an insecure existential state and the conditions for it. Instead of a top-down approach derived from totalitarianism research (usually employed in the examination of immediate post-war socialist production), a bottom-up approach that considers the complex relationships between (cultural)-political, (infra)structural, material, interpersonal, and affective contexts (as well as the historical objectifications that are embodied in the post-war production for children discussed here) allows a consideration of the past in a more complex light. It also highlights the overdue need for discussion on how to approach the topic of war with children in times of ‘more or less permanent war’ (Butler).

Terror rewolucyjny i represje komunistyczne w Jugosławii w latach 1941–1946. Zarys problematyki

This article is a scientific study of an issue that is rather little known to the Polish reader. The communist terror and repression in Yugoslavia during World War II were used by Tito's partisans and later by soldiers and functionaries of the security apparatus of the communist Yugoslav state. In the years 1941–1946 the victims of communist terror were tens of thousands of political and class opponents of the KPJ, actual or merely alleged collaborators of the occupiers, as well as representatives of national minorities. The events described in the article created an extremely complex picture of the reality of the years of war and the first year of communist rule in Yugoslavia, which included: collaboration, ethnic cleansing, communist revolution, civil war and the beginnings of the communist order. The presented article is based on the available literature on the subject: Yugoslav literature, including emigration literature, as well as scientific studies published after 1991 in Croatia, Serbia and Bosnia and Herzegovina. They have been supplemented with selected items from Western and Polish literature on the subject.

The Literary Politics of Mitteleuropa: Reconfiguring Spatial Memory in Austrian and Yugoslav Literature after 1945 by Yvonne Zivkovic

The Literary Politics of Mitteleuropa: Reconfiguring Spatial Memory in Austrian and Yugoslav Literature after 1945 by Yvonne Zivkovic

The Literary Politics of Mitteleuropa: Reconfiguring Spatial Memory in Austrian and Yugoslav Literature after 1945 by Yvonne Zivkovic

Reviewed by: The Literary Politics of Mitteleuropa: Reconfiguring Spatial Memory in Austrian and Yugoslav Literature after 1945 by Yvonne Zivkovic Sabine Egger The Literary Politics of Mitteleuropa: Reconfiguring Spatial Memory in Austrian and Yugoslav Literature after 1945. By Yvonne Zivkovic. Rochester, NY: Camden House. 2021. 319 pp. £95. ISBN 978–1-64014–088–2. Yvonne Zivkovic's study discusses how post-war writers in Austria and Yugoslavia have re-imagined the concept of Mitteleuropa as a cultural space between nostalgia and totalitarianism from 1945 to the present. In four chapters the book compares Central European memory spaces in the writing of Ingeborg Bachmann and Peter Handke between 1945 and the 1960s, Danilo Kiš and Aleksandar Tišma from 1960 to 1989, and Christoph Ransmayr and Dubravka Ugrešić after 1990, placing them within the framework of twentieth-century discourses on Mitteleuropa and twenty-first-century images of Europe and its potential dissolution. Chapter 1 links ideas of a