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Diana Hitzke
https://www.uni-giessen.de/fbz/fb05/slavistik/Institut/mitarbeiter/hitzke
Address: Dr. Diana Hitzke
Institut für Slavistik
Otto-Behaghel-Str. 10D
35394 Gießen
Address: Dr. Diana Hitzke
Institut für Slavistik
Otto-Behaghel-Str. 10D
35394 Gießen
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In literary texts which address the disintegration of Yugoslavia, (alternative) narratives of history are very important. Moreover, in David Albahari's Snežni čovek/Snow Man (1995) and Mamac/Bait (1996) the map as medium has a strong presence. In Mamac the protagonist spreads out a map of Europe to explain his country’s history. In Snežni čovek the protagonist believes that he lives in the house of a cartographer. An historical atlas dominates the talks between the protagonist and a professor of political science. The article connects the literary approaches to the map as medium in the texts of Albahari with theoretical discourses on cartography and practices of mapping (Sybille Krämer, Denis Cosgrove, Franco Farinelli, Frank Lestringant, Michel de Certeau). The map as medium is connected with the practice of mapping (in) time and space. This is important because the disintegration of Yugoslavia is central in both texts: The process of disintegration demonstrates disorientation in relation to time and space. The map freezes a certain spatial and temporal configuration – and represents a position from which the past, present and future can be defined, but also whether and how borders have shifted.
In literarischen Texten, die den Zerfall Jugoslawiens thematisieren, spielen (alternative) Narrative von Geschichte oftmals eine große Rolle. In David Albaharis Snežni čovek/Tagelanger Schneefall (1995) und in Mamac/Mutterland (1996) findet sich darüber hinaus auffällig häufig das Medium Karte. In Mamac breitet der Protagonist bei einem Treffen mit seinem kanadischen Freund Donald eine Europakarte aus. In Snežni čovek glaubt der Protagonist, er lebe im Haus eines Kartografen. Im Keller findet er Kartenrollen, die er später in seiner Wohnung aufhängt. Ein historischer Atlas spielt ebenfalls eine Rolle. Der Beitrag setzt die literarischen Annäherungen an das Medium Karte in Beziehung zu theoretischen Zugängen zu Kartierungspraktiken und Mapping (Sybille Krämer, Denis Cosgrove, Franco Farinelli, Frank Lestringant, Michel de Certeau). Die Karte wird als Medium zeitlicher und räumlicher Ordnungspraktiken sichtbar, gerade vor dem Hintergrund des Zerfalls Jugoslawiens und der damit einhergehenden Orientierungslosigkeit in Bezug auf Raum und Zeit. Die Karte hält eine bestimmte räumliche und zeitliche Anordnung fest – von dort aus lässt sich bestimmen, was Vergangenheit, was Gegenwart und was Zukunft ist, aber auch, ob und wie Grenzen sich verschoben haben.
"Staat" soll dabei nicht im Sinne einer territorialen oder (geo)politischen Einheit gefasst werden, sondern im Sinne einer "imaginierten Gemeinschaft" (Anderson) auf seine Grenzen hin befragt werden. Im fluktuierenden und unberechenbaren Prozess des literarischen Austausches kann Derridas Begriff "jetty" als Modell dienen, er beschreibt "die Kraft jener Bewegung, die selbst noch nicht Subjekt, Projekt oder Objekt ist, in der sich aber jede subjekt-, objekt- oder projekthafte Produktion oder Bestimmung vollzieht, die ihre Möglichkeit im Entwurf findet" (Derrida). Wenn man nach den Grenzen fragt, spielt insbesondere die Frage nach der "Exil"- und "Migrationsliteratur" bzw. der "Literatur ohne festen Wohnsitz" (Ette) eine Rolle: Welchem kulturellen Raum oder welcher "imaginierten Gemeinschaft", welchem "state" als Zustand/Staat gehören Schriftsteller wie Hemon, Albahari oder Ugrešić an?
Einerseits thematisieren diese "andernorts" Schreibenden Fragen der Erinnerung an den Zustand/Staat aus der Vergangenheit, andererseits sind sie Teil des "westlichen" Diskurses, in dem sie allerdings oft als Stimmen des Diskurses des A/anderen, manchmal auch des Anderen Europas (Todorova, Žižek) hörbar werden. Die potenzielle Performativität des Stereotyps Balkan mit all seinen Auswirkungen und die phantasmatische Struktur der Beziehung des westlichen Lesers zum Anderen konturiert den Zustand/Staat dieser Literatur als Hybridität (Bhabha). Hier aktualisiert sich beständig die Dynamik von Derridas "jetty" und die Erinnerung öffnet den Grenzraum des Anderen: sowohl in Bezug auf das erzählende Subjekt durch Zurückweisung des Realen im Trauma (Lacan) als auch in Bezug auf den westlichen Rezipienten durch das stereotypisierende und kategorisierende Projekt einer Exil- und Identitätsliteratur.
