Dissertationsprojekte (Betreuerin Univ.-Prof. Dr. Miranda Jakiša)
6. DANIJEL KATIć: Jugoslawische Partisan:innen zwischen Populärkultur & Diskursiver Normaushandlung (2023-laufend)
Die Arbeit hat den jugoslawischen Partisan:innenfilm der späten 1960er und frühen 1970er Jahre als Gegenstand der Untersuchung. Exemplarisch bilden hierfür die Filme „Die
Schlacht an der Neretva“ (1969), „Die fünfte Offensive – Kesselschlacht an der Sutjeska“ (1973) und „Einer ist Sarajevo“ (1972) das Korpus. Untersucht wird, inwiefern diese Filmtexte bzgl. Bild- und Formsprache transnationalen Aushandlungsprozessen unterlagen und wie diese Einschreibung wiederum zur Adressierung transnationaler Öffentlichkeit beigetragen hat. Die analytische Betrachtung fokussiert den Zeitraum 1969-1973; die transnationale Einflussnahme wird bereits ab 1946/1947 konstatiert und, als Referenz fungierend, in die Analyse integriert. Neben filmischen Texten werden außerfilmische Elemente wie Filmkritiken, Filmartikel, Filmplakate sowie gegenwärtige Phänomene der Distribution (DVD- und Blu-Ray- Veröffentlichungen) eingebunden.
Externe Betreuung im Rahmen des Graduiertenkollegs “Literatur und Öffentlichkeit”
5. ALVIR OLJA: Liberation Afoot: Movement(s) in Early Partisan Film (2022-LAUFEND)
Early Yugoslav Partisan Film (1947-1962) is inundated with numerous functions: Its mythologization of partisan struggle not only lays the foundations for the newly erected socialist project. Its staging of ground adhesion and collective mobility is also an effort in (re-)creating the place of Yugoslavia and the Yugoslavs as citizens of the new state – an effort in topography and ethno-demographic consolidation (Jakiša 2011).
During the development of early Yugoslav Partisan cinema, one can trace the emergence of several motives related to the fashioning of Yugoslav space – and space-time – via collective movement. These depictions of ordered and disordered movement correspond to what Deleuze and Guattari have deemed heterogenous and homogenous movement. The liberation struggle thus seemingly becomes a struggle between smooth and striated space, between the war machine and the oppressive state. (Deleuze/Guattari 1980) But there is also a certain tension between order and disorder when partisans, a smooth force of heterogenous movement, succeed in their revolutionary endeavours: Do they abandon their insurgent smoothness and become a striating force of the state? The films of the early period of Yugoslav Partisan Cinema, through their representations of different forms of movement, certainly demonstrate simultaneously a wish for a turn to unambiguity as well as early conceptualizations of non-alignment in its broadest sense.
This thesis argues that Yugoslav Partisan Film, for example through the growing emphasis of single-file march and perpetual collective movement that is strictly by foot, increasingly marries these principles, putting an explicit changeability and principled uncertainty at the core of the Yugoslav Socialist project.
This type of unsettled, mobile and mutable self-understanding is closely linked to conceptualizations of time. Watching these films through the lens of Mikhail Bakhtins concept of the chronotopos (1975), the argument becomes that imaginations of the conventional flow of time post axis invasion being over, broken (up) or out-of-sync are crucial to the development of Partisan and Yugoslav self-understanding. This reveals how Yugoslav self-fashioning is based on “revolutionary temporality” (Kirn 2020), localizing this socialist project as neither here nor there, but rather always on the move; correlating Partisanship and Yugoslavism via an openness to constant negotiability. (Jakiša 2012)
4. TIJANA KOPRIVICA: Textual and Visual in Serbian Avant-garde Literature (2021-Laufend)
The title of Tijana Koprivica’s doctoral research in the narrow scientific field of Serbian Literature is Textual and Visual in Serbian Avant-garde Literature. The main issue that will be addressed in this research is the status of the visual elements in the works of Serbian avant-garde literature, due to Avant-garde’s distinctive intermedia and multimedia character. By identifying and typologyzing works that, in addition to the text, contain visual elements as media of communication with the audience, a representative corpus will be singled out as a source for examining this problem. In the course of the research, the intention is to find, describe, analyze and interpret all those works that contain components of the visual and which, along with the traditional reading experience, at the same time require observational approach. Finally, the aim of this research will be to present the consequences of including visual elements in the work and also to show the effects of excluding these elements from some of the works in their different editions, as well as to present the impact of such practices on the reception of the avant-garde works in the tradition of interpretation. Taking into consideration the above, the doctoral thesis intend to show what the key features of the intermedia achievements of the Serbian literary Avant-garde are, what their mutual relations and influences are like, and to put them in the comparative context of the intermedia works of the European Avant-garde.
