Številka 3–4/2008 ~ Issue 3–4/2008

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Alenka Koron: Avtobiografija in naratologija: sodobne pripovednoteoretske kategorije v raziskavah avtobiografskih pripovedi. Jezik in slovstvo. 3–4/2008. 7–21.
Izhajajoč iz možnosti produktivne interakcije postklasične naratologije oziroma novejših pripovednoteoretskih pristopov, teorije avtobiografije in sodobnih teorij fikcije, skušam v članku osvetliti filozofske in teoretično-metodološke predpostavke nekaterih sodobnih naratoloških kategorij in modelov ter ob zgledih iz slovenske literature prikazati njihovo uporabnost v raziskavah avtobiografskih pripovedi.

Alenka Koron: Autobiography and Narratology: Contemporary Narrative Theory Categories in the Research of Autobiographical Narrative. Jezik in slovstvo. 3–4/2008. 7–21.
Following from the possibilities of the productive interaction of post-classical narratology, i.e. the most recent narrative theory approaches, the theory of autobiography and contemporary theories of fiction, I attempt in the article to shed light on the philosophical and theoretical-methodological assumptions of certain contemporary narratological categories and models, while demonstrating their applicability to the research of autobiographical narrative with the aid of some examples from Slovene literature.



Jožica Čeh: Med fikcijo in resničnostjo v avtobiografski prozi. Jezik in slovstvo. 3–4/2008. 23–35.
V postmoderni literarni teoriji se literatura kot eden od možnih fikcijskih svetov ne vzpostavlja v nasprotje z resničnostjo. Vezi med stvarnostjo in fikcijo se najočitneje prepletajo v tistih literarnih žanrih, ki opazneje fingirajo resničnost, kot je na primer avtobiografska proza. V prispevku je na primeru Cankarjevega Mojega življenjapredstavljena vloga fikcijskih signalov. Kljub trdnim referencam v zunajliterarnem svetu je Cankarjevo Moje življenje zgolj ena od številnih možnih variant ubeseditve pisateljeve resničnosti. Besedilni fikcijski signali umeščajo Cankarjevo Moje življenje v avtobiografsko kratko prozo. Na idejno-tematski, strukturni in slogovni ravni se Cankarjevo Moje življenje vpisuje v etično psihološko črtico z avtobiografsko osnovo kot prevladujočo pripovedno zvrst Cankarjevega literarnega ustvarjanja po letu 1910, kakor tudi v kontekst tematizacije identitetne krize subjekta v evropski moderni.

Jožica Čeh: Between Fiction and Reality in Autobiographical Prose. Jezik in slovstvo. 3–4/2008. 23–35.
In postmodern literary theory literature as one of the possible fictional worlds does not place itself in opposition to reality. The links between reality and fiction are most obvious in those literary genres that more noticeably simulate reality, such as autobiographical prose, for instance. In the article the role of fictional signals in the case of Cankar’s My Life is presented. In spite of concrete references located in the extra-literary world, Cankar’s My Life is only one of numerous possible ways of putting the writer’s reality into words. Textual fictional signals place Cankar’s My Life in autobiographical short prose. On the conceptual-thematic, structural and stylistic level Cankar’s My Life establishes itself as an ethical psychological sketch with an autobiographical basis, the prevailing narrative genre of Cankar’s literary creativity after 1910, as well as placing itself in the context of the thematization of the identity crisis of the subject in the European modern.



Blanka Bošnjak: Avtobiografskost sodobne slovenske kratke proze. Jezik in slovstvo. 3–4/2008. 37–51.
Glede na odkriti pojavžanrskega sinkretizma in novih žanrskih konstrukcij v sodobni literaturi, ki so velikokrat tudi kombinacije literarnih in neliterarnih žanrov, v našem primeru raziskovanja kombinacije različnih oblik sodobne slovenske kratke proze, potopisa, eseja, spominov ipd. ter avtobiografije, so se na podlagi izbranih analiziranih besedil sodobne slovenske kratke proze zadnjih desetih let izkristalizirale zanimive značilnosti in pojavne možnosti. Le-te lahko prištevamo k naslednjim oblikam literarne avtobiografskosti, ki se pojavljajo v izbranih kratkoproznih besedilih: spominska avtobiografskost, spominski kolaž, potopisna in fikcijska avtobiografskost. Analiza teh besedil je pokazala stanje, ki se povezuje s sodobnim razumevanjem literarnega diskurza kakor tudi s sistemskim in funkcionalnim umeščanjem literature v produkcijski ter recepcijski kontekst.