Starting from the language-game that Jacques Derrida drew attention to in his article On some Truisms where he critically questions not only singularity and/or plurality of the conference title The State(s) of Theory, but also the different meaning of the word "state" (in the meaning of condition, opposed to that of a country), our article aims at questioning the context of the state(s) (in both meanings) that refer to the contemporary South-Slavic (migrant) literature.
In this context, the state will not be examined like a territorial or political unit, but rather the state functions on the background of Benedict Andreson's concept of "imagined community" where borders and the practice of bordering is put into question. In that fluctuating and unpredictable process of literary exchange, Derrida's concept of jetty seems to be an interesting model in which he "refers to that movement which is not yet subject, project, or object, not even rejection, but in which takes place any production and any determination, which finds its possibility in the jetty." (Derrida) In other words, if we abandon the concept of bordering as the practice of the interpretation of exile literature does where literature becomes "a literature without a clear residence" (Ette), then the question remains: in which cultural context, which "imagined community", to which state (in both meanings) belong writers like Hemon, Albahari and Ugrešić?
On one side, they all write about the memory of the state in the past, but simultaneously, they are participating in other/Other and western discourse which contains the western stereotype about the experience of the Balkan as the Other Europe (Todorova, Žižek). Potential performativity of the Balkan stereotype with its effects and also the phantasmal relationship that the western reader ties with the Other makes this literature in a continuous state of hybridity (Bhabha). The dynamics of Derrida’s concept of "jetty" can be seen in that hybrid space where the concept of memory is becoming crucial because it opens the bordering space of Otherness not just towards the narrative subject through the rejection of the Real of trauma (Lacan), but also towards the western recipient through the stereotypical project of new exile, identity literature.
Polazeći od jezične igre na koju Jacques Derrida ukazuje u članku O nekim truizmima gdje se kritički propituje singularnost, odnosno pluralnost naslova of "Theory", ali i različito značenje riječi "state" budući da ona označava kako "stanje", odnosno "stanja", tako i "državu", odnosno "države", ovim člankom namjera nam je propitati kontekste stanja (stanjâ), odnosno države (država) koji se tiču nekih djela suvremenih post-jugoslavenskih (egzilantskih) autor(ic)a.
Država u tom kontekstu neće biti shvaćena kao teritorijalna ili politička jedinica, već će funkcionirati na podlozi "zamišljene zajednice" (Anderson) gdje su granice i graničnost dovedeni u pitanje. U tom fluktuirajućem i nepredvidivom procesu književne razmjene, zanimljivim se modelom čini Derridaov pojam gata (jetty) kojim se "označava sila kretanja koje još nije subjekt, projekt ni objekt, ali u kojem se zbiva svaka proizvodnja i svako subjektilno, objektilno ili projektilno određenje, koje svoju mogućnost nalazi u gatu“ (Derrida). Drugim riječima, pitanje postaje, ukoliko napustimo koncepte čvrste granice, odnosno, tumačenje tzv. egzilantske književnosti koja se definira kao "književnost bez čvrstog mjesta prebivališta" (Ette): kojem kulturološkom krugu, kojoj "zamišljenoj zajednici", odnosno, kojem stanju/državi pripadaju pisci kao što su Hemon, Albahari ili Ugrešić?
S jedne strane, oni se svi dotiču pitanja sjećanja na stanje/državu/e iz prošlosti, međutim, istovremeno, oni participiraju i unutar D/drugog, zapadnjačkog diskursa u kojemu uspostavljaju odnos sa zapadnjačkim stereotipom koji njihov govor vezuje uz iskustvo Drugog Evrope (Todorova, Žižek). Potencijalna performativnost stereotipa Balkana sa svojim učincima, međutim i fantazmatski odnos koji zapadnjački čitatelj ostvaruje prema Drugom, čini ovu književnost u kontinuiranom stanju/državi hibriditeta (Bhabha) gdje se aktualizira dinamika Derridaova "gata" pri čemu se najvažnijim pokazuje koncept sjećanja koji otvara granični prostor Drugosti kako prema pripovjednom subjektu kroz odbacivanje, rejekciju Realnog traume (Lacan), tako i prema zapadnom recipijentu kroz stereotipizacijski projekt egzilantske, identitetske književnosti.