transnational Mitteleuropa, put forward by politicians like Friedrich Naumann or Tomáš Garrigue Masaryk, and Jewish Austrian writers Stefan Zweig, Joseph Roth or Ödön von Horváth, to Milan Kundera's and György Konrád's critical debate [End Page 210] of the 1980s. What emerges is a conflicted idea of Mitteleuropa, situated between hope and melancholia, utopian and dystopian visions of a multi-ethnic and pluralist territory left behind by the Habsburg Empire, and a 'mental space', following Lefebvre, shaped by the cultural heritage of the European enlightenment. Zivkovic argues that Claudio Magris's The Habsburg Myth does not capture the critical and dystopian dimension of these writings. The latter is already highlighted in Ruth Klüger's painful memory of 'Mitteleuropäer in Birkenau', which Zivkovic references in her opening (p. 1). The importance of Jewish authors in the literary politics of Mitteleuropa and the significance of the destruction of Jewish culture is brought to the fore throughout the book. Chapter 3 focuses on Kiš and Tišma, two Jewish Yugoslav writers from the Serbian border province of Vojvodina, who approach this difficult past through their distinct aesthetics. A further focus lies on the extent to which the ideas of Mitteleuropa discussed are political, even when they are represented as explicitly apolitical or 'antipolitical'. By using the latter as a term Konrád chose to distance his writing from the Soviet bloc in 1982, Ugrešić places herself within this tradition of Central European literature (p. 263). Zivkovic's comparative approach reveals surprising parallels in the ways Austrian and former Yugoslavian writers approach Mitteleuropa as a trope and mental space. Both Bachmann and Kiš reflect on the late turn towards Holocaust memory in their respective countries and historical settings. Drawing on a spectrum of literary traditions, post-communist memories and their recent experience of the fragmentation of a multi-ethnic European state in the Yugoslav wars, texts by Kiš or Ugrešić revisit and deconstruct patterns of the Habsburg myth. At the same time, Zivkovic's reading of Bachmann and Handke focuses on their Carinthian background and links to Slovenian culture, thus reversing traditional centre–periphery patterns in Austrian literature. Including Yugoslav literature in the Mitteleuropa debate revived in the 1980s by Kundera and Konrád opens up new perspectives on Europe as a cultural and political construct, as well as on the role of literature in this process. This not only applies to the widening of the Mitteleuropa discourse from a Balkan perspective. As Zivkovic points out in her conclusion, '[t]hrough an increased literary presence of Mitteleuropa in Ukrainian and Polish but also Croatian and Serbian literature over the last decade or so, the Central European margin is expanding further east and south' (p. 280). The impact of EU funding on promoting a specific vision of European collectivity is mentioned, as well as the role of exchanges with other Central European writers by means of networks, exile communities and literary festivals. It might also have been useful to discuss the role of literary awards in this context, as these play a major part in positioning authors in specific literary fields. The book also touches on what it means to write in a second language...

