This paper looks at the (auto)biography and literary work of an Australian writer of Serbian descent, B. Wongar/Sreten Božić, viewed from the perspective of ethnology and anthropology. His work is well known to local scholars of literary and cultural studies: for them, Wongar's complex and polysemous oeuvre has long since become a vibrant topic of interpretation and dialogue. An attempt is made here to show how and why this prolific, award-winning and world-renowned author has become a controversial phenomenon in Australian literature. Such a concise retrospective is needed so that readers outside the humanities can gain at least partial insight. The main aim is to highlight those topics in Wongar's fiction and documentary writing that are important from the standpoint of sociocultural anthropology and anthropology of literature: the characteristics of the migrant position and experiences of the dissident writer as a social actor, and the ethnographic-folkloric motivation of the writer's oeuvre.
{"title":"B. Wongar's Literary Work and Life from an Ethnological and Anthropological Perspective","authors":"Gordana Gorunovic","doi":"10.21301/eap.v15i1.8","DOIUrl":"https://doi.org/10.21301/eap.v15i1.8","url":null,"abstract":"This paper looks at the (auto)biography and literary work of an Australian writer of Serbian descent, B. Wongar/Sreten Božić, viewed from the perspective of ethnology and anthropology. His work is well known to local scholars of literary and cultural studies: for them, Wongar's complex and polysemous oeuvre has long since become a vibrant topic of interpretation and dialogue. An attempt is made here to show how and why this prolific, award-winning and world-renowned author has become a controversial phenomenon in Australian literature. Such a concise retrospective is needed so that readers outside the humanities can gain at least partial insight. The main aim is to highlight those topics in Wongar's fiction and documentary writing that are important from the standpoint of sociocultural anthropology and anthropology of literature: the characteristics of the migrant position and experiences of the dissident writer as a social actor, and the ethnographic-folkloric motivation of the writer's oeuvre.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"42 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78033281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper looks at the current situation of the institutional practice of safeguarding the intangible cultural heritage (ICH) in terms of the idea, put forward in anthropological literature, about the need to establish an inclusive ICH register for the entire territory of the Republic of Serbia, and a separate one for the Autonomous Province of Vojvodina. In view of the principles of the Unesco Convention for the Safeguarding of the ICH and the accompanying Operational Directives for its implementation, the ethnic attribution of heritage, proposed as a solution to the problem of underrepresentation of minority heritage in the state register, is analytically shown to be possible, yet insufficient. Although neither Unesco methodology nor global cultural policies present an obstacle to the creation of parallel registers, the existing Safeguarding Network, as well as the problem of underrepresentation of minority identities, would not be resolved in a way that would not at present demand excessive theoretical and moral concessions from anthropology, and particularly from applied ethnology. An analysis of the disharmonies between the theoretical apparatus of anthropology, the practice of applying ethnology within the safeguarding system, the legal framework for the protetion of ethnic minorities, and the results of qualitative research among minority communities, suggests the need for further mutual adjustment between science, the administration and the non-governmental sector through intersectoral collaboration.