In literary texts which address the disintegration of Yugoslavia, (alternative) narratives of history are very important. Moreover, in David Albahari's Snežni čovek/Snow Man (1995) and Mamac/Bait (1996) the map as medium has a strong presence. In Mamac the protagonist spreads out a map of Europe to explain his country’s history. In Snežni čovek the protagonist believes that he lives in the house of a cartographer. An historical atlas dominates the talks between the protagonist and a professor of political science. The article connects the literary approaches to the map as medium in the texts of Albahari with theoretical discourses on cartography and practices of mapping (Sybille Krämer, Denis Cosgrove, Franco Farinelli, Frank Lestringant, Michel de Certeau). The map as medium is connected with the practice of mapping (in) time and space. This is important because the disintegration of Yugoslavia is central in both texts: The process of disintegration demonstrates disorientation in relation to time and space. The map freezes a certain spatial and temporal configuration – and represents a position from which the past, present and future can be defined, but also whether and how borders have shifted.
In literarischen Texten, die den Zerfall Jugoslawiens thematisieren, spielen (alternative) Narrative von Geschichte oftmals eine große Rolle. In David Albaharis Snežni čovek/Tagelanger Schneefall (1995) und in Mamac/Mutterland (1996) findet sich darüber hinaus auffällig häufig das Medium Karte. In Mamac breitet der Protagonist bei einem Treffen mit seinem kanadischen Freund Donald eine Europakarte aus. In Snežni čovek glaubt der Protagonist, er lebe im Haus eines Kartografen. Im Keller findet er Kartenrollen, die er später in seiner Wohnung aufhängt. Ein historischer Atlas spielt ebenfalls eine Rolle. Der Beitrag setzt die literarischen Annäherungen an das Medium Karte in Beziehung zu theoretischen Zugängen zu Kartierungspraktiken und Mapping (Sybille Krämer, Denis Cosgrove, Franco Farinelli, Frank Lestringant, Michel de Certeau). Die Karte wird als Medium zeitlicher und räumlicher Ordnungspraktiken sichtbar, gerade vor dem Hintergrund des Zerfalls Jugoslawiens und der damit einhergehenden Orientierungslosigkeit in Bezug auf Raum und Zeit. Die Karte hält eine bestimmte räumliche und zeitliche Anordnung fest – von dort aus lässt sich bestimmen, was Vergangenheit, was Gegenwart und was Zukunft ist, aber auch, ob und wie Grenzen sich verschoben haben.
"Staat" soll dabei nicht im Sinne einer territorialen oder (geo)politischen Einheit gefasst werden, sondern im Sinne einer "imaginierten Gemeinschaft" (Anderson) auf seine Grenzen hin befragt werden. Im fluktuierenden und unberechenbaren Prozess des literarischen Austausches kann Derridas Begriff "jetty" als Modell dienen, er beschreibt "die Kraft jener Bewegung, die selbst noch nicht Subjekt, Projekt oder Objekt ist, in der sich aber jede subjekt-, objekt- oder projekthafte Produktion oder Bestimmung vollzieht, die ihre Möglichkeit im Entwurf findet" (Derrida). Wenn man nach den Grenzen fragt, spielt insbesondere die Frage nach der "Exil"- und "Migrationsliteratur" bzw. der "Literatur ohne festen Wohnsitz" (Ette) eine Rolle: Welchem kulturellen Raum oder welcher "imaginierten Gemeinschaft", welchem "state" als Zustand/Staat gehören Schriftsteller wie Hemon, Albahari oder Ugrešić an?
Einerseits thematisieren diese "andernorts" Schreibenden Fragen der Erinnerung an den Zustand/Staat aus der Vergangenheit, andererseits sind sie Teil des "westlichen" Diskurses, in dem sie allerdings oft als Stimmen des Diskurses des A/anderen, manchmal auch des Anderen Europas (Todorova, Žižek) hörbar werden. Die potenzielle Performativität des Stereotyps Balkan mit all seinen Auswirkungen und die phantasmatische Struktur der Beziehung des westlichen Lesers zum Anderen konturiert den Zustand/Staat dieser Literatur als Hybridität (Bhabha). Hier aktualisiert sich beständig die Dynamik von Derridas "jetty" und die Erinnerung öffnet den Grenzraum des Anderen: sowohl in Bezug auf das erzählende Subjekt durch Zurückweisung des Realen im Trauma (Lacan) als auch in Bezug auf den westlichen Rezipienten durch das stereotypisierende und kategorisierende Projekt einer Exil- und Identitätsliteratur.
Starting from the language-game that Jacques Derrida drew attention to in his article On some Truisms where he critically questions not only singularity and/or plurality of the conference title The State(s) of Theory, but also the different meaning of the word "state" (in the meaning of condition, opposed to that of a country), our article aims at questioning the context of the state(s) (in both meanings) that refer to the contemporary South-Slavic (migrant) literature.