Blanka Bošnjak: The Autobiographical Quality of Contemporary Slovene Short Prose. Jezik in slovstvo. 3–4/2008. 37–51.
In view of the ascertained phenomenon of genre syncretism and new genre constructions in contemporary literature, which are often also combinations of literary and non-literary genres (in our case of the research of the combination of various forms of contemporary Slovene short prose, such as travelogue, essay, memoires, etc, and biography), interesting characteristics and possibilities of manifestation have crystallized on the basis of the analysis of selected texts of Slovene short prose from the last ten years. These can be counted amongst the following forms of literary autobiography that appear in the selected short prose texts: memoir autobiography, memoire collage, travelogue and fictional autobiography. Analysis of these texts has shown a situation that is linked with the contemporary understanding of literary discourse, as well as with the systemic and functional placement of literature in the production and reception context.



Irena Novak Popov: Štiri ženske avtobiografije. Jezik in slovstvo. 3–4/2008. 53–67.
Razprava obravnava štiri romansirane avtobiografije: Podobe iz mojega življenja Ilke VašteUre mojih dni Mire Mihelič ter Zaznamovana in Saga o kovčku Nedeljke Pirjevec. Avtorice so po rojstnih letnicah in objavah svojih zadnjih del za dve desetletji vsaksebi in iz primerjave njihovih življenjskih, pisateljskih/umetniških zgodb, konstrukcije avtobiografskega jaza, se kaže razvoj samozavedanja, sprejemanja in razgrajevanja vlog in položajev ženske v družbi. Subjekt se iz močne, tekmovalne upornice, ki hoče zavzeti javni prostor, zmehča v prilagodljivo, odzivno bitje, nazadnje pa zavzame položaj navidezne podrejenosti, ki je kot moč dopuščanja biti drugega onkraj tekmovalnega razmerja. S tem je presežen esencializem (usojenost) spolne razlike in dosežen premik v zgodovinsko spremenljive družbene konstrukte spola. Hkrati se razvijajo pripovedne strategije: preprost dialog med pripovedovalko in avtobiografiranko se razširja v večglasno strukturo, avtobiografija se fikcionalizira, tradicionalni realistični način pripovedi pa umika minuciozno izdelani in diseminirani moderni pisavi.

Irena Novak Popov: Four Women’s Autobiographies. Jezik in slovstvo. 3–4/2008. 53–67.
The discussion treats four novelized autobiographies: Podobe iz mojega življenja (Images from My Life) by Ilka VašteUre mojih dni (The Hours of My Days) by Mira Mihelič and Zaznamovana (Marked) and Saga o kovčku (The Suitcase Saga) by Nedeljka Pirjevec. In terms of their dates of birth and the publication dates of their last works, these authors are separated from one another by a period of two decades, and from a comparison of their life stories, their writers’/artists’ stories and the construction of their autobiographical I one can observe the development of self-awareness, acceptance and the decomposition of the roles and positions of women in society. From a powerful, competitive rebel seeking to occupy the public space the subject softens to an adaptable width=100%, responsive being, and finally takes the position of apparent subjugation, which as the power to allow the other to be is beyond the competitive relationship. With this the essentialism (fatalism) of gender differences is surpassed and a shift to historically mutable width=100% social constructs of gender is achieved. At the same time, narrative strategies develop: the simple dialogue between the narrator and the autobiographical subject expands to a multi-voice structure, autobiography fictionalizes itself, and the traditional realistic approach of narrative gives way to scrupulously elaborated and disseminated modern writing.



Suzana Tratnik: Avtobiografskost kot umeščanje osebne izkušnje. Jezik in slovstvo. 3–4/2008. 69–74.
V besedilu razmišljam o tem, ali je lezbična oziroma gejevska literatura nujno avtobiografska in kakšen je pomen literarizacije osebnih izkušenj za tovrstno pisavo. Avtobiografskost v tem primeru nemalokrat obvelja za literarno šibkejši, skorajda dnevniški zapis, ker se smatra, da ti avtorji in avtorice pišejo »samo iz sebe«. Vendar s strukturiranjem osebnih izkušenj v širši družbeni kontekst te postanejo umeščene, lezbična/gejevska pisava pa se kaže kot izhodiščno polje ustvarjanja in širši zorni kot pišočega.

