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"Vervaet, Stijn"
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Post-Yugoslav Constellations
This interdisciplinary series addresses the relation between media and cultural memory. Its publications study how media construct, store, and disseminate memory. The series' focus is on different media and technologies, such as text and image, the cinema and the new digital media, on transmediality, intermediality, and remediation, as well as on the social (and increasingly transnational and transcultural) contexts of mediated memory. The aim of the series is to provide a vibrant international platform for research and scholarly exchange in the field of media and memory studies. Manuscripts submitted to the series are peer reviewed by expert referees.
eBook
Staging the Holocaust in the Land of Brotherhood and Unity: Holocaust Drama in Socialist Yugoslavia in the 1950s and 1960s
This article discusses two theatrical works dealing with the Holocaust written by the Yugoslav playwright and Holocaust survivor Đorđe Lebović (1928–2004):Nebeski odred(The Heavenly Squad, 1957, co-authored with Aleksandar Obrenović), andViktorija(Viktorija, 1968). It explores how these dramas mediated, shaped and circulated narratives of the destruction of European Jews against the backdrop of the specific memory culture of Socialist Yugoslavia. It argues that Lebović's plays, through the way in which they staged the Holocaust, deconstruct the perpetrator/victim divide and shed what was at the time a new light on questions of witnessing and historical truth, guilt and complicity, as well as judgment and justice.
Journal Article
Facing the Legacy of the 1990s: Saša Ilić's \Berlinsko Okno\
Vervaet talks about Sasa Ilic's novel Berlinsko okno. The novel ends with the word voice, a voice of protest against the hegemonic discourse of silence. Interrupting the silence in Serbian public discourse surrounding the victims of the violence of the 1990s, Ilic's novel asks for a coming to terms with the past based on an ethics of remembering, and for a radical break with the nationalist politics of oblivion. The book urges the reader not only to listen to the voice of the victims, but also to attend to the deafening silence that surrounds their fate as well as to the traces of the forgotten that destabilize the dominant political and historical discourse.
Journal Article
A DIFFERENT KIND OF WAR STORY: ALEKSANDAR ZOGRAF'S REGARDS FROM SERBIA AND TOMAZ LAVRIC'S BOSNIAN FABLES
Vervaet focuses on the representation of war and social and political turmoil in Aleksandar Zograf's Regards from Serbia and Tomaz Lavric's Bosanske basne (Bosnian Fables). He also looks at the ways in which Zograf and Lavric use the medium of comics to visually map the Bosnian war, specifically the crisis in Serbia and the NATO bombing of the country. He also examines and compares the different graphic and narrative strategies they use to represent the horrible ways that war affects the lives of individual people. More specifically, he demonstrates how both authors, each using a different visual language and each in his own way blurring/dissolving the boundaries between fiction and non-fiction, demand or invoke an ethical response in the reader regarding the suffering of others. In doing so, their work not only challenges and explores the possibilities of the historical and aesthetic representation of war but also exemplifies how contemporary post-Yugoslav comics complement conventional historical and journalistic narratives about the war in Yugoslavia.
Journal Article
Writing war, writing memory. The representation of the recent past and the construction of cultural memory in contemporary Bosnian prose
Focusing on the work of Miljenko Jergović, Nenad Veličković, Alma Lazarevska, and Saša Stanišić, this paper examines how the representation of the recent past intertwines with the construction of collective memory in contemporary Bosnian prose. The author argues that a first, significant function of recent Bosnian literature consisted of not only witnessing the horror of the Bosnian war but also turning historical events into sites of memory. This is especially true for the literature about the wars of the nineties—the siege of Sarajevo, Srebrenica, etc. However, the involvement of Bosnian authors with the recent past—in prose written during the war as well as in more recent works—proves to be more complex and seems to be indicative of a growing interest in and reflexivity upon the ways in which collective and individual memory are constructed. This paper suggests that the interest in memory/remembering the recent past has been accelerated by the war and the social and political turmoil of the nineties. This liminal situation urged writers firstly to represent the horrors of the recent past in order to prevent them from falling into oblivion. Secondly, because war emerged as a kind of turning point, a radical break between past and present, writers were compelled to reflect on the processes of remembering and oblivion and on the ways identity is constituted by a strange and often unpredictable interplay of both.
