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This book examines the theoretical devices of "Yugoslav" and "post-Yugoslav" literature. The author analyzes selected literary examples from the region through the lens of a contemporary post-Deleuzean philosophy of time, extricating discussions of post-ism from traditional chronological framing.
In Reconsidering (Post-)Yugoslav Time: Towards the Temporal Turn in the Critical Study of (Post-)Yugoslav Literatures, authors outline a concept of (post)-Yugoslav temporality and scrutinize its analytical value in the memory and cultural studies.
"This book engages with the conceptual intersections of post-Yugoslav literature, focusing on analyses of postism and temporality"--
This study of contemporary literature from the former Yugoslavia (Post-Yugoslavia) follows the ways in which the feminist writing of gender, body, sexuality, and social and cultural hierarchies brings to light the past of socialist Yugoslavia, its cultural and literary itineraries and its dissolution in the Yugoslav wars. The analysis also focuses on the particularities of different feminist writings, together with their picturing of possible futures. The title of the book suggests an attempt to interpret post-Yugoslav literature as feminist writing, but also a process of conceptualizing a post-Yugoslav literary field, in this study represented by contemporary fiction from Bosnia and Herzegovina, Croatia, and Serbia.
The 1990s violence in the Former Yugoslavia, the worst in Europe since World War II, triggered the conversion of multi-ethnic, multi-religious, and cosmopolitan areas of idiosyncratic and independent socialism into regions of xenophobic nationalism, wars, and, afterwards, Western-style democracy and capitalism. Unified by their artistic response to these cataclysmic changes, post-Yugoslav literary works and films have much to offer the wider world. Crnkovic reveals select post-Yugoslav literary and cinema works as groundbreaking exploratory achievements of global relevance. She presents post-Yugoslav literature and film as art that makes us aware of previously unconsidered things that bring us wars, and those that constitute part of the tapestry of peace. She foregrounds the radical potential of art to change and enrich the global landscapes of concepts, sensitivities, and politics. As such her book is important not only for those interested in this region, but also for all those wanting to discover and engage with world literature and cinema, and willing to encounter the potential of great new art to illuminate and challenge the world we live in.
Shortly after the book’s protagonists moved into their apartment complex in Sarajevo, they, like many others, were overcome by the 1992-1995 war and the disintegration of socialist Yugoslavia More than a decade later, in post-war Bosnia and Herzegovina, they felt they were collectively stuck in a time warp where nothing seemed to be as it should be. Starting from everyday concerns, this book paints a compassionate yet critical portrait of people’s sense that they were in limbo, trapped in a seemingly endless “Meantime.” Ethnographically investigating yearnings for “normal lives” in the European semi-periphery, it proposes fresh analytical tools to explore how the time and place in which we are caught shape our hopes and fears.
Memory in the Balkans has often been described as binding, authoritative, and non-negotiable, functioning as a banner of war. This book challenges such a one-dimensional representation and offers a more nuanced analysis that accommodates frequently ignored instances of transnational solidarity, dialogue, communal mourning and working through a difficult past. Exploring a broad range of memorial practices, the book focuses on the ways in which cultural memory is mediated, performed and critically reworked by literature and the arts in the former Yugoslavia. Against the methodological nationalism of works that study Serbian, Croatian, or Bosniak culture as self-contained, this book examines post-Yugoslav literature, film, visual culture, and politicized art practices from a supranational angle. Not solely focusing on traumatic memories, but also exploring how post-Yugoslav cultural practices mobilize memory for a politics of hope, this volume moves beyond the trauma paradigm that still dominates memory studies. In its scope and approach, the book shows the relevance of the cultural memory of Eastern European citizens and the contribution they can offer to the building of Europe’s shared cultural memory and transnational identity.
Mere decades after the dissolution of Yugoslavia, the promise of European democracy seems to be out of joint. What has become of the once-shared memory of victory over fascism? Historical revisionism and nationalist propaganda in the post-Yugoslav context have tried to eradicate the legacy of partisan and socialist struggles, while Yugonostalgia commodifies the partisan/socialist past. It is against these dominant ‘archives’ that this book launches the partisan counter-archive, highlighting the symbolic power of artistic works that echo and envision partisan legacy and rupture. It comprises a body of works that emerged either during the people's liberation struggle or in later socialist periods, tracing a counter-archival surplus and revolutionary remainder that invents alternative protocols of remembrance and commemoration. The book covers rich (counter-)archival material – from partisan poems, graphic works and photography, to monuments and films – and ends by describing the recent revisionist un-doing of the partisan past. It contributes to the Yugoslav politico-aesthetical “history of the oppressed” as an alternative journey to the partisan past that retrieves revolutionary resources from the past for the present.
In Writing the Yugoslav Wars, Dragana Obradović analyses how the Yugoslav wars of secession helped shape the region’s literary culture. Obradović argues that the crisis of the country’s disintegration posed an ethical challenge to self-identified postmodernists. This book takes a transnational approach to literatures of the former Yugoslavia that have been, since the 1990s, studied separately, in line with geopolitical divisions. This post-socialist conflict was one of the moments that reshaped postmodernism for both local and international thinkers, much in the same way modernism was shaped by World War I and the advent of mechanized warfare.