{"title":"The Possibilities and Obstacles to Creating an Iclusive Register of the Intangible Cultural Heritage of the Autonomous Province of Vojvodina – An Anthropological Analysis","authors":"J. Ćuković, M. Milenković","doi":"10.21301/eap.v15i1.11","DOIUrl":"https://doi.org/10.21301/eap.v15i1.11","url":null,"abstract":"This paper looks at the current situation of the institutional practice of safeguarding the intangible cultural heritage (ICH) in terms of the idea, put forward in anthropological literature, about the need to establish an inclusive ICH register for the entire territory of the Republic of Serbia, and a separate one for the Autonomous Province of Vojvodina. In view of the principles of the Unesco Convention for the Safeguarding of the ICH and the accompanying Operational Directives for its implementation, the ethnic attribution of heritage, proposed as a solution to the problem of underrepresentation of minority heritage in the state register, is analytically shown to be possible, yet insufficient. Although neither Unesco methodology nor global cultural policies present an obstacle to the creation of parallel registers, the existing Safeguarding Network, as well as the problem of underrepresentation of minority identities, would not be resolved in a way that would not at present demand excessive theoretical and moral concessions from anthropology, and particularly from applied ethnology. An analysis of the disharmonies between the theoretical apparatus of anthropology, the practice of applying ethnology within the safeguarding system, the legal framework for the protetion of ethnic minorities, and the results of qualitative research among minority communities, suggests the need for further mutual adjustment between science, the administration and the non-governmental sector through intersectoral collaboration.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"119 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88716665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyzes the novel Twilight in the Viennese Hallway 2 (Old Boska) (2013) by Darko Markov, a migrant-writer from Vienna. The novel describes the way of life and culturological characteristics of Serbian immigrants in Austria through two generations – the gastarbeiter as the older immigrant stratum of migrant workers in the 1970s and 1980s, and the younger, well-educated people who immigrated in the 1990s, fleeing the wars in the former Yugoslavia and the dire economic situation in Serbia due to inflation and international sanctions. Through the seemingly simple storyline about the marital and romantic problems of the protagonist – a young intellectual from Belgrade who arrived in Vienna in the 1990s, the author constructs a dense narrative network of the main character's various experiences, describing the difficulties of adjusting and coping in a foreign country. The protagonist simultaneously comes up against two worlds with different value systems – on the one hand, that of the gastarbeiter, his compatriots, whose way of life, attitudes and behaviors he often finds strange and unacceptable, sometimes even irrational, and on the other hand, the prejudices, intolerance and lack of understanding exhibited by Austrians not only towards him but also towards other immigrants. His path crossing that of various other characters, the protagonist himself undergoes changes in his search for meaning and for his place in a foreign land. In his description of characters and their actions Darko Markov uses the literary technique of realism, relying to a great extent, by his own admission, on real-life persons and events. His mimetic narrative technique can thus be characterized as faction – a blend of fiction and facts, enriched with numerous ethnographic descriptions of the traits, behavior, appearance, speech and value system of the gastarbeiter and other migrants in the Austrian capital. In that sense Markov's novel belongs to the genre of ethnographic prose as it abounds in anthropologically and ethnologically relevant themes and motifs. In a wider sense, the novel belongs to migrant literature defined in terms of the theme, characters and content relating to the life of migrants, and, secondly, the author who is himself an immigrant. The paper first provides a literary-ethographic analysis through the structural elements of its composition – the plot, the characters (attributes, actions and motivation), the narrative time frame and the space that Serbian immigrants in Vienna inhabit and move around in. It then proceeds to analyze through anthropological interpretation some of the novel' motifs and themes, specifically, the problems of ethnic prejudice, integration into the host society, the marginal position of immigrants through two types of marginalization – exterior marginalization in the form of their socio-economic status, and interior marginalization through exoticization and stigmatization, and also the question of language as an imp
