Page 14 - Vinkler, Jonatan, Ana Beguš and Marcello Potocco. Eds. 2019. Ideology in the 20th Century: Studies of literary and social discourses and practices. Koper: University of Primorska Press
P. 14
Ideology in the 20th Century: studies of literary and social discourses and practices
foundation of their ideas was no doubt th British-Canadian cultural na-
tionalism, but the paper focuses on the poetry of Archibald Lampman
in order to show the dependence of their late-19th-century literary idi-
om on American ideas and the American literary market. In the topos
of nature—specifically in the images of menacing nature, the northern
frontier and similar—the binarism between the American source and its
Canadian modification becomes inscribed in the Canadian national im-
aginary. The most influential imagery of the standard Canadian nation-
al myth was explicated by Northrop Frye and Margaret Atwood during
the second wave of Canadian nationalism in the 1960s. During the sec-
ond wave of nationalism, the denial of the continental binarism was at
its peak. The reaction of the nationalist circles to the presentation of the
Governor General’s Award showed their explicit rebuttal of contempo-
14 rary American poetry personified in George Bowering, the Award-win-
ner, despite the fact that Allen Ginsberg’s poems and Charles Olson’s
theory of the projective verse can be seen as co-shaping the poetry of some
of Canadian nationalist poets of the period.
While Potocco only briefly notes thematological studies, which were
one of the cornerstones of national ideology in Canada, Aleš Kozár’s pa-
per centres on thematology, as it compares the theme of the village in Slo-
venian and Czech literatures. In the last twenty-five years, the motif of
the village occurred quite often in Slovenian literature, either as a space of
lyrisation and poetisation, and exoticism of the other (Lainšček, Tomšič),
or as a neglected, dark space without future (Ki jo je megla prinesla). In
the Czech literature of the 1990s, the image of the village was not par-
ticularly attractive, but later writers started to find their way to this im-
age mainly as a space distinctly connected to wild, untamed nature (Baja-
ja), magic traditions (Tučková), or a place of hidden ideological conflicts
from the not-long-gone past (Hájíček). The village has gained considera-
ble relevance as a space of an ideological conflict between the absolutist
bad-will of totalitarianism and the village community, associated with
earth, faith, and tradition.
Kozár introduces a series of chapters in which the authors present
the specific Slovenian perspective on the problem of ideology. The ma-
jority of these chapters deal with the communist regime and the dissi-
dent opposition, but also with the feminist discourse within the ideology
of communism. Through a comparison between Dušan Jovanović’s Mil-
itary Secret from 1983 and the play nineteeneightyone by Simona Semenič
from 2013, Gašper Troha studies the image of the social system in Slo-
venian drama. He shows how drama depends on the historical moment
foundation of their ideas was no doubt th British-Canadian cultural na-
tionalism, but the paper focuses on the poetry of Archibald Lampman
in order to show the dependence of their late-19th-century literary idi-
om on American ideas and the American literary market. In the topos
of nature—specifically in the images of menacing nature, the northern
frontier and similar—the binarism between the American source and its
Canadian modification becomes inscribed in the Canadian national im-
aginary. The most influential imagery of the standard Canadian nation-
al myth was explicated by Northrop Frye and Margaret Atwood during
the second wave of Canadian nationalism in the 1960s. During the sec-
ond wave of nationalism, the denial of the continental binarism was at
its peak. The reaction of the nationalist circles to the presentation of the
Governor General’s Award showed their explicit rebuttal of contempo-
14 rary American poetry personified in George Bowering, the Award-win-
ner, despite the fact that Allen Ginsberg’s poems and Charles Olson’s
theory of the projective verse can be seen as co-shaping the poetry of some
of Canadian nationalist poets of the period.
While Potocco only briefly notes thematological studies, which were
one of the cornerstones of national ideology in Canada, Aleš Kozár’s pa-
per centres on thematology, as it compares the theme of the village in Slo-
venian and Czech literatures. In the last twenty-five years, the motif of
the village occurred quite often in Slovenian literature, either as a space of
lyrisation and poetisation, and exoticism of the other (Lainšček, Tomšič),
or as a neglected, dark space without future (Ki jo je megla prinesla). In
the Czech literature of the 1990s, the image of the village was not par-
ticularly attractive, but later writers started to find their way to this im-
age mainly as a space distinctly connected to wild, untamed nature (Baja-
ja), magic traditions (Tučková), or a place of hidden ideological conflicts
from the not-long-gone past (Hájíček). The village has gained considera-
ble relevance as a space of an ideological conflict between the absolutist
bad-will of totalitarianism and the village community, associated with
earth, faith, and tradition.
Kozár introduces a series of chapters in which the authors present
the specific Slovenian perspective on the problem of ideology. The ma-
jority of these chapters deal with the communist regime and the dissi-
dent opposition, but also with the feminist discourse within the ideology
of communism. Through a comparison between Dušan Jovanović’s Mil-
itary Secret from 1983 and the play nineteeneightyone by Simona Semenič
from 2013, Gašper Troha studies the image of the social system in Slo-
venian drama. He shows how drama depends on the historical moment