Distopijski ekskurz dramskog ekspresionizma

Even though the dystopian genre, when it comes to literature, is mostly related to prose, it occasionally also appears in drama. We have witnessed such an example within the dramatic work of Croatian, that is, then Yugoslav, literary expressionism. In the early 1920s, Josip Kulundžić wrote two, from today's perspective diachronically, interesting, ideologically-thematically-motivically heterogeneous and stylistically and compositionally divergent, but ingenious dramatic texts; pyrandelistic conceptual play Kako će sa Zemlje nestati zlato and the unpublished, a kind of deconstructivist play Dr. Elektar. In those plays, both at the expressive and content level, in the manner of original, naked expressionism with hints of futurism and strongly influenced by pyrandelist dramatic poetics, the author will present a dystopian-science fiction concept of the (dramatic) world that will symbolically refer to socio-historical and the cultural-ideological context of the time. Strong dystopian signals of the mentioned plays will mark them as one of the first dramatic, but also literary texts in general in Croatian and then Yugoslav literature, but also as texts that even today, in the diachronic cross-section of literary historiography, with their symbolic context, can illuminate some social, cultural and literary-dramatic phenomena of that, as well as of this time.

A Note on the Meaning of the ‘Post’ in Post-Yugoslav Literature

Slavonic and East European Review, 99, 4, 2021 A Note on the Meaning of the ‘Post’ in Post-Yugoslav Literature ZORAN MILUTINOVIĆ My aim is to try to clarify the possible meanings of ‘post-Yugoslav literature’, a designation which has become relatively frequent in contemporary literary criticism, but which still requires some attention if it is to be used as a scholarly term. It implies a geography, as it directs our attention to Yugoslavia, and a temporality, as it refers to something that comes after Yugoslav literature. The easiest would be to use ‘post-Yugoslav literature’ to refer to all literature written in the region formerly known as Yugoslavia, but it would be very difficult to find a single instance of such usage: as a rule, the term ‘post-Yugoslav’ is never applied to novels and poems written in Slovene, Macedonian or Albanian, but only to those written in the standard Štokavian. It is even sometimes explicitly underlined that all writers from this ‘post-Yugoslav’ regional space ‘all share the language’ — which certainly comes as a big surprise to those who write in Slovene or Macedonian. However, using the term ‘post-Yugoslav’ to refer to the literature written in the language formerly known as Serbo-Croatian or Croato-Serbian does not seem justified in any sense. If we want to refer to some shared commonalities in literature written by Bosniaks, Croats, Montenegrins and Serbs, and to close connections between them at all levels — so close that in some periods they leave the impression of writing a single national literature — then both ‘post’ and ‘Yugoslav’ are misplaced. These commonalities and connections are older than the state of Yugoslavia, and can in no way be thought of as something that comes after it. At the same time, excluding all non-Štokavian speakers from whatever ‘post-Yugoslav’ we may want to talk about, and appropriating this term only for Bosniaks, Croats, Montenegrins and Serbs certainly cannot be justified in any way. However, it reveals something very important about the possible meaning of this term, to which I will return after examining its other possible meanings. Zoran Milutinović is Professor of South Slav Literature and Modern Literary Theory at UCL SSEES. ON THE ‘POST’ IN POST-YUGOSLAV LITERATURE 735 A very widespread use of the term post-Yugoslav literature is based on its perceived ideological leanings. Post-Yugoslav literature is said to be whatever opposes the nationalist and neoliberal policies of the successor states: non-nationalist, leftist literature written in the Yugoslav successor states. The ideological criterium for admittance to post-Yugoslav literature is derived neither from the history of Yugoslav literature — which was not ideologically uniform, contained both nationalist and non-nationalist currents, and could hardly be characterized as predominantly leftist in any sense — nor from the actual political practices of the Communist Alliance of Yugoslavia, but from the Alliance’s official anti-nationalist and socialist ideology: not from what it historically was, but from how it wanted to be perceived. This understanding of post-Yugoslav literature is not based on generalizations about a specific literary corpus as a list of works meeting these criteria would be rather brief, but on our aspiration to appear as people who, in their conference papers and articles in refereed journals with quite a limited readership, ‘subvert’ something or other, or ‘disrupt’ it, ‘transgress’ or ‘re-draw the boundaries’, or make the world a better place in some other way. This aspirational activist dimension, taken from larger socio-political movements such as feminism and postcolonialism, leads some of us to identify, support and advocate non-nationalist, leftist literature either in a sincere hope that this advocacy could eventually change the political realities of the Yugoslav successor states, or simply as a way of self-positioning in the cultural field. The former is rather naive, and the latter simply vain and self-serving. This notion of post-Yugoslav literature cannot be used in any meaningful way and should be abandoned. The second, apparently more theoretically sophisticated description of post-Yugoslav literature is based on the notion of post-national literature: it argues that the historical period in which literature was nationally produced is over, that we now live...

Центральноєвропейський літературний космо-політизм: “Енциклопедія мертвих” Данила Кіша та “Музей безумовної капітуляції” Дубравки Уґрешич