{"title":"Viennese Hallways in Darko Markov's Bleak Vision","authors":"Dragana Antonijević","doi":"10.21301/eap.v15i1.3","DOIUrl":"https://doi.org/10.21301/eap.v15i1.3","url":null,"abstract":"This paper analyzes the novel Twilight in the Viennese Hallway 2 (Old Boska) (2013) by Darko Markov, a migrant-writer from Vienna. The novel describes the way of life and culturological characteristics of Serbian immigrants in Austria through two generations – the gastarbeiter as the older immigrant stratum of migrant workers in the 1970s and 1980s, and the younger, well-educated people who immigrated in the 1990s, fleeing the wars in the former Yugoslavia and the dire economic situation in Serbia due to inflation and international sanctions. Through the seemingly simple storyline about the marital and romantic problems of the protagonist – a young intellectual from Belgrade who arrived in Vienna in the 1990s, the author constructs a dense narrative network of the main character's various experiences, describing the difficulties of adjusting and coping in a foreign country. The protagonist simultaneously comes up against two worlds with different value systems – on the one hand, that of the gastarbeiter, his compatriots, whose way of life, attitudes and behaviors he often finds strange and unacceptable, sometimes even irrational, and on the other hand, the prejudices, intolerance and lack of understanding exhibited by Austrians not only towards him but also towards other immigrants. His path crossing that of various other characters, the protagonist himself undergoes changes in his search for meaning and for his place in a foreign land. \u0000In his description of characters and their actions Darko Markov uses the literary technique of realism, relying to a great extent, by his own admission, on real-life persons and events. His mimetic narrative technique can thus be characterized as faction – a blend of fiction and facts, enriched with numerous ethnographic descriptions of the traits, behavior, appearance, speech and value system of the gastarbeiter and other migrants in the Austrian capital. In that sense Markov's novel belongs to the genre of ethnographic prose as it abounds in anthropologically and ethnologically relevant themes and motifs. In a wider sense, the novel belongs to migrant literature defined in terms of the theme, characters and content relating to the life of migrants, and, secondly, the author who is himself an immigrant. \u0000The paper first provides a literary-ethographic analysis through the structural elements of its composition – the plot, the characters (attributes, actions and motivation), the narrative time frame and the space that Serbian immigrants in Vienna inhabit and move around in. It then proceeds to analyze through anthropological interpretation some of the novel' motifs and themes, specifically, the problems of ethnic prejudice, integration into the host society, the marginal position of immigrants through two types of marginalization – exterior marginalization in the form of their socio-economic status, and interior marginalization through exoticization and stigmatization, and also the question of language as an imp","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"53 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80770721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper ideas of literary anthropology that legitimize research of fiction work in socio-cultural anthropology are combined with the theories and methodologies of migration studies. Novels can be used as a source for understanding and interpreting certain phenomena from our socio-cultural reality and be an object of research. Therefore, this paper analyzes the novel Snowman (1996) by David Albahari from his so-called “Canadian Trilogy”. It is his first novel after his emigration to Canada from Serbia in 1994. This paper aims to draw attention to the possibilities and potentials of anthropological analysis of Serbian literature that originated in Canada as one of the possible strands of literary anthropology. Is a prerequisite for successful integration of the first generation of immigrants good competence in the foreign language, a prestigious and well-paid job, and higher education? The answer to this question can contribute to a better understanding of the fictional representation of migrants and be useful in anthropological studies of contemporary migrations. To test this hypothesis, we have juxtaposed the novel “Snowman” with Albahari’s collection of essays “Diaspora and other things” on the life of immigrants in Canada based on the author's personal experiences and experiences of his co-nationals in Canada, and working biography of the author. Furthermore, we test Robert Park’s concept of the “marginal man”. While researching American Jews, Park concluded that they are “men on the margin of the two cultures” and that “marginal men personality” is a “cultural hybrid”, developed as a reaction to life in new surroundings. Finally, in the analysis section Milton Bennett’s method “developmental model of intercultural sensitivity” is used. Bennett’s model consists of six stages: denial, defense, minimization (first stage) and acculturation, adaptation, integration (second stage) and can be applied for the purpose of interpreting immigrants’ experiences in a foreign society. The main character of the novel “Snowman” is a writer from a small European country which is at war. He got a job at a university in a faraway northern non-European country and speaks their language fluently. However, he is nostalgic and homesick, feels misunderstood among his new colleagues and his new life seems to him hopeless. Finally, overburdened with all these emotions, he succumbs to heavy snowfall. Previous research of working migrants suggests that incompetence in the language of the country of residence, a low paid and unskilled job and low level of education are the main factors for their low level of integration. On the other hand, using the example of the educated main character from the novel, this paper shows that adaptation, integration, and positive emotions, such are pleasure and happiness, do not have to correlate with the level of education, language competence, and prestigious employment in a foreign country. In other words, the protagonist of the “S
