The ebook brings jointly the various top identified commentators and students who write approximately former Yugoslavia. The essays concentrate on the post-Yugoslav cultural transition and check out to respond to questions on what has been received and what has been misplaced because the dissolution of the typical state. many of the contributions should be visible as present makes an attempt to make feel of the prior and support cultures in transition, in addition to to file on them.
The quantity is a mix of own essays and scholarly articles and that mix of genres makes the booklet either relocating and informative. Its significance is exclusive. whereas many stories live at the motives of the dying of Yugoslavia, this assortment touches upon those motives yet is going past them to spot Yugoslavia's legacy in a entire approach. It brings issues and writers, frequently handled individually, into fruitful conversation with each other.
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Extra info for After Yugoslavia: The Cultural Spaces of a Vanished Land (Stanford Studies on Central and Eastern Europe)
The beautiful Nevena Kokanova was in the leading female role, and the Serbian officer was played by Rade Marković, who for a brief time became the dream of many Bulgarian women. Maybe because this, my first encounter with Serbs, was artsy, my first real-life one was very disappointing. It felt like a betrayal. I have to say, though, and this is my way of paying homage to one of the sweetest human beings I have ever encountered, that when I was already in the United State and came to know closely the late and much missed Mita Đorđević, his warm and soft nature reminded me of the peach thief.
We were in Hungary for a conference in the 1980s, and we had to pay our registration fee “in currency”—three dollars, no national equivalent. ” 26 My Yugoslavia: Personal Essays Nor were my impressions of Yugoslav males, especially Serbian ones, entirely negative. One of the finest (of the very few fine Bulgarian feature movies) of the 1960s was a film adaptation of a novella by the great Bulgarian writer Emilian Stanev, Kradetsît na praskovi (The Peach Thief ). The story—set in the First World War—is about a POW camp in Tîrnovo, in which a Serbian officer and the wife of the Bulgarian chief-of-garrison fall in love with each other.
Crnković finds a great local inspiration in Krleža, the “Croatian Sartre,” and Božović in the journal Zenit, an attempt to spark an internationally relevant Balkan avant-garde. Both chapters wonder at these radical subversions of Yugoslavia before state socialism, and at their lessons for transitional spaces in a globalized world. In “‘Something Has Survived . ’: Ambivalence in the Discourse About Socialist Yugoslavia in Present-Day Slovenia,” Velikonja takes inspiration from a 2009 billboard advertising a popular radio station with the silhouette of Yugoslavia and the promise to play more “yugo” music than other stations.
After Yugoslavia: The Cultural Spaces of a Vanished Land (Stanford Studies on Central and Eastern Europe)