Suzana Tratnik: Autobiography as the Location of Personal Experience. Jezik in slovstvo. 3–4/2008. 69–74.
In the article I consider whether lesbian and gay literature is necessarily autobiographical and reflect on the meaning of putting personal experience into literature for this kind of writing. In this literature the autobiography is frequently regarded as weaker in a literary sense, because it is thought that the authors write »simply from within themselves«. However, with the structuring of personal experience in the broader social context these experiences gain a location, while lesbian/gay writing shows itself as a platform for creativity and a broader perspective of the writer.



Mojca Urek: Avto/biografije med pričevanjem, okrevanjem in uporom. Jezik in slovstvo. 3–4/2008. 75–88.
Članek predstavi pomen literarnih avto/biografij kot sredstva upora proti patologizirajočim diskurzom in političnemu molku, ki so dolgo prevladovali v govoru in pisanju o ljudeh z roba družbe, ki jih pogosto najdemo med uporabniki socialnih služb in sorodnih strok. Avtorica dokazuje, da te avto/biografije nosijo tudi velik intelektualni potencial in predstavljajo pomemben vir za raziskovanje in učenje strokovnjakov. Avto/biografije so lahko subverzivne in razgrinjajo tabuizirane prostore, omogočajo dostop do skritih realnosti, so reavtorizacija izkušenj, krepijo moč pripovedovalke ali pripovedovalca in skupnost preživelih. Imajo pa lahko tudi drugo plat: pripovedovalca lahko ujamejo v predpisane scenarije in namesto pripovedovalca krepijo oblastne diskurze. V članku so predstavljene nekatere tuje in domače literarne avto/biografije žensk, psihiatričnih uporabnikov, hendikepiranih ljudi in uživalcev drog.

Mojca Urek: Auto/Biography between Testimony, Convalescence and Rebellion. Jezik in slovstvo. 3–4/2008. 75–88.
The article presents the significance of literary auto/biography as a means of resistance against pathologizing discourses and political silence that have long prevailed in speaking and writing about people on the margins of society who are often to be found amongst the users of social security services and of related professions.The author demonstrates that auto/biographies also have a great deal of intellectual potential and represent an important source for the research and training of professionals. Auto/biographies can be subversive and can expose the tabooed spaces, can enable access to hidden realities, can be a revisiting of experience as an author, and can strengthen the power of the narrator and the community of survivors. They can, however, have a different side: they can entrap the narrator in the prescribed scenario and strengthen the discourse of authority instead of that of the narrator. The article presents certain Slovene and foreign literary auto/biographies of women, of users of psychiatric services, of handicapped people and of drug users.



Miran Štuhec: Slovenska esejistika v presečišču biografskih in avtobiografskih vidikov. Jezik in slovstvo. 3–4/2008. 89–100.
Esej je literarna vrsta, katere morebiti celo poglavitna značilnost je poudarjanje subjektivnega odnosa do esejiziranega predmeta. Podlaga temu razmerju so zato čustvene in razumske sestavine, ki nastajajo prek specifičnega esejistovega odnosa do sveta. Tako je tudi v primerih, ko pisec esejizira o drugi osebi in delo dobiva obeležje biografskega žanra, ter v primeru avtobiografskih, skozi dvojno optiko evociranih avtotematskih premislekov. Slovenska esejistika se je biografskih in avtobiografskih tem lotevala ves čas, pravzaprav je že Stritarjevo Preširnovo življenje besedilo, ki se vsaj nekoliko dotika omenjenega žanra. V članku pišem o slovenski esejistiki, ki se je v zadnjih petih desetletjih ukvarjala z biografskimi temami. Ob izbranih besedilih opozorim na dva glavna tokova. V prvem so eseji, ki so ob znanih osebah slovenskega javnega življenja evocirali nekatera univerzalna etična vprašanja, drugega sestavljajo spisi z razmeroma močnimi emocionalnimi prvinami. Članek se ustavi še pri avtotematskih esejih in ob tem t. i. avtobiografičnost izpostavi kot eno najpomembnejših sestavin esejistične poetike.

