The Slovene understanding of Turkish culture is essentially created through indirect, translated contact. It was first expressed through traditional Slovene folk songs and stories, depicting the Ottoman Empire either as a threat or as a land of sensuality and opulence. During the time of Yugoslavia, perceptions of ˝the Turks˝ were influenced by the translated works of Bosnian authors, promoted by official policies aimed at creating ˝brotherhood and unity˝ among the Yugoslav peoples. Finally, the post-socialist Slovene understanding of Turkish culture, despite a heightened interest, has again been indirect: formed through indirect translations of contemporary Turkish authors. The lack of literary translators and their deteriorating status in the Slovene translatorial field do not promise any significant change in the future.
COBISS.SI-ID: 53345634
Boris A. Valéry, a Slovenian translator of Valéry's poetry, reveals a biographical fact too little known in Slovenia, Italy, Austria and France: that the poet's maternal roots reach back to Koper and Trieste. The image of the Mother is reflected through the numerous images of the Sea, which is even more pronounced in Franch due to the homonymy of these two words (la Mer and la Mère). Fanny Grassi, her son Paul, and other family members are buried at the Sea Cemetery in the French Mediterranean port of Sète.
COBISS.SI-ID: 52411234
Literary scholarship has always shown an interest in spatial dimensions and extensions of biographies, but it ascribed them a specific value. Pioneers of literary geography from the German linguistic area (Siegfried Robert Nagel and Josef Nadler) were mostly interested in the local, regional, national, or provincial origins of the authors, which is second only to the title of the work when it comes to the most commonly mapped literary-historical information. The province or geographical space was understood as the humus orbasis from which the authors and also the spiritual or literary achievements originate. Such a deterministic view of the space/place eased overtime, becoming only one of the factors that influence the development of the literary culture. Scholars such as Horst Dieter Schlosser started addressing other spatially bound data; for example, places of education, career, travels, publishing, or networking. Consequently, the manners of mapping have also changed: from the simple charts covered with transparent paper displaying literary monuments to more complicated-though not necessarily more explicit-biographical displays using a wide variety of cartographic symbols (from point marks to graphically more representative cartographic symbols such as the quaver). As a result of a project whose goal is to map the biographies of prominent Slovenian men of letters, this paper returns to a more basic manner of displaying biographies, using, say, point and linear display. In this sense, it is closer to the attempts from the beginning of the twentieth century. However, by using modern GIS technologies the project models cartographic displays according to the latest cartographic guidelines. Moreover, unlike the 1980s attempts, the project emphasizes not individual trajectories, but, using corpus processing, the literary culture from the beginnings of Slovenian aesthetic production. This enables not only new findings about the spatial development of Slovenian literature, but also certain generalizations of these findings. The structure of the entry mask for biographies, which was constructed for the purposes of this project, is accordingly differentiated and in principle enables the collection and visualization of all spatially bound and statistically relevant literary-historical data. Thematic maps designed as analytical tools for a spatial analysis of literature will focus on individual objects, displaying the following spatially linked components of biographies: 1) the network of birthplaces; 2) the network of the places of death; 3) the network of secondary school locations; 4) the network of secondary schools, which belong to the wider context of literary culture; 5) career paths that must be considered when verifying the modes of mobility of the men of letters and the spatial extent of literary culture; 6) the density of literary networks; 7) the print media and presses that participated in consolidating literary activity; and 8) individual literary memorial events. The article introduces the first thematic maps that are the results of the pilot project and the second phases of the project.
COBISS.SI-ID: 52050274
Prešeren scholars have provided different answers to the question of when Prešeren fell inlove with Julija Primic. Some suggest it happened in 1831, while others believe it happened in1833, following Prešerens mention of that year in the sonnet Je od veselga časa teklo leto.Those who suggest the year 1831 must explain the meaning of the story in the sonnet about the Easter encounter in the Trnovo church. Many consider the Petrarchan story a fabrication. However, in 1906, Avgust Žigon wrote that the sonnet describes two actual events: In 1833, Prešeren revives the memory of the first meeting in 1831. Kidrič's convincing refutation of Žigons idea stood until 1939, when Grafenauer noted that the church was darkened on Easter Saturday, and not illuminated (razsvetljena), as is written in the sonnet. This was a key supporting argument for Žigons thesis. The author shows in the article that Grafenauer was mistaken.
COBISS.SI-ID: 53899618
The article deals with the representation in the novel "Prišleki" of Lojze Kovačič. It arguments that the literary representation of the Worl War II is of a different kind as a historiographic narration and it challenges the question of adequacy of both types of representation.
COBISS.SI-ID: 51578978