In this context, the state will not be examined like a territorial or political unit, but rather the state functions on the background of Benedict Andreson's concept of "imagined community" where borders and the practice of bordering is put into question. In that fluctuating and unpredictable process of literary exchange, Derrida's concept of jetty seems to be an interesting model in which he "refers to that movement which is not yet subject, project, or object, not even rejection, but in which takes place any production and any determination, which finds its possibility in the jetty." (Derrida) In other words, if we abandon the concept of bordering as the practice of the interpretation of exile literature does where literature becomes "a literature without a clear residence" (Ette), then the question remains: in which cultural context, which "imagined community", to which state (in both meanings) belong writers like Hemon, Albahari and Ugrešić?
On one side, they all write about the memory of the state in the past, but simultaneously, they are participating in other/Other and western discourse which contains the western stereotype about the experience of the Balkan as the Other Europe (Todorova, Žižek). Potential performativity of the Balkan stereotype with its effects and also the phantasmal relationship that the western reader ties with the Other makes this literature in a continuous state of hybridity (Bhabha). The dynamics of Derrida’s concept of "jetty" can be seen in that hybrid space where the concept of memory is becoming crucial because it opens the bordering space of Otherness not just towards the narrative subject through the rejection of the Real of trauma (Lacan), but also towards the western recipient through the stereotypical project of new exile, identity literature.
Polazeći od jezične igre na koju Jacques Derrida ukazuje u članku O nekim truizmima gdje se kritički propituje singularnost, odnosno pluralnost naslova of "Theory", ali i različito značenje riječi "state" budući da ona označava kako "stanje", odnosno "stanja", tako i "državu", odnosno "države", ovim člankom namjera nam je propitati kontekste stanja (stanjâ), odnosno države (država) koji se tiču nekih djela suvremenih post-jugoslavenskih (egzilantskih) autor(ic)a.
Država u tom kontekstu neće biti shvaćena kao teritorijalna ili politička jedinica, već će funkcionirati na podlozi "zamišljene zajednice" (Anderson) gdje su granice i graničnost dovedeni u pitanje. U tom fluktuirajućem i nepredvidivom procesu književne razmjene, zanimljivim se modelom čini Derridaov pojam gata (jetty) kojim se "označava sila kretanja koje još nije subjekt, projekt ni objekt, ali u kojem se zbiva svaka proizvodnja i svako subjektilno, objektilno ili projektilno određenje, koje svoju mogućnost nalazi u gatu“ (Derrida). Drugim riječima, pitanje postaje, ukoliko napustimo koncepte čvrste granice, odnosno, tumačenje tzv. egzilantske književnosti koja se definira kao "književnost bez čvrstog mjesta prebivališta" (Ette): kojem kulturološkom krugu, kojoj "zamišljenoj zajednici", odnosno, kojem stanju/državi pripadaju pisci kao što su Hemon, Albahari ili Ugrešić?
S jedne strane, oni se svi dotiču pitanja sjećanja na stanje/državu/e iz prošlosti, međutim, istovremeno, oni participiraju i unutar D/drugog, zapadnjačkog diskursa u kojemu uspostavljaju odnos sa zapadnjačkim stereotipom koji njihov govor vezuje uz iskustvo Drugog Evrope (Todorova, Žižek). Potencijalna performativnost stereotipa Balkana sa svojim učincima, međutim i fantazmatski odnos koji zapadnjački čitatelj ostvaruje prema Drugom, čini ovu književnost u kontinuiranom stanju/državi hibriditeta (Bhabha) gdje se aktualizira dinamika Derridaova "gata" pri čemu se najvažnijim pokazuje koncept sjećanja koji otvara granični prostor Drugosti kako prema pripovjednom subjektu kroz odbacivanje, rejekciju Realnog traume (Lacan), tako i prema zapadnom recipijentu kroz stereotipizacijski projekt egzilantske, identitetske književnosti.
However, a big part of the (world’s) society lives in a multilingual, cross-cultural world. As FUEN (2018) states: “There are more than 400 European minorities in Europe. One in seven Europeans is part of an autochthonous minority or speaks a regional or minority language.” According to different estimates 5.000 to 7.000 languages are spoken worldwide, compared to this the six UN languages seem to be quite marginal. In view of this reality, research on smaller european and non-western cultures as well as on translingual and cross-cultural phenomena, can no longer be regarded as a moral plea or a political demand. It is a challenge, which should be met in an international and interdisciplinary debate. The conference therefore invites scholars from all disciplines, to think and talk about the relationship between canonical concepts and non-western or smaller european cultures and to reflect on structural asymmetries, reciprocity and promising routes for comparison.