Miran Štuhec: Slovene Essay Writing in the Intersection of Biography and Autobiography. Jezik in slovstvo. 3–4/2008. 89–100.
The essay is a literary genre characterized by an emphasis on a subjective relationship towards the topic of the essay; this may, in fact, even be the genre’s primary characteristic. This relationship is, therefore, based on emotional and intellectual components that arise through the essayist’s specific attitude towards the world. This is also true in cases where the author writes an essay about another person and the work gains the mark of the genre of biography, as well as in the case of autobiography through the double prism of evoked autothematic reflections. Slovene essay writing continuously engages with biographical and autobiographical themes. Even Stritar’s Preširnovo življenje (Prešeren’s Life) is a text that touches upon this theme, at least to a certain extent. In the article I write about Slovene essay writing that in the last five decades has dealt with biographical themes. With regard to the selected texts I draw attention to two main streams. In the first are essays that evoke certain universal ethical questions in relation to well known personalities of Slovene public life, while the second group is made up of texts with relatively strong emotional elements. The article also addresses autobiographical essays and establishes the so-called autobiographical quality as one of the most important components of essay poetics.



Andrej Leben: O avtobiografiji in avtobiografskem pisanju z vidika literarnih ustvarjalcev. Jezik in slovstvo. 3–4/2008. 101–114.
Članek osvetljuje na primeru Janeza Trdine, Ivana Cankarja, Vladimirja Bartola in Lojzeta Kovačiča poglede slovenskih pisateljev na lastno in tuje avtobiografsko pisanje kot poseben vidik znotraj avtobiografskega diskurza. Vsi štirje avtorji niso samo pisali pomembnih avtobiografskih besedil, temveč so v njih ali ob njih tematizirali tudi samo avtobiografsko pisanje, še preden se je literarna veda s tem vprašanjem resneje spoprijela. Tako so po eni strani vplivali na pisateljsko in literarnovedno pojmovanje avtobiografije, iz njihovih besedil in razmišljanj pa lahko razberemo tudi stalnice in spremembe v slovenskem avtobiografskem pisanju.

Andrej Leben: About Autobiography and Autobiographical Writing from the Perspective of Literary Artists. Jezik in slovstvo. 3–4/2008. 101–114.
Taking the examples of Janez Trdina, Ivan Cankar, Vladimir Bartol and Lojze Kovačič, the article focuses on views of Slovene writers towards their own and foreign autobiographical writing as a specific aspect within autobiographical discourse. Not only did all four authors write important autobiographical texts, but in them they also dealt with the theme of autobiographical writing itself, even before literary science engaged seriously with this theme. Thus they influenced writers’ and literary science’s conception of the autobiography; from their texts and thinking we can also understand the constants and changes in Slovene autobiographical writing.



Breda Čebulj Sajko: Raziskovanja življenjskih zgodb v slovenski etnologiji: kaj je novega na tem področju po letu 1990. Jezik in slovstvo. 3–4/2008. 115–129.
Po zadnjem pregledu etnološkega dogajanja na področju raziskovanja življenjskih zgodb (Čebulj Sajko 1999: 108–151) skuša prispevek nadoknaditi nastalo belo liso v zadnjem desetletju in pol. Bralca namerava na osnovi zbranih in izstopajočih etnoloških del na to temo, brez ambicij po poglobljeni analizi in razgleda po sorodnih znanstvenih disciplinah, seznaniti s tovrstnimi »dogajanji« v odmerjenem časovnem obdobju ter ga, za lažje razumevanje današnjega stanja, vsaj nekoliko ozavestiti tudi o pretekli vlogi življenjskih zgodb v etnologiji. Z zaključnim razmišljanjem avtorica nakaže (nekatera) odprta vprašanja v zvezi z avtobiografsko tematiko in preko soočanja položaja govornika/poslušalca in s priznavanjem emocij obeh nakaže možnosti novih pristopov raziskovanja in prikazovanja avtobiografskega gradiva.