Journal Article
FACING THE LEGACY OF THE 1990s: SAŠA ILIĆ'S \BERLINSKO OKNO\
Rad istražuje pitanja kolektivnog pamćenja, i konkretnije traumatsko nasleđe 1990-ih u Srbiji, na primeru Berlinskog okna (2005), prvog romana srpskog pisca Saše Ilića. U samoj srži romana je ideja da Srbija treba da se suoči sa svojom nedavnom prošlošću, naročito sa svojom ulogom u krvavom raspadu Jugoslavije. U radu se predlaže čitanje Berlinskog okna kao romana koji predstavlja svojevrstan spomenik žrtvama nasilja 1990-ih na prostoru Jugoslavije. Dokazuje se da roman ne samo daje glas bezimenim žrtvama skorašnjih ratova na tlu Jugoslavije—onima koje je Shoshana Felman nazvala 'the expressionless'—već i istovremeno svedoči o užasu njihovog ućutkivanja. Pored toga, roman skreće pažnju na politiku zaborava u Srbiji i podstiče čitaoca da misli ono što je Lyotard nazvao 'imemorijalno'—ono što ne može niti da se zapamti (predstavi), niti da se zaboravi (izbriše). Analizom Brechtovskog interteksta se, na kraju, pokazuje kako Ilićev roman povezuje etiku sećanja s politikom reprezentacije. Naglašavajući da je zadatak celog srpskog društva da ne zaboravi žrtve nasilja 1990-ih, roman provokativno učestvuje u tekućoj debati među srpskim piscima i književnim kritičarima o socijalnoj ulozi i političkoj relevantnosti književnosti danas.
Journal Article
A DIFFERENT KIND OF WAR STORY: ALEKSANDAR ZOGRAF'S \REGARDS FROM SERBIA\ AND TOMAŽ LAVRIČ'S \BOSNIAN FABLES\
Ovaj članak razmatra dva primera predstavljanja raspada Jugoslavije u savremenom post-jugoslovenskom stripu. Fokusirajući se na različite grafičke i narativne strategije primenjene u knjizi Regards from Serbia srpskog strip autora Aleksandra Zografa i Bosanskim basnama slovenačkog strip crtača Tomaža Lavriča, autor članka istražuje mogućnosti koje strip kao medijum nudi za suočavanje sa problemima istorijske i umetničke reprezentacije rata i ljudske patnje. U radu se obrazlaže teza da Zografovo i Lavričevo razumevanje stripa kao posebnog načina gledanja poziva čitaoca da predstavi sebi iskustvo pojedinca uhvaćenog u vrtlogu rata. Naime, Zograf i Lavrič, svaki na svoj način, brišu granice između fikcije i dokumentarne proze i koriste različite mogućnosti vizuelnog jezika stripa, time podstičući kod čitaoca etički odgovor na prizore života običnih ljudi zahvaćenih ratom. Dok Zografovo korišćenje grafičkog dvojnika kao naratora odgovara novijem auto(bio)grafskom trendu u svetskoj strip produkciji, Lavrič pribegava tradicionalnijim narativnim modelima. Služeći se žanrom basne, on nastoji da prevaziđe subjektivnu, autobiografsku tačku gledišta i tako otkrije paradigmatične pojave rata. Zografov često nerealističan, ponekad čak i apsurdan vizuelni jezik ukazuje na teškoće predstavljanja apsurdnosti rata i života u društvu pod sankcijama i u isto vreme ironično potkopava i preokreće dominanti način njihove medijske reprezentacije. Lavrič, s druge strane, koristi realističan grafički stil i služi se klasičnim metodama 'narativnog crtanja' (narrative drawing) i različitim perspektivama da bi čitaocu predočio sve strahote rata. Usredsređujući se na pojedinačne sudbine, njihovi radovi čuvaju, oblikuju i prenose alternativne priče, slike i sećanja vezana za krvavi raspad Jugoslavije, a samim tim i problematizuju dominantne predstave o raspadu države, ratu i ljudskom stradanju. Zografovi i Lavričevi radovi se stoga mogu tumačiti kao svojevrsna dopuna i alternativa dominantnom istoriografskom i novinarskom narativnom oblikovanju ratnih događanja, i kao kritički korektiv nacionalističkim interpretacijama raspada bivše Jugoslavije.
Journal Article