{"title":"The Novel Snowman by David Albahari. A Socio-Anthropological Reading","authors":"Marija Brujić","doi":"10.21301/eap.v15i1.5","DOIUrl":"https://doi.org/10.21301/eap.v15i1.5","url":null,"abstract":"In this paper ideas of literary anthropology that legitimize research of fiction work in socio-cultural anthropology are combined with the theories and methodologies of migration studies. Novels can be used as a source for understanding and interpreting certain phenomena from our socio-cultural reality and be an object of research. Therefore, this paper analyzes the novel Snowman (1996) by David Albahari from his so-called “Canadian Trilogy”. It is his first novel after his emigration to Canada from Serbia in 1994. This paper aims to draw attention to the possibilities and potentials of anthropological analysis of Serbian literature that originated in Canada as one of the possible strands of literary anthropology. Is a prerequisite for successful integration of the first generation of immigrants good competence in the foreign language, a prestigious and well-paid job, and higher education? The answer to this question can contribute to a better understanding of the fictional representation of migrants and be useful in anthropological studies of contemporary migrations. To test this hypothesis, we have juxtaposed the novel “Snowman” with Albahari’s collection of essays “Diaspora and other things” on the life of immigrants in Canada based on the author's personal experiences and experiences of his co-nationals in Canada, and working biography of the author. Furthermore, we test Robert Park’s concept of the “marginal man”. While researching American Jews, Park concluded that they are “men on the margin of the two cultures” and that “marginal men personality” is a “cultural hybrid”, developed as a reaction to life in new surroundings. Finally, in the analysis section Milton Bennett’s method “developmental model of intercultural sensitivity” is used. Bennett’s model consists of six stages: denial, defense, minimization (first stage) and acculturation, adaptation, integration (second stage) and can be applied for the purpose of interpreting immigrants’ experiences in a foreign society. The main character of the novel “Snowman” is a writer from a small European country which is at war. He got a job at a university in a faraway northern non-European country and speaks their language fluently. However, he is nostalgic and homesick, feels misunderstood among his new colleagues and his new life seems to him hopeless. Finally, overburdened with all these emotions, he succumbs to heavy snowfall. Previous research of working migrants suggests that incompetence in the language of the country of residence, a low paid and unskilled job and low level of education are the main factors for their low level of integration. On the other hand, using the example of the educated main character from the novel, this paper shows that adaptation, integration, and positive emotions, such are pleasure and happiness, do not have to correlate with the level of education, language competence, and prestigious employment in a foreign country. In other words, the protagonist of the “S","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"2014 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73314084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Until the first half of the twentieth century there were only a few representative authors with a migrant background who wrote in German. Since the 1950s and 60s this number has significantly increased. The terminological determinant of this literature has been debated for decades, as the crucial questions to be answered first are, in fact, what kind of literature it is and what place it should take in the German literary scene. This is evidenced by many names that are used or were used in the discourse on this literature, the most common of which are “gastarbeiter”, “migrant” and “migration” literature. The winner of the most prestigious German literary prize “Deutscher Buchpreis” for 2019 is Sasa Stanisic, an author originally from the former Yugoslavia, Bosnia and Herzegovina, who writes in German and is one of the best contemporary German-speaking writers. For this reason, this paper deals with the position of an under-researched group of authors originally from the former Yugoslavia in contemporary German literature from the period when that literature was still called “gastarbeiter”, until today, when it is considered equal to contemporary German literature and when there is no more need for special marginalizing terminological definitions, such as those mentioned above, nor literary awards intended for this literature alone, such as the “Adelbert-von-Chamisso-Preis” prize. The paper clarifies the terminological determinants of gastarbeiter, migrant, migration, hybrid and new world literature, by which some authors characterize this literature, and points out the reasons why the use of these terms is (un)justified. In addition, attention is drawn to representative authors who write in German, originating from the former Yugoslavia, in chronological order, as well as the awards for which some of them were nominated or have won, which testifies to the importance of these writers in the German speaking area and the equality with other German writers which they have achieved in recent years.
