The article is delving into the meanings of political potential of humor, which today appears to be greater than ever. The author deals with three parody practices based on political humor: carnival politics (parodic political parties, comic-politicians), parody processing of political discourses (parodic news, TV shows ...) and political protests and satirical activism. The article emphasizes that political parody is both based on ambiguity and produces it, and suggests shifting the attention from the effects of humor and binary categories of domination and resistance to political subjectivities that are revealed in the production and enjoyment of political parody. The ambiguity of political parody allows for the creation and transformation of affective communities and provides individuals and groups with the means to reflect and accept their own involvement in political and social structures and vulnerabilities. Ambiguity, therefore, is not a "weak point" of political humor, but a source of its political potential.
COBISS.SI-ID: 43425069
The chapter, published in the volume within the series Oxford Handbooks by the Oxford University Press, takes the issue with music censorship in Yugoslavia, particularly the complex censorship regimes of popular music that operated in the blank space between official negations and actual enforcement. The chapter shifts attention from institutional mechanisms of censorship to personal, unspoken and unwritten norms and practices. It focuses on one particular genre: NCFM (newly- composed folk music, new folk music /commercial folk music /neo-folk). Recognizing its strong market potential, the state tolerated its high sales, but distanced itself from its ‘un-cultural’ and ‘un-educational’ features, restricting its visibility in the media and banning its creators from honoring Tito, the Party or Yugoslavia in their songs.
COBISS.SI-ID: 42558253
The paper analyses phenomenon of the homecoming celebrations organised for politically prominent defendants after the end of their trial (or imprisonment) at the International Criminal Tribunal for the Former Yugoslavia (ICTY). It is demonstrated that the homecomings of politically significant returnees became part of a normalised political folklore, in which the convicted individuals are welcomed in the same manner as those acquitted. Nevertheless, the paper suggests that these events are not necessarily (or not only) an expression of popular support to wartime ‘heroes’. Instead it argues that political actors seek to utilise the occasions of the return of those ICTY defendants who possess symbolic capital as wartime political or military leaders in order to gain political profit. The local media coverage of the homecoming spectacles reveals that while they are politically potent events, they are also contested: on the one hand by the proponents of competing ethno-national historical narratives, and on the other by more critical media outlets that refuse to take them at face value.
COBISS.SI-ID: 42867757
In addition to summarizing the changes in Slovenia’s post-socialist memorial landscape, the author analyzes the historiographical representation of The Second World War in the Slovenian territory. As an integral part of the project Remembering Bleiburg: Transnational Approaches, the analysis focuses on those works of Slovenian professional and amateur production that address developments which took place during the war and in its aftermath from the perspective of the post-war withdrawal of the members of military units (and their families) that collaborated with the occupiers.
COBISS.SI-ID: 43255853
This article attempts to reconstruct the literary and familial ties between the descendants of the Friulian Go-deas family, one of these descendants being Alojz Gradnik. The article‘s methodological approach stems from the interpretation of the personal correspondence between the Godeas family descendants (from Trieste, Zagreb and Rosario). Based on all this, the second part of the article offers a few prompts for research on Gradnik‘s reception in Argentina, based on systemic approach to literature. We come to the conclusion that Gradnik‘s cultural hybridity allowed him to access the Argentine literary space through two cultural groups: the Slovene and Argentine.
COBISS.SI-ID: 5187067