abgeschlossene Dissertationsprojekte (Betreuerin Miranda Jakiša)
3. Aleksandar Ranković: Transformation at the Margins. (Anti-)Militarism and Sexuality in late Yugoslavia (Betreuung gemeinsam mit Claudia Kraft, 2021-2024)
https://zeitgeschichte.univie.ac.at/ueber-uns/gastforscherinnen-und-fellows/aleksandar-rankovic/
2. Adrian Pelc: Aspects of the Archaic in the Yugoslav Cinema of the 1960s (2020-2023)
This dissertation deals with the archaic as it appears on the 1960s Yugoslav screen. The archaic is understood as a set of motifs and discourses which stand in opposition to modernity, while discreetly granting grand teleological narratives their identity at the same time. It is my claim that the archaic acquires three distinct figures through this interplay with representations of progress: it can appear as a) backwardness or a flaw within modernity, b) a source of preserved, raw, vital strength and c) that which takes on itself the meaning of non-meaning (“desymbolization” in the vocabulary of the philosopher Radomir Konstantinović) through symbolizing a pre-discursive, precultural state.
These three figures of the archaic communicate intensely with the Yugoslav cultural context of the 1960s. Although it might seem that a predominantly Marxist ideology can only enter a negative relationship with the archaic, this is not the case: through a system of revolutionary “anticipations”, the archaic in its guise of essential vitality forms the backbone of phenomena as diverse as Krleža’s writings on cultural politics or Trajče Popov’s epic movie Makedonska krvava svadba (1967). This process of self-fashioning through the positive archaic can, however, always be reverted through a chiasmic movement which re-evaluates the “good” archaic as the bad, backwards archaic and thus creates representations which strongly communicate with a discourse of Balkanism. The dissertation’s first block of case studies analyses this chiasmic movement with relation to films by Zdravko Randić, Trajče Popov, Antun Vrdoljak, Aleksandar Petrović, Dragoslav Lazić and Mića Popović.
At the border of this symbolic struggle over the archaic stands its third figure, which – through it contesting the very possibility of meaning-production – attempts at exposing the violence inherent in the acquisition of symbolic capital through praise of vitality or critique of backwardness. This last figure is studied in relation to films by Dušan Makavejev, Miša Radivojević and Želimir Žilnik. It is my claim that the game of the archaic forms an essential part of the Yugoslav cinematic culture of the 1960s and that its dynamics could be of relevance for any surrounding where a political as well as artistic movement which whishes to present itself as avant-garde appears in a context contaminated by a discourse appointing it a time-lag.
- Uroš Ristanović: The Motif of the Cosmic Journey in Serbian Poetry (2020-2023)
The dissertation The Motif of the Cosmic Journey in Serbian Poetry focuses on Serbian poetry featuring the motif of extraterrestrial, cosmic journeys. Besides serving to present the authors’ visions of the cosmos, the poems featuring this motif also function as a means of displaying, challenging, justifying or exploring various religious, metapoetic and subjective beliefs and paradigms. As such, these poems form the central line in the cosmic tradition of Serbian poetry, which is to this day one of the most underrated and neglected poetic traditions of Serbian literature.
The exploration of the poems with the motif of the cosmic journey centres around two main questions: first, what are the peculiarities of the motif of the cosmic journey on the structural and semantic level, and second, what functions does this motif assume in particular renderings in Serbian poetry? To answer these questions, it is necessary to tackle several others, such as: where does this motif come from, how does it fit into the broader cosmic tradition of world literature and Serbian literature, what influences can be seen in the works of poetry with the motif of the cosmic journey, what concepts are inscribed in the poetic visions of the cosmos, etc.
Conducting this research requires close reading of a selected corpus of texts comprising poetic works of Serbian literature from the beginning of the 19th century to the present day. The authors whose works will be the focus of interpretation are Sima Milutinović Sarajlija (1791–1847), Petar Petrović Njegoš (1813–1851), Branko Radičević (1824–1853), Laza Kostić (1841–1910), Stanislav Vinaver (1891–1955), Vasko Popa (1922–1991), Miroljub Todorović (b. 1940), and Goran Korunović (b. 1978).