{"title":"Where Is My Place? Authors from the Former Yugoslavia in Contemporary German Literature","authors":"Ivana D. Pajic, M. Grkovic","doi":"10.21301/eap.v15i1.1","DOIUrl":"https://doi.org/10.21301/eap.v15i1.1","url":null,"abstract":"Until the first half of the twentieth century there were only a few representative authors with a migrant background who wrote in German. Since the 1950s and 60s this number has significantly increased. The terminological determinant of this literature has been debated for decades, as the crucial questions to be answered first are, in fact, what kind of literature it is and what place it should take in the German literary scene. This is evidenced by many names that are used or were used in the discourse on this literature, the most common of which are “gastarbeiter”, “migrant” and “migration” literature. The winner of the most prestigious German literary prize “Deutscher Buchpreis” for 2019 is Sasa Stanisic, an author originally from the former Yugoslavia, Bosnia and Herzegovina, who writes in German and is one of the best contemporary German-speaking writers. For this reason, this paper deals with the position of an under-researched group of authors originally from the former Yugoslavia in contemporary German literature from the period when that literature was still called “gastarbeiter”, until today, when it is considered equal to contemporary German literature and when there is no more need for special marginalizing terminological definitions, such as those mentioned above, nor literary awards intended for this literature alone, such as the “Adelbert-von-Chamisso-Preis” prize. The paper clarifies the terminological determinants of gastarbeiter, migrant, migration, hybrid and new world literature, by which some authors characterize this literature, and points out the reasons why the use of these terms is (un)justified. In addition, attention is drawn to representative authors who write in German, originating from the former Yugoslavia, in chronological order, as well as the awards for which some of them were nominated or have won, which testifies to the importance of these writers in the German speaking area and the equality with other German writers which they have achieved in recent years.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"12 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77172273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
That a writer should change the language in which he writes, or that he or she should write from the start in a non-native language, is an increasingly common phenomenon. Economic migrations in the latter half of the 20th century, intensified in the 1990s by migrations due to political conflict, have resulted in a larger number of writers who do not write in their native language. Also, the question of defining the concept of native language in bilingual or multilingual speakers is quite complex. The established definition according to which the mother tongue is the language that is unconsciously acquired in a natural social environment in childhood, does not necessarily correspond to language development in the diaspora, where the first language to be acquired is not always the language of the family. Authors who write in a language that is not their first are not a new phenomenon in literature; on the contrary, they are a historical constant as are migrations themselves. There have been a number of attempts to coin a name for this phenomenon. Terms like exile literature, gastarbeiter (in German-speaking countries) literature, migrant, intercultural, multicultural or transcultural literature have been used. In their works, writers who as individuals are multilingual but write only in a language which is not their first, often engage with themes inspired by their own or their ancestors' cultural milieu. Also, they often engage in translation, thus additionally contributing to the interweaving of two cultures. The Austrian writer Milo Dor who, apart from some early poetry in his mother tongue – Serbian, created his entire literary oeuvre in the German language, is one such author. He wrote in German, was fluent in several languages principally using German and Serbian for communication, and drew on his cultural sphere and experience for his literary themes and range of social engagement. This interconnectedness of cultures is reflected not only in the themes of Dor's prose works, characterized by biographism, but also in his translations and in his work as editor. For writers from the territory of Yugoslavia, Dor represented for decades an important link with German-speaking countries, working tirelessly to promote them both in Austria and in Germany.
{"title":"I Feel Well on the Wrong Track: Milutin Doroslovac – Milo Dor","authors":"G. Marković","doi":"10.21301/eap.v15i1.2","DOIUrl":"https://doi.org/10.21301/eap.v15i1.2","url":null,"abstract":"That a writer should change the language in which he writes, or that he or she should write from the start in a non-native language, is an increasingly common phenomenon. Economic migrations in the latter half of the 20th century, intensified in the 1990s by migrations due to political conflict, have resulted in a larger number of writers who do not write in their native language. Also, the question of defining the concept of native language in bilingual or multilingual speakers is quite complex. The established definition according to which the mother tongue is the language that is unconsciously acquired in a natural social environment in childhood, does not necessarily correspond to language development in the diaspora, where the first language to be acquired is not always the language of the family. Authors who write in a language that is not their first are not a new phenomenon in literature; on the contrary, they are a historical constant as are migrations themselves. There have been a number of attempts to coin a name for this phenomenon. Terms like exile literature, gastarbeiter (in German-speaking countries) literature, migrant, intercultural, multicultural or transcultural literature have been used. In their works, writers who as individuals are multilingual but write only in a language which is not their first, often engage with themes inspired by their own or their ancestors' cultural milieu. Also, they often engage in translation, thus additionally contributing to the interweaving of two cultures. The Austrian writer Milo Dor who, apart from some early poetry in his mother tongue – Serbian, created his entire literary oeuvre in the German language, is one such author. He wrote in German, was fluent in several languages principally using German and Serbian for communication, and drew on his cultural sphere and experience for his literary themes and range of social engagement. This interconnectedness of cultures is reflected not only in the themes of Dor's prose works, characterized by biographism, but also in his translations and in his work as editor. For writers from the territory of Yugoslavia, Dor represented for decades an important link with German-speaking countries, working tirelessly to promote them both in Austria and in Germany.