Številka 3–4/2005 ~ Issue 3–4/2005

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Alojzija Zupan Sosič: Homoerotika v najnovejšem slovenskem romanu. Jezik in slovstvo. 3–4/2005. 5–16.
Homoerotika v najnovejšem slovenskem romanu (1990–2005) se preko stereotipizacije, medikalizacije in skrivnosti le počasi prebija proti normalizaciji oz. izravnavi različnih spolnih identitet. S slovensko homoerotično literarno tradicijo je primerljiva v statusu epizodičnosti in vezanosti na mladostnike in/ali prisilne bivalne prostore. Ker je k strpnejši podobi homoseksualnosti v najnovejšem slovenskem romanu največ prispevalo prav preizkušanje spolne identitete mladostnikov, se obravnavana homoerotika še vedno vrti v krogu normalizacije po meri heteroseksualnosti, ki ji pomeni istospolnost zgolj prehodno fazo spolnega razvoja.

Alojzija Zupan Sosič: Homoeroticism in the Most Recent Slovene Novels. Jezik in slovstvo. 3–4/2005. 5–16.
In the most recent Slovene novels (1990–2005), homoeroticism is only gradually working its way through stereotyping, medicalising, and mystery towards a normal state, or an equalisation of different sexual identities. It is comparable to the Slovene homoerotic literary tradition in the status of its episodic nature and its correlation to adolescents and/or forced living conditions. Since it was the experimentation of sexual identity of adolescents that has led to the more tolerant image of homosexuality in the most recent Slovene novels, the discussed homoeroticism is still turning in the circle of normalisation measured against heterosexuality, which treats homosexuality merely as a transitory phase in sexual development.



Alenka Žbogar: Kratka proza na prelomu tisočletja. Jezik in slovstvo. 3–4/2005. 17–26.
Pregled slovenskih kratkih zgodb in novel zadnjih dveh desetletij 20. stoletja kaže, da osemdeseta leta bolj kot novele zaznamujejo kratke zgodbe, obratno je v devetdesetih. Primerjava Blatnikovega in Jančarjevega upovedovanja t. i. velikih tem da sklepati, da se nova in mlada slovenska proza ločita po idejni naravnanosti, čeprav obe generaciji pogosto tematizirata (površinske) medosebne odnose v urbanem okolju, pri obeh se pojavljata lirizacija in intimizem. Elementi fantastike so pri starejših tradicionalni, pri mlajših reintepretirani. Nova slovenska proza posega po ljudski motiviki s pravljičnimi elementi, zlasti pri mladi je zaznaven premik k metafikcijskosti.

Alenka Žbogar: Short Prose at the Turn of the Millennium. Jezik in slovstvo. 3–4/2005. 17–26.
A review of Slovene short stories and short novels written in the last two decades of the twentieth century illustrates that the eighties are more prominently marked by the production of short stories rather than short novels, while quite the opposite holds true of the nineties, when short novels seem to predominate. A comparison between the narration of the so-called great themes by Andrej Blatnik and Drago Jančar reveals that the new and the young Slovene prose works differ in their conceptualisation, although both generations frequently portray the (superficial) interpersonal relationships in the urban milieu, and both also employ lyrical aspects and intimism. Fantasy elements are traditional for the older generation, and re-interpretative for the younger writers. New Slovene prose also employs folk motifs with fairytale elements; typical especially of young Slovene prose is a significant shift to meta-fiction.



Dragica Haramija: Pregled sodobne slovenske mladinske proze. Jezik in slovstvo. 3–4/2005. 27–36.
Pri preučevanju sodobne slovenske mladinske proze je viden pomemben razvoj nekaterih književnih vrst in žanrov (npr. sodobna umetna pravljica, fantastična pripoved, povest, mladinski roman), sodobnost tem in motivov, poglobljeno predstavljanje literarnih likov in pri večini avtorjev tudi izjemen posluh za jezik. Članek predstavlja izbor ustvarjalcev in njihovih del, ki so nastala približno v zadnjih desetih letih, izjemoma prej, če so dela pomembno vplivala na razvoj slovenske mladinske proze. Dela teh avtorjev so izbrana po merilu kakovosti, zanimivosti književne vrste, aktualnosti tem in motivov, hkrati pa so pri opusu posameznega avtorja izpostavljena tista prozna mladinska dela, ki pisatelja posebej zaznamujejo in ga dovolj natančno predstavljajo.

