{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-M7E9M7MK/00457ab7-3d6d-45b2-84fd-e280bb14fbc1/PDF","dcterms:extent":"621 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-M7E9M7MK/f203d0de-f177-4035-bfcf-e776fe2ad4c4/TEXT","dcterms:extent":"58 KB"}],"edm:TimeSpan":{"@rdf:about":"1978-2025","edm:begin":{"@xml:lang":"en","#text":"1978"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-M7E9M7MK","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/URN:NBN:SI:spr-EVBFLKN7"},{"@xml:lang":"sl","#text":"Primerjalna književnost"}],"dcterms:issued":"2020","dc:creator":"Gvozden, Vladimir","dc:format":[{"@xml:lang":"sl","#text":"številka:2"},{"@xml:lang":"sl","#text":"letnik:43"},{"@xml:lang":"sl","#text":"str. 41-60"}],"dc:identifier":["ISSN:0351-1189","DOI:10.3986/pkn.v43.i2.02","COBISSID:30928131","URN:URN:NBN:SI:doc-M7E9M7MK"],"dc:language":"en","dc:publisher":{"@xml:lang":"sl","#text":"Slovensko društvo za primerjalno književnost"},"dc:subject":[{"@xml:lang":"sl","#text":"Albahari, David"},{"@xml:lang":"sl","#text":"dekonstrukcija"},{"@xml:lang":"sl","#text":"književnost in politika"},{"@xml:lang":"sl","#text":"kulturna identiteta"},{"@xml:lang":"sl","#text":"nacionalizem"},{"@xml:lang":"sl","#text":"Pavić, Milorad"},{"@xml:lang":"sl","#text":"Petković, Radoslav"},{"@xml:lang":"sl","#text":"Petrović, Goran"},{"@xml:lang":"sl","#text":"postmodernizem"},{"@xml:lang":"sl","#text":"srbska književnost"},{"@xml:lang":"sl","#text":"Tasić, Vladimir"},{"@xml:lang":"sl","#text":"Tišma, Slobodan"},{"@xml:lang":"sl","#text":"zgodovinski roman"}],"dcterms:temporal":{"@rdf:resource":"1978-2025"},"dc:title":{"@xml:lang":"sl","#text":"The Serbian novel after the end of utopia| \"reconstructive\" versus \"deconstructive\" writing?|"},"dc:description":[{"@xml:lang":"sl","#text":"Numerous Serbian novels of the 1980s and 1990s turned to the treatment of an older, allegedly forgotten history which encompasses the premodern period from the Middle Ages to the Enlightenment. It seems that this shift was accompanied by a political idealism and national-emancipatory zeal after the breakup of socialist Yugoslavia and its cultural politics. This paper will critically examine three extremely successful examples of historical postmodernism in contemporary Serbian literature: Milorad Pavić's Dictionary of the Khazars (1984), Radoslav Petković's Destiny, Annotated (1993) and Goran Petrović's Opsada crkve Svetog Spasa (The Siege of the Church of Holy Salvation, 1997). This \"historical turn\" of historical postmodernism could be interpreted both as a deceptive attempt to return to the roots and as distinct archaeology with which writing seeks to examine the contemporary unsafe ground of the political, cultural and economic transition from the socialist system to democracy and capitalism. Actually, it seems that this kind of \"reconstructive\" novelistic approach, which can be seen as a deliberate postmodern double-coding, could be understood as a search for Serbian cultural capital that can be easily - perhaps too easily - found in the distant past. On the other side, the paper analyses \"deconstructive\" novels, like David Albahari's Bait (1996), Vladimir Tasić's Kiša i hartija (Rain and Paper, 2004) and Slobodan Tišma's Bernardijeva soba (Bernardi's Room, 2011). The novels from this camp demonstrate that the complexity connected with the demise of meta-narratives is not easy to represent in a work of literature. Through the figure of a weak subject, the \"deconstructive\" novel is able to imprint itself into the unknown, to disrupt codes, to cross the border and the wall of the symbolic order of capitalism and socialism and their production of desire. At the end of the paper, we try to demonstrate what paradoxes are inherent in both these types of writing"},{"@xml:lang":"sl","#text":"Številni srbski romani osemdesetih in devetdesetih 20. stoletja so se obrnili k starejši, domnevno pozabljeni zgodovini, ki obsega predmoderno obdobje od srednjega veka do razsvetljenstva. Zdi se, da so ta obrat spremljali politični idealizem in narodno-emancipatorična gorečnost po razpadu socialistične Jugoslavije in njene kulturne politike. Ta članek bo kritično raziskal tri izjemno uspešne primere historičnega postmodernizma v sodobni srbski literaturi: Hazarski slovar (1984) Milorada Pavića, Usoda in komentarji (1993) Radoslava Petkovića in Obleganje cerkve svetega Odrešenja (Opsada crkve Svetog Spasa, 1997) Gorana Petrovića. Ta \"zgodovinski obrat\" historičnega postmodernizma je mogoče pojasniti tako kot zmoten poizkus povratka h koreninam kakor tudi kot posebno arheologijo, s katero skuša pisanje raziskati nevarni sodobni temelj politične, kulturne in ekonomske tranzicije od socialističnega sistema k demokraciji in kapitalizmu. Zdi se namreč, da ta tip \"rekonstruktivnega\" romanesknega pristopa, ki ga je mogoče videti kot namerno postmoderno dvojno kodiranje, lahko razumemo kot iskanje srbskega kulturnega kapitala, ki ga je mogoče zlahka - morda kar prezlahka - najti v daljni preteklosti. Članek pa analizira tudi \"dekonstruktivne\" romane, kot so Bait (1996) Davida Albaharija, Dež in papir (Kiša i hartija, 2004) Vladimirja Tasića in Bernardijeva soba (2011) Slobodana Tišme. Ti romani pokažejo, da kompleksnosti, povezane z zatonom metanaracij, v literarnem delu ni lahko prikazati. \"Dekonstruktivni\" roman prek figure šibkega subjekta lahko vtisne sebe v neznano, prekinja kode, prečka meje in zid simboličnega reda kapitalizma in socializma ter njune produkcije želje. Na koncu članka je prikazano, kateri paradoksi so inherentni obema tipoma pisanja"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-M7E9M7MK","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-M7E9M7MK"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-M7E9M7MK/00457ab7-3d6d-45b2-84fd-e280bb14fbc1/PDF"},"edm:rights":{"@rdf:resource":"http://rightsstatements.org/vocab/InC/1.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Slovensko društvo za primerjalno književnost"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-M7E9M7MK/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-M7E9M7MK"}}}}