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"56 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75196541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the perspective of the anthropology of migrations and literature, the paper analyzes The Taxi Driver of München, a novel with autobiographical elements by the Croatian author and gastarbeiter Romano Mrkić. After outlining the basic genre characteristics of "migrant literature" and the so-called gastarbeiter novel, the paper proceeds to analyze the dominant themes and motifs in the novel The Taxi Driver of München. This work, written in the tradition of realist narration, deals with the immediate experience of migranthood and represents a prototype of the first-generation gastarbeiter novel. It is narrated from the perspective of a "guest worker" in Germany – through the character of the protagonist, the taxi driver Marko Mandić, Romano Mrkić writes about himself and his immigrant experience, about important Others and the complex modalities of migrant identity and (non)belonging. In addition to depicting the everyday experience of the gastarbeiter in Germany and their struggle to integrate into a new and different social environment, and describing the native population's ethnic prejudice and stereotypes in relation to the guest workers, Mrkić speaks from an insider perspective of "Yugo-Germans'" "adversities" of identity. His characters remain perpetually stuck between "two worlds", between "here" and "there", and between the past and the present, while the "myth of return" expressed through an overemphatic nostalgia for the homeland is the foundation of Mrkić's narrative. Through a thematic analysis of the novel, the paper explores the ideas of integration and assimilation of guest workers, as well as the cultural meanings that the author assigns to these processes.
{"title":"Inbetween the Worlds – Gastarbeiter Novel Taxi Driver of Munich: An Anthropological Analysis","authors":"A. Grubišić","doi":"10.21301/eap.v15i1.4","DOIUrl":"https://doi.org/10.21301/eap.v15i1.4","url":null,"abstract":"From the perspective of the anthropology of migrations and literature, the paper analyzes The Taxi Driver of München, a novel with autobiographical elements by the Croatian author and gastarbeiter Romano Mrkić. After outlining the basic genre characteristics of \"migrant literature\" and the so-called gastarbeiter novel, the paper proceeds to analyze the dominant themes and motifs in the novel The Taxi Driver of München. This work, written in the tradition of realist narration, deals with the immediate experience of migranthood and represents a prototype of the first-generation gastarbeiter novel. It is narrated from the perspective of a \"guest worker\" in Germany – through the character of the protagonist, the taxi driver Marko Mandić, Romano Mrkić writes about himself and his immigrant experience, about important Others and the complex modalities of migrant identity and (non)belonging. In addition to depicting the everyday experience of the gastarbeiter in Germany and their struggle to integrate into a new and different social environment, and describing the native population's ethnic prejudice and stereotypes in relation to the guest workers, Mrkić speaks from an insider perspective of \"Yugo-Germans'\" \"adversities\" of identity. His characters remain perpetually stuck between \"two worlds\", between \"here\" and \"there\", and between the past and the present, while the \"myth of return\" expressed through an overemphatic nostalgia for the homeland is the foundation of Mrkić's narrative. Through a thematic analysis of the novel, the paper explores the ideas of integration and assimilation of guest workers, as well as the cultural meanings that the author assigns to these processes.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"40 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88366016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of this paper is a thematic analysis of a bilingual collection of poems by Drago Trumbetaš entitled “Poems of guest-workers“ (“Gastarbeiter-Gedichte“). The poems in this collection were written during his stay in FR Germany from 1969 to 1980. Drago Trumbetaš (1937–2018) was a versatile Croatian self-taught artist and a member of the first wave of Yugoslav economic migrants who went to “temporary“ work in the developed countries of Western Europe in the 1960s. During his stay in FR Germany, Trumbetaš worked various low paid physical jobs and his artistic expression was strongly imbued with personal migrant experiences. Almost all artistic work of Trumbetaš (series of drawings, novels, plays and poetry) is devoted to depicting the life of Yugoslav gastarbeiters. After determining the prevailing topics on the collection of poems, an analysis of their meaning will be undertaken through the anthropological, sociological and historical literature on the phenomenon of “temporary workers abroad“. Poetry of Trumbetaš has been interpreted in the broader context of the “migrant poetry” development in FR Germany since the 1970s. Particular attention will be paid to analyzing the ways of poetic self-representation of migrant workers, the ways of articulating identity through poetry in a new and different cultural and social environment respectively. The problem of using literary texts written in the first person, which are therefore shaped by the subjective aspirations of individual authors, as relevant sources in ethnological and anthropological studies of migration is problematized in this paper.