Dragica Haramija: A Review of Contemporary Slovene Youth Prose. Jezik in slovstvo. 3–4/2005. 27–36.
A significant development of some literary text types and genres (such as the contemporary fairytale, fantasy narrative, tale, youth novel) can be observed when researching contemporary Slovene youth prose. What can also be noted is the employment of contemporary themes and motifs, a detailed portrayal of literary characters, and, with most writers, also an exceptional sense for language. The article presents a selection of authors and their works, written during the last decade with some earlier exceptions, if they had made a significant impact on the development of Slovene youth prose. The works were selected according to their quality, interesting literary type, and topical themes and motifs. Also foregrounded in the opus of individual authors are those youth prose works, which particularly signify the authors and aid in their detailed presentation.



Helga Glušič: Literarno ustvarjanje Valentina Polanška. Jezik in slovstvo. 3–4/2005. 37–47.
Slovenski koroški pesnik in pripovednik Valentin Polanšek je v svojem literarnem ustvarjanju izhajal iz dveh vsebinskih virov: iz pokrajine Podjune, pašnikov in globeli med Peco, Olševo, Kočno, Košuto in Obirjem, ki mu je dala gradivo za podobe lirske izpovedi, ter iz izrazite socialne določenosti, povezane najprej z ožjim družinskim življenjem, nato z življenjem slovenske manjšine v Avstriji in še posebej z usodo manjšine v drugi svetovni vojni. Polanšek je v svojih najboljših pesmih preprosto iskren in neposreden, literarno neizumetničen v oblikovanju svoje osebne izpovedi in izpovedi bivanjske stiske koroškega Slovenca. V umetniškem pogledu je Polanškova poezija močnejša od njegovega proznega opusa, ki sicer vsebuje spoštljiv obseg kronikalnega gradiva o pisateljevem osebnem doživljanju in predvsem o usodnem obdobju bolečih in tudi bojevitih, za pisateljeve literarne osebe odločilnih zgodovinskih dogodkih.

Helga Glušič: The Literary Creations of Valentin Polanšek. Jezik in slovstvo. 3–4/2005. 37–47.
As far as their content is concerned, literary creations of the Slovene Carinthian poet and writer, Valentin Polanšek, are inspired by two sources: by the Podjuna region, the meadows and hollows between the mountains of Peca, Olševa, Kočna, Košuta and the Obirje area, which provide material for his lyrical images, and by the pronounced social determination, first correlated to family life, and later to the life of the Slovene minority in Austria, especially the fate of the minority during the Second World War. In his best poems, Polanšek is simply honest and direct, non-artificial in the literary formation of his personal confession and the confession concerned with the existential distress of a Carinthian Slovene. In the artistic sense, Polanšek's poetry is stronger than his later prosaic opus, which contains a respectful degree of chronological material about the writer's personal experience and, particularly, the fatal period of painful and pugnacious historical events, decisive for the writer’s literary characters.



Mateja Pezdirc Bartol: Motivi in teme v najnovejših komedijah Toneta Partljiča in Vinka Möderndorferja. Jezik in slovstvo. 3–4/2005. 49–60.
V članku analiziramo deset najnovejših komedij Toneta Partljiča, zbranih v knjigah Komedije (1997) in Izbrane komedije I, II, III (2003), ter sedem komedij Vinka Möderndorferja, objavljenih v Vaja zbora – tri komedije (1998) ter Limonada slovenica: štiri komedije (2003). Ugotavljamo, da so pogosti tematski elementi njunih komedij vloga kapitala v družbi in povzpetništvo, razmerje med mestom in podeželjem oziroma urbanim in ruralnim, velik delež pripada političnemu dogajanju: volitve, strankarske razprtije, želja po oblasti ter odmevi na različna aktualna vprašanja našega časa. Redke pa so komedije brez družbene angažiranosti, ki bi imele poudarjeno erotično komponento oziroma bi želele zgolj zabavati. Komični učinki najpogosteje izhajajo iz elementov situacijske komedije in komedije značajev, ki so jim dodane številne jezikovne dvoumnosti, nesporazumi, besedne igre. Slovenska komedija, kot jo izkazujeta njena najbolj zagnana in uspešna pisca, se sproti kritično odziva na dogajanja v družbi, je aktualna in s tem zavezana času. V tem smislu pa je Möderndorfer bolj univerzalen, saj daje več poudarka jezikovnim dvoumnostim in situacijskim zapletom, medtem ko je pri Partljiču v ospredju politična aktualnost in smešenje elementov iz vsakdana.

