Samorastniki (The Self Made Persons)

2018

Identity Formation in the Stories of Ivana Brlić-Mažuranić Identities of male and female characters in the stories of Ivana Brlić-Mažuranić are formed on a male-female binary opposition. The authors explain this thesis by analysing the leading male and female characters in the stories of Fisherman Plunk and His Wife (Ribar Palunko i njegova žena) and Stribor's Forest (Šuma Striborova). Despite the predominance of the patriarchal model in the social context, the authors point to the distinction between women's activity and courage and the passivity and naivety of male characters. The stories show a gradual evolution of the male protagonists, influenced by female persistence, motherhood, as well as parenthood. The development of the characters mentioned above goes hand in hand with the motif of travel, as a metaphor of life, during which a thorough transformation of the patterns of behaviour and the system of values of the male characters occur.

The Slavic and East European Journal, Vol. 59, No. 1 (SPRING 2015), 2015

in modern Slavic cultures, languages and literatures I processi sociali e politici nelle culture, lingue e letterature slave moderne Mednarodno znanstveno srečanje mladih humanistov, Koper, 21. oktober 2016 Zbornik povzetkov in program Uredila Lidija Rezoničnik in Marcello Potocco Oblikovanje in prelom ■ Jonatan Vinkler Izdala ■ Založba Univerze na Primorskem, Titov trg 4, si-6000 Koper, Koper 2016 Glavni urednik ■ Jonatan Vinkler Vodja založbe ■ Alen Ježovnik isbn 978-961-6984-41-6 (www.hippocampus.si/isbn/978-961-6984-41-6.pdf) isbn 978-961-6984-42-3 (www.hippocampus.si/isbn/978-961-6984-42-3/index.html) © 2016 Založba Univerze na Primorskem CIP -Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 821.16.09(082)(0.034.2) 811.16(082)(0.034.2) MEDNARODNO znanstveno srečanje mladih humanistov (2016 ; Koper) Družbeni in politični procesi v sodobnih slovanskih kulturah, jezikih in literaturah [Elektronski vir] = Social and political processes in modern slavic cultures, languages and literatures = I processi sociali e politici nelle culture, lingue e letterature slave moderne : zbornik povzetkov in program / Mednarodno znanstveno srečanje mladih humanistov = International Conference for Young Humanists = Convegno scientifico internazionale dei giovani umanisti, Koper, 21. oktober 2016 ; uredila Lidija Rezoničnik in Marcello Potocco. -El. zbornik. -Koper : Založba Univerze na Primorskem, 2016 Način dostopa (URL): http://www.hippocampus.si/isbn/978-961-6984-41-6.pdf Način dostopa (URL): http://www.hippocampus.si/isbn/978-961-6984-42-3/index.html ISBN 978-961-6984-41-6 (pdf) ISBN 978-961-6984-42-3 (html) 1. Gl. stv. nasl. 2. Vzp. stv. nasl. 3. Rezoničnik, Lidija 286928128

Retrospektiva filmova Gorana Radovanovića, 2011

The article gets opportunities to use the polyphonic confessional novel 'Second-Hand Time' by S. Alexievych for a spiritual healing of the post-totalitarian societies. Such healing is characterized by a very important feature like the synthesis of the schema-therapy and bibliotherapy as a mean of solving the problems connected with re-socialization, humanistic psycho education of the present generations, personality self-education.