{"title":"Migrant Poetry – Anthropological Analysis on the Collection of Poems by Drago Trumbetaš","authors":"A. Grubišić","doi":"10.21301/eap.v14i4.5","DOIUrl":"https://doi.org/10.21301/eap.v14i4.5","url":null,"abstract":"The subject of this paper is a thematic analysis of a bilingual collection of poems by Drago Trumbetaš entitled “Poems of guest-workers“ (“Gastarbeiter-Gedichte“). The poems in this collection were written during his stay in FR Germany from 1969 to 1980. Drago Trumbetaš (1937–2018) was a versatile Croatian self-taught artist and a member of the first wave of Yugoslav economic migrants who went to “temporary“ work in the developed countries of Western Europe in the 1960s. During his stay in FR Germany, Trumbetaš worked various low paid physical jobs and his artistic expression was strongly imbued with personal migrant experiences. Almost all artistic work of Trumbetaš (series of drawings, novels, plays and poetry) is devoted to depicting the life of Yugoslav gastarbeiters. After determining the prevailing topics on the collection of poems, an analysis of their meaning will be undertaken through the anthropological, sociological and historical literature on the phenomenon of “temporary workers abroad“. Poetry of Trumbetaš has been interpreted in the broader context of the “migrant poetry” development in FR Germany since the 1970s. Particular attention will be paid to analyzing the ways of poetic self-representation of migrant workers, the ways of articulating identity through poetry in a new and different cultural and social environment respectively. The problem of using literary texts written in the first person, which are therefore shaped by the subjective aspirations of individual authors, as relevant sources in ethnological and anthropological studies of migration is problematized in this paper.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"51 3","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72450640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper is dealing with the complex phenomenon of black humor. Starting from different definitions about its origin, the author questions its folklore origin in Greek antiquity. Through the prism of the theories of Olga Freidneberg and Michael Bakhtin, parody and/or carneval appear as a worldview contrary and at the same time parallel to the serious, official, hierarchical order. Exactly this image of the world, and conceptualization of death on its grounds, lead in ancient Greece to the appearance of the theatre and comedy, that is regarded to be the predecessor of black film comedies. Pointing out the intertwinement of laughter and death, as well as the existence of black humor in the Greek antiquity, the author also deals with interesting connection between film black comedies and Serbian performative ritual games with motives of death and the dead. Such motives and the atmosphere that they provoke are easily recognized in the Serbian black comedies. As an example, i.e. a case study is taken the film Marathon Family. Apart from that, the paper offers an insight into the theoretical approaches to the phenomenon of black humor in literature and film, which opens the space to trace two more intertwined paths of influence on the mentioned black comedies. One path is literary and goes back to comedies by Branislav Nušić - The bereaved family and The deceased, while the other leads to the whole genre of films with the dark humour that has developed since the 1960s in Europe and the USA. In spite of the undoubtable influences, the short insight into the subgenres of dark humour in the mentioned films reveals the specificity of the black humor in the Serbian cinematography that might be related to folk humoristic games with the motive of death.