Mateja Pezdirc Bartol: Motifs and Themes in the Most Recent Comedies by Tone Partljič and Vinko Möderndorfer. Jezik in slovstvo. 3–4/2005. 49–60.
The article is an analysis of ten most recent comedies by Tone Partljič, collected in the books Komedije (Comedies, 1997) and Izbrane komedije I, II, III (Selected Comedies I, II, III, 2003), and seven comedies by Vinko Möderndorfer, published in Vaja zbora – tri komedije (A Rehearsal for a Choir – Three Comedies, 1998) and Limonada slovenica: štiri komedije (Soap Opera Slovenica: Four Comedies, 2003). The results of the analysis show that in their comedies they frequently employ thematic elements of capital in the society and the issue of upstarts, relations between the urban and the rural world, and, to a large extent, also political events: elections, party discords, lust for power, and responses to different topical questions of our time. However, rare are the comedies without a social engagement with a pronounced erotic component, or those merely aiming to entertain. Comical effects most frequently arise from the elements of situational comedy and the comedy of characters, with added numerous linguistic ambiguities, misunderstandings, and puns. As illustrated by its most engaged and successful writers, Slovene comedy critically responds to the current events within the society, is topical and therefore also bound to the time of its creation. In this sense, Möderndorfer is more universal, paying more attention to the linguistic ambiguities and situational entanglements, while Partljič foregrounds topical political situations, ridiculing the elements of everyday life.



Silvija Borovnik: Dramatika Rudija Šeliga. Jezik in slovstvo. 3–4/2005. 61–73.
Razprava pregledno obravnava značilnosti dramskega opusa pisatelja Rudija Šeliga. Številna njegova literarna in esejistična besedila so nastajala kot odgovori na izzive časa in zoper zadušljivo socialistično politiko. Pomagala so oblikovati nastajanje neodvisne kritične javnosti ter se zavzemala za vzpostavitev in delovanje pravne države. Na dramskem področju pa je Šeligo dokazoval živost, živahnost in zmogljivost slovenske dramatike. Magijsko gledališče, ki mu je pripadal, je priklicevalo v življenje potlačenega in pozabljenega človeka, to je človeka magijsko-mitske kulture. Z njim je dramatik kazal na to, kar sedanjemu času najbolj primanjkuje. V svojih dramah Čarovnica iz Zgornje Davče (1977), Lepa Vida (1977) in Svatba (1981) je uveljavil pomen večplastno simbolnega, t. i. nebesednega izraza, to je mimike, gibanja v prostoru, maske, luči in scenskih efektov v prepričanju, da mora uprizoritev presegati dramsko besedilo. V dramah Ana (1984) in Volčji čas ljubezni (1988) je tematiziral zlorabo človeka kot posameznika v revoluciji, v Slovenski savni (1987) pa muke dolgočasnih slovenskih srednjeslojcev. Drami Razveza ali sveta sarmatska kri (1995) in Kamenje bi zagorelo (2000), ki se navezujeta na krvavo razpadanje nekdanje skupne države SFRJ, izražata dramatikov protest zoper politični fanatizem. V vseh svojih dramah pa je Šeligo posebno pozornost posvečal ženskim likom, ki ostajajo prevarani za svoja hrepenenja.