Journal of Vasyl Stefanyk Precarpathian National University, 2022

The 150th anniversary of the birth of Vasyl Stefanyk, the outstanding Ukrainian short stories writer and public figure, was celebrated with the appearance of a number of significant, fresh and interesting publications dedicated to his personality. This notable event brought to life works of various genres and volumes: among them there appeared a fundamental 3-volume collection of the writers' works and a relatively small interdisciplinary research compilation authored by the scholars of our university, it's primary aim has been to better understand Stefanyk as a person and a master of the word. Resulting from scientific research and reflection, the focus of scientists has shifted to the problem of personal loneliness (Velykochyi et al., 2022, p. 95). As a writer Stefanyk offers an unsurpassed in strength and depth depiction of human experiences of borderline states: a painful awareness of mortality and ending of the earthly path, fears of solitude, weakness, old age, protection which cannot be warned away even through a sacred archetype of one's own home, family home (Velykochyi et al., 2022, pp. 67-91). As a representative of Galician intelligentsia of that time, he sympathizes with his literary characters primarily because "they were themselves, they did not deny or shy away from themselves"; for himself he chooses the role of an impersonal onlooker witnessing the drama of the Pokuttia village, eventually he becomes his literary prototype of that dichotomy of the "leading stratum" in Galicia (Halychyna) at the beginning of the XX century, which served as both the driving and braking force of social and cultural development (Velykochyi et al., 2022, pp. 56, 63). Consequently, as a public and political figure Stefanyk delivers passionate electoral speeches campaigning as a bright emotional leader, he is actively engaged in the daily parliamentary work in the Austrian parliament, yet, during the whirlwind of the turbulent events of the Ukrainian revolution of the early XX century later he remains strangely detached holding on the position of an observer most time (Velykochyi et al., 2022, pp. 22, 29, 32-33). Apparently, he was ready to painstaking toil on daily basis and thoroughly perform his direct duties, as he saw meaning and significance in his social work (although he would constantly subject everything to doubts), yet he would shy away from public roles or taking the lead, especially during uncertain moments of social bifurcations, when the future was quite debatable, and intuition (usually inherent for such kind of people) hinted at less than pleasing outcomes.

Kritika: Explorations in Russian and Eurasian History, 2007

Life Writing, 2010

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Goran Paskaljevic, 2009

Goran Paskaljević is an artist whose cinematic career already spans forty years. His work includes fifteen feature films, thirty documentaries and shorts, and is marked by a consistency in both aesthetics and ideology. A humanist, infused with the simplicity of Italian neorealism and in particular, Vittorio de Sicaʼs work, Paskaljević makes films that are based on simple narratives, which describe, sincerely and delicately, the emotions and life of ordinary people, always siding with the weak and the oppressed. Through his stories, Paskaljević relates to us the human condition, highlighting the small existentialist dramas of the young and the old, of those living on the fringes of society and of the underprivileged, emphasizing the efforts they make to survive. Everyday people interest him most, those who have to deal with the consequences of historical events and are forced to find ways to cope, while always maintaining the hope for a better life. He treats his characters with warmth and empathy, putting forward their human dimensions, complete with faults and merits; he does that without reproducing stereotypes or resorting to cliches and he neither moralizes nor manipulates his audience. Even though in most cases the situations his characters have to face are beyond their control, and ultimately their struggle is in vain, the efforts they make, the tenderness they manage to maintain, their faith in their dreams and fantasies, are not only moving, but also radiate an optimism, constituting expressions of resistance against a pre-established fate. With his national reality as a starting point, Paskaljević tells stories that underscore the complexity and contradictions of the socio-political conditions of his time. Without aiming to make openly political films, he is nevertheless unable to remain detached from what is going on in his country: with a critical eye, he observes and records the events shaping local life, addresses the fundamental social tensions that underpinned the politics of his country during the nineties, and wields a covert social critique which is usually expressed through metaphor and symbolism. Paskaljević captures the mood of his native land; he describes social ties (especially intergenerational relationships) and life in the city and in the country; he addresses the hardships of immigration, social and political transitions and, of course the impact of civil war on his country. With realism and poetry, black humor and irony as his weaponry, his films succeed in genuinely representing real life on the big screen and in conveying the filmmakerʼs personal account of his time.

Today, as I become a Pioneer . . . was the opening line of the Pioneer pledge given during the induction ceremony for new members of the Union of Pioneers of Yugoslavia, a mass membership children’s organisation in former Yugoslavia popularly known as “Tito’s Pioneers”. The members of the Pioneer organisation were children between seven and fourteen, organised into various Pioneer collectives that consisted of Pioneer squadrons as basic structural units. Pioneer membership induction ritual, performed in the first grade of elementary school, was a specific form of social and political initiation. Over the course of four decades, the Pioneers’ Union structure, activities, goals and missions were being adapted to social changes, always remaining within the given ideological frame. The purpose of Pioneer rituals, symbols, papers, activities, celebrations and events was to construct “the notion of a Yugoslav child”, a future active member of socialist society. Teachers, as well as professionals specially trained to work with Pioneers, had an important role in achieving this mission. In this paper we explore and analyse the creation of a new, Pioneer tradition during the first post-war decade in Yugoslavia and its existence until the end of the 1980s, with a particular emphasis on the activity of the Union of Pioneers in Croatia and the Union of Pioneers in Bosnia and Herzegovina