{"title":"Black Humor on the Film Screen: From Folk to Popular Culture","authors":"Lada Stevanović","doi":"10.21301/eap.v14i4.6","DOIUrl":"https://doi.org/10.21301/eap.v14i4.6","url":null,"abstract":"The paper is dealing with the complex phenomenon of black humor. Starting from different definitions about its origin, the author questions its folklore origin in Greek antiquity. Through the prism of the theories of Olga Freidneberg and Michael Bakhtin, parody and/or carneval appear as a worldview contrary and at the same time parallel to the serious, official, hierarchical order. Exactly this image of the world, and conceptualization of death on its grounds, lead in ancient Greece to the appearance of the theatre and comedy, that is regarded to be the predecessor of black film comedies. Pointing out the intertwinement of laughter and death, as well as the existence of black humor in the Greek antiquity, the author also deals with interesting connection between film black comedies and Serbian performative ritual games with motives of death and the dead. Such motives and the atmosphere that they provoke are easily recognized in the Serbian black comedies. As an example, i.e. a case study is taken the film Marathon Family. Apart from that, the paper offers an insight into the theoretical approaches to the phenomenon of black humor in literature and film, which opens the space to trace two more intertwined paths of influence on the mentioned black comedies. One path is literary and goes back to comedies by Branislav Nušić - The bereaved family and The deceased, while the other leads to the whole genre of films with the dark humour that has developed since the 1960s in Europe and the USA. In spite of the undoubtable influences, the short insight into the subgenres of dark humour in the mentioned films reveals the specificity of the black humor in the Serbian cinematography that might be related to folk humoristic games with the motive of death.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"76 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74666267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Race is a controversial question in the Global North, especially in those environments that consider themselves to be colorblind, while in fact they are predominantly white. This seems to be particularly the case in the Nordic countries, where the concepts of equality and egality are central to the mutual feeling of identity and where the racial discourse is marked by the prohibition of racial discrimination. By reducing the category of race to something fictive, one cannot address it openly in the contemporary Nordic societies. Therefore, this paper deals with the representation of Otherness – external and internal – in the Nordic film and television. As the paper focuses on the closely related notions of Nordic whiteness and Nordic exceptionalism, it is based on the categorial apparatus of postcolonial studies. The main hypothesis is that the widely spread positive hetero image of the Nordic region as socially open, tolerant and free, is undermined by the media representation of the identity of Other, where the prejudices, racism and paternalism towards the non-white population (and especially the non-white immigration) are being disclosed. The aim of the paper is to reveal how film and television, as potential correctives of the existing stereotypes, can reflect the ever changing political, cultural and social circumstances and by that, how (and whether) this image of Otherness necessarily corresponds to the narrative of exceptionalism and whiteness of the Nordic region. Nordic exceptionalism, together with Nordic whiteness as the integral part of the broader feeling of the Nordic identity, has become a part of the common political discourse and an object of discussion within the field of popular culture, literature and film. Still, the sense of one own’s exceptionalism has become a subject of critical debate, a myth to be debunked, as the phenomena such as the escalation of ethnic violence have marked the recent years in the Nordic societies. This development of the social, cultural and political circumstances has been reflected in the contemporary Nordic media production (film and television) and continues to be analyzed. The image of the Nordics, as being inherently white and homogenous, has thus been exposed as artificial and constructed.
{"title":"The Nordic Model of Whiteness and Exceptionalism: Representation of Otherness in Some Nordic Film and Television","authors":"Ružica Radulović","doi":"10.21301/eap.v14i4.9","DOIUrl":"https://doi.org/10.21301/eap.v14i4.9","url":null,"abstract":"Race is a controversial question in the Global North, especially in those environments that consider themselves to be colorblind, while in fact they are predominantly white. This seems to be particularly the case in the Nordic countries, where the concepts of equality and egality are central to the mutual feeling of identity and where the racial discourse is marked by the prohibition of racial discrimination. By reducing the category of race to something fictive, one cannot address it openly in the contemporary Nordic societies. Therefore, this paper deals with the representation of Otherness – external and internal – in the Nordic film and television. As the paper focuses on the closely related notions of Nordic whiteness and Nordic exceptionalism, it is based on the categorial apparatus of postcolonial studies. The main hypothesis is that the widely spread positive hetero image of the Nordic region as socially open, tolerant and free, is undermined by the media representation of the identity of Other, where the prejudices, racism and paternalism towards the non-white population (and especially the non-white immigration) are being disclosed. The aim of the paper is to reveal how film and television, as potential correctives of the existing stereotypes, can reflect the ever changing political, cultural and social circumstances and by that, how (and whether) this image of Otherness necessarily corresponds to the narrative of exceptionalism and whiteness of the Nordic region. \u0000Nordic exceptionalism, together with Nordic whiteness as the integral part of the broader feeling of the Nordic identity, has become a part of the common political discourse and an object of discussion within the field of popular culture, literature and film. Still, the sense of one own’s exceptionalism has become a subject of critical debate, a myth to be debunked, as the phenomena such as the escalation of ethnic violence have marked the recent years in the Nordic societies. This development of the social, cultural and political circumstances has been reflected in the contemporary Nordic media production (film and television) and continues to be analyzed. The image of the Nordics, as being inherently white and homogenous, has thus been exposed as artificial and constructed.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82690658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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