Silvija Borovnik: The Playwriting of Rudi Šeligo. Jezik in slovstvo. 3–4/2005. 61–73.
The article discusses the typical features in the dramatic opus of writer Rudi Šeligo. Many of his literary texts and essays were created as a response to the challenges of the time of their creation and against the stifling socialist politics. These works helped in the formation of an independent critical public, and spoke in favour of the establishment and operation of a legal state. As far as drama is concerned, Šeligo was proof of the liveliness, vivacity, and capacity of Slovene playwriting. He belonged to the magical theatre whose aim was to bring to life the oppressed and forgotten human being, the human being of magical-mythic culture. With it, the author pointed to that which is most lacking in this day and age. In his plays Čarovnica iz Zgornje Davče (The Witch from Zgornja Davča, 1977), Lepa Vida (Beautiful Vida, 1977) and Svatba (The Wedding, 1981) the playwright made prominent the multi-faceted symbolic meaning, the so-called non-verbal expressions, i.e. facial language, body-space movement, make-up, lighting, and set effects, convinced that the staging of a play has to surpass the dramatic text. In his plays Ana (1984) and Volčji čas ljubezni (Wolfish Time of Love, 1988) he portrays the abuse of a human being as an individual in the revolution, while in Slovenska savna (The Slovene Sauna, 1987) he writes about the torments of the boring Slovene middle class. His plays Razveza ali sveta sarmatska kri (A Divorce or the Holy Sarmat Blood, 1995) and Kamenje bi zagorelo (The Stones Would Catch Fire, 2000), both linked to the bloody disintegration of the former Yugoslav Republic, are an expression of the writer’s protest against political fanaticism. In all his plays Rudi Šeligo pays special attention to his female characters that remain cheated of their longings.



Jožica Čeh: Pogledi na metaforo. Jezik in slovstvo. 3–4/2005. 75–86.
V prispevku so opisani pogledi na metaforo, kot jih prinašajo substitucijska, primerjalna, interakcijska in kognitivna teorija metafore. Avtorica opozarja, da je kognitivna teorija povzročila radikalne spremembe v tradicionalnem pojmovanju metafore, vendar je nekatere nastavke kognitivnega pristopa zaslediti že mnogo prej, zlasti v interakcijski teoriji metafore. Kognitivna teorija ne more dokončno zavrniti tradicionalnega pojmovanja metafore, saj kot teorija konceptualne metafore nima odgovorov na številna vprašanja o jezikovni metafori in njeni vlogi v različnih besedilnih vrstah.

Jožica Čeh: Various Views on Metaphor. Jezik in slovstvo. 3–4/2005. 75–86.
The article describes various views on metaphor, as discussed by the substitutional, comparative, interactional and cognitive theory of metaphor. The author points out that the cognitive theory instigated many radical changes in the traditional understanding of metaphor, although some aspects of the cognitive approach can be found much earlier, especially in the interactional theory of metaphor. The cognitive theory cannot make a final rejection of the traditional understanding of metaphor, since as a theory of conceptual metaphor it does not have the answers to many questions concerning linguistic metaphor and its role in various text types.



Katja Mihurko Poniž: Feministične literarnovedne raziskave – tukaj in zdaj. Jezik in slovstvo. 3–4/2005. 87–95.
V slovenskem prostoru so se raziskave, ki posegajo v prostor feministične literarne vede, glede na razvoj v drugih evropskih deželah in po svetu, začele odvijati dokaj pozno. Vendar na Slovenskem v zadnjem času zanimanje za feministično literarno vedo narašča in zdi se, da je nastopil čas, ko je v našem prostoru dovolj raziskovalk in raziskovalcev, da bi lahko izpeljali tudi znanstveni simpozij na katero izmed tem, ki sodijo na področje feministične literarne vede.

Katja Mihurko Poniž: Feminist Research in Literary Studies – Here and Now. Jezik in slovstvo. 3–4/2005. 87–95.
When compared to other European countries and the rest of the world, research projects involving the domain of feminist literary studies began to develop fairly late in Slovenia. Nevertheless, there has been a growing interest in feminist literary studies in Slovenia lately, and it seems that there is now a sufficient number of researchers, both male and female, to organise a scientific symposium on one of the topics that belong to the field of feminist literary studies.