Background: This work compares the story Encyclopedia of the Dead by Danilo Kiš and novel The Museum of Unconditional Surrender by Dubravka Ugrešić which were written outside the homeland of their authors. It is used the definition of the literary cosmopolitanism as a kind of cultural cosmopolitanism which is characterized raising the issue of identity of heroes in the perspective of world citizenship, often depicting the coexistence of different identities without the specifying a national one. The article studies the influence of Kiš's poetics on Ugrešić's poetics, intertextual relations in the mentioned works. Purpose: The similarity at the level of motives, symbols, worldviews, structure, genre features, artistic techniques as main characteristics of the literary cosmopolitanism is studied in this article. Results: The Central European literary cosmopolitanism in the works by Kiš and Ugrešić is reflected in narration, images and symbols, motives, quotations of the other texts with the similar, cosmopolitan themes. Here the authors set the task of preserving and reconstructing the past by the various "reservoirs of memory" such as memories, photographs, artifacts, customs. The topic of freedom is extremely relevant as a fundamental one for totalitarian and post-totalitarian societies, which is manifested here either through the censorship of memory, or through the fantastic visions of freedom from censorship. Keywords: museum, encyclopedia, library, memory, cosmopolitanism. Assman, A., 2012. Spaces of memory. Forms and transformations of cultural memory. Kyiv: Nika-Tsentr. (In Ukrainian) Birth Certificate, 2021. [online] Cornell University Press. Avialable at: https://www.cornellpress.cornell.edu/book/9780801448881/birth-certificate/ [Accessed September, 6, 2021] (In English) Gvozden, V., 2002. Danilo Kiš as a Central European writer: contribution to writing and reading identity. In: B. Zieliński, ed. National and Supranational model of culture: Central Europe and the Balkan Peninsula. Poznań: Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza, s.83–94. (In Polish) Kiš, D., 1979. The Anatomy Lesson. Beolgrade: Nolit. (In Serbian) Kiš, D., 2008. The Book of the Love and Death. L’viv: LA “Piramida”. (In Ukrainian) Kosmos, І., 2015. Mapping of Exile in the Works of Post-Yugoslav Authors. PhD thesis. University of Zagreb. Zagreb, Croatia. (In Croatian) Miedzielski, E., 2014. Unity in difference, differences in unity. Mapping the cultural space of contemporary Croatia on the basis of Croatian prose from the pre-millennium. Poznań: Nauka i innowacje. (In Polish) Milutinović, Z., 2014. Territorial Trap: Danilo Kiš, Cultural Geography and Geopolitical Imagination. East European Politics and Societies, 28, 4 (2014), pp.715–738. (In English) Nedeljković, M., 2016. Kiš's vigilance: ethics as aesthetics in the prose of Danilo Kiš. PhD thesis. University of Westminster. London, United Kingdom. (In English) Pantić, M., 2002. The variations on a theme „Danilo Kiš and Central Europe“. In: B. Zieliński, ed. National and Supranational model of culture: Central Europe and the Balkan Peninsula. Poznań: Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza, pp.77–82. (In Polish) Richter, A., 2002. The Central Europe with Danil Kiš. In: B. Zieliński, ed. National and Supranational model of culture: Central Europe and the Balkan Peninsula. Poznań: Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza, pp.95–101. (In Polish) The Conversation of Iurii Andrukhovych with Dubravka Ugrešić about the experience of the land that runs away from under your feet, 2021 [online]. Chytomo. Avialable at: https://chytomo.com/rozmova-iuriia-andrukhovycha-z-dubravkoiu-ugreshych-pro-dosvid-zemli-shcho-vtikaie-z-pid-nih/?fbclid=IwAR1OQgoqcQQ9-xSbn6dvwO0UX6Oc_p0U2k-wWnqTWB3nlZHR-TmLIqaJ8Mo [Accessed in June, 1, 2018] (In Ukrainian) Thompson, M., 2014. Birth Certificate. Belgrade: Clio, pp.475–477. (In Serbian) Ugrešić, D., 2020. The Museum of Unconditional Surrender. Chernivtsi: Knyhy XXI. (In Ukrainian) Vanuska, K., 2009. Citizen of Literature: Dubravka Ugrešić. The Quaterly Conversation, 17, 2009. [online] Dubravka Ugrešić. Avialable at: https://www.dubravkaugresic.com/ writings/wp-content/uploads/2020/11/Karen-VanushkaThe-Quaterly-Conversation.pdf [Accessed September, 6, 2021] (In English) Veličković, V., 2015. “Justabit-Racist”: Dubravka Ugrešić. Cosmopolitanism and the Post-Yugoslav Condition. In: L. Platt and S. Upstone, ed. Postmodern Literature and Race. Cambridge: Cambridge University Press, pp.145–159. (In English) Veličković, V., 2019. Eastern Europe and Race: Cosmopolitanism and the Post-Yugoslav Condition in Dubravka Ugrešić’s Essays. In: Veličković, V. Eastern Europeans in Contemporary Literature and Culture. London: Palgrave Macmillan, pp.167–186. (In English) Vervaet, S., 2016. Ugrešić, Hemon and the Paradoxes of Literary Cosmopolitanism: Or How to “World” (Post-) Yugoslav Literature in the Age of Globalization. In: A. Marčetić, Z. Bečanović-Nikolić and V. Elez, eds. Encompassing Comparative Literature: Theory, Interpretation, Perspectives. Belgrade: Faculty of Philology, University of Belgrade, pp.161–169. (In English)

Mono-kronološki ‘post’: sinkronizacija međuvremena nacija u povijestima jugoslavenske književnosti Antuna Barca i Pavla Popovića i (post)-jugoslavenska književnost

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.

Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin

In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin welcomed this in accordance with his leftist, anti-fascist political agenda, hoping that the loss of 'aura' would open art to politicization, communism's (or, at any rate, Benjamin's) response to fascism's aestheticisation of politics. That same year, 1935, in Belgrade, the capital of what was then the Kingdom of Yugoslavia, the Serbian-Jewish poet, intellectual, and literary and music critic Stanislav Vinaver wrote an essay titled Mehanička muzika (Mechanical Music). In his essay, Vinaver focused on the advent of technical reproduction in and its effects on music, an art largely ignored by Benjamin. Unlike his more famous contemporary, Vinaver was alarmed by the new technologies of radio and the gramophone record and their perceived negative impact not only on traditional music, performed live on traditional, acoustic instruments, but on organic life in general, replacing it with a mechanical surrogate carried by the waves of a dehumanizing technology. Vinaver's views were probably shaped by his passionate championing of modernism in Serbian and Yugoslav literature and music alike, which is evident not only in Mehanička muzika, but also in his criticism in general. Two more important factors may have also been the influence of the French philosopher Henri Bergson, Vinaver's one-time professor at the Sorbonne, and his valorisation of intuition in thought and artistic creativity, as well as Vinaver's somewhat nostalgic view of music as the only true and self-referential art, a view reminiscent of the re-conception of music in the early German Romantics such as E. T. A. Hoffmann, F. W. J. Schelling, and Arthur Schopenhauer, later taken up and elaborated by such disparate figures as the German music theorist Eduard Hanslick, English essayist Walter Pater, and Vinaver's own modernist hero Arnold Schönberg. Ironically, although Vinaver shared much of Benjamin's leftist politics, he did not see such a positive potential in the mechanical reproduction of music, but, perhaps, only another sign of humanity's headlong March toward self-destruction in a total war, on the wings of an aestheticised technology and instrumental reason run amok, no longer serving humanity but turning against it.

Post-Yugoslav Serbian Literature and Its Roots in the Social and Political Changes

Post-Yugoslav literature and culture came out of the stylistic formations of Yugoslav modernism and postmodernism, in the context of European cultural discourse. Yugoslav literature, which spans the existence of “two” Yugoslavias, the “first” Yugoslavia (1928–1941) and the “second” socialist Yugoslavia (1945–1990), is the foundation of various national literary and cultural paradigms, which shared the same or similar historical, philosophical and aesthetic roots. These were fed, on the one hand, by a phenomenological understanding of the world, language, style and culture, and on the other, by an acceptance of or resistance to the socialist realist aesthetics and ideological values of socialist Yugoslav society. In selected examples of contemporary Serbian prose, the author explores the social context, which has shaped contemporary Serbian literature, focusing on its roots in Serbian and Yugoslav 20th century (post)modernism.

The Symbolic Role of Ex-Yugoslav Literature in The Ministry of Pain by Dubravka Ugrešić

The paper deals with the ways in which Dubravka Ugrešić treats Yugoslav/Croatian literature, literary genres, conventions and style in her novelThe Ministry of Pain. From the perspective of an exiled professor of literature, Tanja Lucić, and her exiled students living in the Netherlands, Yugoslav literature is perceived and valued in the light of several non-literary factors. Tanja Lucić finds it absurd to teach their former country’s literature (or literatures) as if the notion of nation, to which they no longer seem to relate, or the future war and trauma are always already inscribed in it. This oppositional reading and its reflection in the very design of the novelThe Ministry of Painwill be discussed in this paper, in an effort to outline Ugrešić’s post-national poetics.

Olivera Mladenovic and folk dances in the context of Serbian ethnology

Olivera Mladenovic was born in 1914 in Skopje (Macedonia), but her entire professional and private life was connected to Belgrade and Serbia. Olivera Mladenovic received her BA both in Yugoslav Literature and Serbian Language with the Old Church Slavonic Language, and in Ethnological Studies, while also receiving a PhD in the latter in 1965, because she considered that ethnology was important for further study of folk dances. The main subject of research by this scientist was folk dances, as she terminologically defined the subject of her study. Olivera considered folk dances from a scientific point of view, but she also practically contributed to the preservation and promotion of this phenomenon, organizing various seminars, holding lectures, participating in folklore festivals and, finally, establishing National Folk Dance and Song Ensemble of Serbia Kolo. In this paper, using primarily archival sources and then accessible literature, I will show how Olivera Mladenovic contributed to Serbian ethnology as a scientific discipline by researching folk dances. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177027: Multietnicitet, multikulturalnost, migracije -savremeni procesi]