Breda Čebulj Sajko: The Research of Life Stories in Slovene Ethnology: What is New in this Field since 1990. Jezik in slovstvo. 3–4/2008. 115–129.
Subsequent to an earlier review of ethnological activity in the field of life stories (Čebulj Sajko 1999: 108–151) the present article attempts to compensate for the lack of research in this area over the last decade and a half. Without any pretentions to undertaking deep analyses or surveying related scientific disciplines, the article simply seeks to make the reader familiar with these kinds of »activities« during the treated period on the basis of selected outstanding works on this theme. In order for the reader to better understand the current situation the article also touches upon the past role of life stories in ethnology. With the concluding thoughts the author points out (some) open questions in connection with the autobiographical theme. Through the confrontation of the position of the speaker/listener, and by acknowledging the emotions of them both, the author indicates the possibilities for new approaches to the research and description of autobiographical material.



Jerneja Petrič: Spomini Franka Javha Kerna: primer slovenske izseljenske avtobiografije v ZDA. Jezik in slovstvo. 3–4/2008. 131–143.
Članek izhaja iz ugotovitve, da je dandanes pisanje avtobiografij moderno, pri čemer se termin avtobiografija uporablja zelo nenatančno, saj gre v večini primerov za mešane žanre. V drugem delu je pregledno predstavljen vrhunec avtobiografskega ustvarjanja slovenskih izseljencev v Ameriki med leti 1900 in 1965, tretji del pa podrobneje spregovori o Spominih ob tridesetletnici prihoda v Ameriko, ki jih je leta 1937 izdal zdravnik Frank Javh Kern.

Jerneja Petrič: Frank Javh Kern's Spomini: A Case of Slovene Immigrant Autobiography in the United States. Jezik in slovstvo. 3–4/2008. 131–143.
The paper is divided into three parts. In the Introduction, the author briefly speaks about the inconsistency in the use of literary terms autobiographymemoirdiaryjournal and autobiographical novel. The second part surveys the »golden era« of American Slovene/Slovene American autobiography, between 1891 and 1965, pointing to some general thematic and stylistic characteristics. The third part of the paper analyzes Frank Javh Kern's 1937 autobiographical book Spomini ob tridesetletnici prihoda v Ameriko, a hybrid text consisting mostly of autobiography, memoir and diary.



Marko Jesenšek: Materni jezik, jezik okolja in tuji jeziki v avtobiografskih črticah Zofke Kveder. Jezik in slovstvo. 3–4/2008. 145–156.
V članku so predstavljene slovensko-češko-hrvaške jezikovne povezave v črticah, ki jih je Zofka Kveder objavljala o svojih hčerkah v mesečniku Domači prijatelj, Vydrov mesečnik, izhajajočem v Pragi v letih 1904 do 1913 in kot so bile objavljene s še nekaterimi dodatnimi zapisi v ljubljanski knjižni izdaji Vladka, Mitka, Mirica leta 1978. Črtice so napisane v slovenski knjižni normi t. i. modernega obdobja slovenskega knjižnega jezika, kakršno so na začetku 20. stoletja v umetnostnem jeziku zagovarjali modernisti in njihovi sopotniki. Neposrednih čeških ali hrvaških prepletanj ni, zato pa je veliko razmišljanj o večjezičnosti in vlogi slovenščine, češčine, hrvaščine in nemščine med odraščanjem treh hčera Zofke Kveder – češčina in hrvaščina sta pri tem prikazani kot prvi in drugi materni jezik prvorojenke Vladke (jezik okolja), slovenščina in nemščina pa kot njen prvi in drugi tuji jezik.

Marko Jesenšek: The Mother Language, the Language of the Environment and Foreign Languages in the Autobiographical Sketches of Zofka Kveder. Jezik in slovstvo. 3–4/2008. 145–156.
The article presents Slovene-Czech-Croatian language connections in the sketches by Zofka Kveder about her daughters in the Vydra’s monthly journal Domači prijatelj (Domestic Friend), published in Prague between 1904 and 1913. The sketches were later published in book form with certain additional material in Ljubljana in 1978, under the title Vladka, Mitka, Mirica. They were written according to the literary norm of the so-called modern era of Slovene literary language, such as was endorsed in artistic language by modernists and their supporters at the beginning of the 20^th century. There is no direct intertwining of Czech or Croatian language, but there is a great deal of consideration of multilingualism and the role that Slovene, Czech, Croatian and German languages had in the lives of Zofka Kveder’s three daughters as they grew up; Czech and Croatian are presented as the first and second mother languages of the first-born Vladka (the language of the environment), while Slovene and German are described as her first and second foreign languages.