\u2018Social literature swindlers\u2019: the r/evolutionary controversy in interwar Yugoslav literature

Political and literary controversies on the Yugoslav literary left, known as Sukob na ljevici (Conflict on the left), remain famous for their culmination points, such as Miroslav Krleža’s book of essays Moj obračun s njima (My reckoning with them, 1932), his “Predgovor Podravskim motivima Krste Hegedušića” (The foreword to the Podravina motives by Krsto Hegedušić, 1933), Bogomir Hermann’s (alias A.B.C.) subsequent invective “Quo vadis, Krleža?” (1933), Krleža’s later “Dijalektički antibarbarus” (Dialectical antibarbarous, 1939), and the one-issue journal Književne sveske (Literary volumes, 1940). As the historiographic memory of these controversies is mainly concentrated on the authoritative personality of Krleža himself, the arguments of his opponents are mostly remembered as arguments of ‘the others’ and are granted only marginal validity. This article gives an account of the debates of the Conflict’s first stage (1928–1934), which were manifold and profound, and which foreshadowed the literary and ideological positions of the Conflict’s later, culminating stages. By taking into account the dynamic and complex international context that serves as a backdrop to the Conflict, this paper explores the developments in the Yugoslav ‘counterpublic’ literary sphere, especially with a view to discussions, debates, and polemics over the emerging social literature. Particular attention goes to the group of authors gathered around Socijalna Misao, Zagreb’s sociological and cultural journal edited by Božidar Adžija. As this journal’s most productive authors were derogated as ‘social literature swindlers,’ which affected their marginal position in the cultural historiography of this period, the aim of this article is to offer a proper analysis of their particular position on the literary and political left.

Yugoslav Literature Under (Il)legal Censorship, 1945–90

The main aim of this paper is to discuss the legal framework and the actual practices through which the Communist regime attempted to control Yugoslav literary production. Agitprop's role as a “prime censor” of the regime will be examined together with its centralization of the control system over the publishing industry. The development of legal solutions and the role of the judiciary in support of the control of the circulation of ideas in society and legislative confinement of the influence of writers whose literary creativity was potentially harmful to ruling political ideology will be exposed to critical review through certain historical timelines. The paper will also examine the response of major publishing houses and individual authors to the new cultural policies imposed by the Communists. It will discuss a number of examples, ranging from open opposition – as was the case of Professor Mihajlo Đurić’s comments on newly proposed Constitutional Amendments or Alija Izetbegovic's Islamic Declaration – to involuntary collaboration as exemplified by self-censorship of the literary majority. It will also provide examples of other means through which the regime exerted pressure on publishers and authors, such as granting financial favors nationalizing the press often through illegal means such as direct and indirect threats, informative secret police interviews, etc.

Struggle for Liberation of the Peoples of Yugoslavia (Belgrade Operation)

In the military history of our homeland many memorable important dates leading up to the final victory over fascism are forever imprinted. One of these dates is October 20, 1944, the day of the liberation of Belgrade, the capital of Yugoslavia, and the day of completion of the Belgrade operation. This operation was of special significance for the peoples of Yugoslavia and the Soviet Union. It symbolized the military cooperation of the two countries, which at the most difficult times in their history have always been in the same ranks in the struggle against the common enemy. The Red Army and the People's Liberation Army of Yugoslavia (AVNOJ) were actively joined by the troops of the Fatherland Front of Bulgaria. Given the importance of preserving the memory for the present and future generations an example of joint struggle of our people against the common enemy it is necessary to recall the Belgrade offensive in 1944, as one of the most important events in the history of the World War II. Despite the fact that this topic was thoroughly researched in the Soviet and Yugoslav literature there are still contradictory assessments of combat and the strength of the Soviet Armed Forces groups, groups of interacting forces, the balance of forces involved in the operation. The results of the study of the experience of the offensive in the conditions of the Balkan region can be used for comprehensive training of troops, as the region is a source of international tension, both in Europe and in the world as a whole.

Does the Drina flow? Cultural indifference and Slovene/Yugoslav literature in Turkish

The goal of the present study is twofold. The first goal is to identify the current status of Slovene literature in the Turkish literary system and to explore the ways in which Slovene and Yugoslav literatures have been (non-)translated into Turkish during the past 50 years. After providing a background to the scarcity of translations from the languages of the former Yugoslav republics into Turkish, the paper proceeds with pursuing its second goal and sets out to investigate a major point of contact between Yugoslav literature and the Turkish literary field by focusing on the first Turkish edition of Ivo Andrić’s famous novel, The Bridge over the Drina (Drina Köprüsü) published in 1962. The novel and the discourse formed around it will enable a problematization of a number of translational issues that have recently been under close scrutiny in translation studies. One of them is translation movements among the less widely spoken languages and the conditions that mediate literary contacts among these languages as exemplified by the case of Turkish and Serbo-Croatian. The paper will also discuss the issue of non-translation in connection with this. A second issue which will be tackled in the paper is the Nobel Prize for Literature and its influence over publishers, translators and readers, as exemplified by the interest shown in Andrić, following shortly after his reception of the prize in 1961.

Otologic surgical procedures in an Ear, Nose and Throat Department in Subotica from 1987 to 2001

This paper deals with otologic surgical procedures performed in a an Ear, Nose and Throat Department during a 15-year period. The authors compared the number of otologic surgical procedures with the number of laryngomicroscopies and procedures performed in Waldeyer's ring. From January 1, 1987 to December 31, 2001, 1184 patients underwent the following surgical procedures in total endotracheal anesthesia: 285 paracenteses, 473 ventilation tubes insertions, 175 antrotomies or mastoidectomies, 194 tympanoplasties, 34 radical mastoidectomies, 4 facial nerve decompressions, 5 exostoses or osteoma of the external auditory canal operations and 14 stapedectomies. Otologic surgical procedures are presented in table 1. In Yugoslav literature Topolac reports approximately 700 tympanoplasties in a 10-year period (1968-1978). Radonjić and associates report 2272 ear operations in the period 1975-1985. Distribution of operations is presented in table 2, whereas in table 3 we can see that the number of operated ears is much greater than the number of operated patients. We think that the number of operations is not bigger, because we operate only in critical cases. Our human and technical resources should provide advanced ear microsurgery, but only with financial and organizational support.

Morphometric recognition of two morphs in sterlet (Acipenser ruthenus) population induced by different reproductive behaviour

Four species of sturgeons appear in the Yugoslav part of the Danube River. Among them three are anadromous, beluga (Huso huso), Russian sturgeon (Acipenser gueldenstaedtii) and stellate sturgeon (Acipenser stellatus) and migrate to Danube from the Black Sea to spawn. Only sterlet (Acipenser ruthenus) is exclusively freshwater. There are obvious differences between vernal and winter races of anadromous sturgeons, due to their different migratory patterns. Russian ichthyologist Berg (1934) claimed that there are two races (morphs) in the starlet population as well. This stimulated long discussion in Russian and Yugoslav literature, and it was the starting point for our research on sterlet in the Yugoslav part of the Danube River.Morphometric analysis was preformed on 159 individuals caught in Danube River among 1123 and 1173 km, on four localities during September and October 2002. Analysis included 24 morphological and 3 meristic characters. K‐means cluster analysis indicated existence of two different clusters (groups), one with 95 (59·75%) and other with 64 (40·25%) samples. Significant differences were found for preorbital, preoral and prebarbel length. Mean values (in % of head length) for first group were 50·13 ± 1·71, 57·61 ± 1·87, 39·74 ± 2·20 and for second group 53·50 ± 2·46, 62·07 ± 2·20 and 43·30 ± 2·08 respectively. Findings were confirmed by Principal Components & Classification Analysis. These results speak in favour of existence of two morphs in sterlet population, one with long and pointed rostrum (vernal) and other with short rostrum (winter). According to the literature that is probably influenced by different reproductive behaviour (time separation in spawning).

Second Supplement to a Comprehensive Bibliography of Yugoslav Literature in English, 1986- 1990. Comp. and ed. Vasa D. Mihailovich. Columbus: Slavica, 1992. 301 pp. Indexes. Paper.

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The Karamazov Syndrome in Recent Yugoslav Literature

The Karamazov Syndrome in Recent Yugoslav Literature