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1

SLAVICA NON LEGUNTUR ALBO O PEWNYM JUGOSŁOWIAŃSKIM PROJEKCIE FEMINISTYCZNYM OKRESU MIĘDZYWOJENNEGO

100%
Koch M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
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2010
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issue 2(24)
128-140
EN
The article outlines the challenges for literatures created in ‘small’ languages. The only chance for such cultures to emerge from literary obscurity is to be translated into a ‘big’ language, a lingua franca of an international influence. This phenomenon is well illustrated by the spectacular Bibliography of Books by Female Authors in Yugoslavia, published by the Federation of Women with University Education in 1936 in the Kingdom of Yugoslavia. The book, a unique and remarkable feminist project of interwar Yugoslavia, was conceived to defy the Slavica non leguntur statement (the Slavic lanquages are not read world-wide). It features the intellectual achievement of women from South-Eastern Europe. This fi rst discussion of the Bibliography, which was composed in four languages: Serbian, Slovene, Croatian and French, presents its structure, aims and premises in a wider feminist context of interwar Yugoslavia.
2
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Ikony serbskiego romantyzmu jako bohaterowie współczesnej literatury popularnej

100%
Koch M.
Poznańskie Studia Slawistyczne
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2011
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issue 1
EN
The  paper  discusses  the  presence  of  two  icons  of  Serbian  romanticism  in contemporary culture. The male icon, Petar Petrovic Njegos (1813–1851), and the female one, Milica Stojadinovic Srpkinja (1828–1878), are presented. The main claim of the paper is that after the demise of socialist Yugoslavia in the 1990s, when a new national identity reemerged, few women writers introduced the central figures of romanticism as main characters in their prose works in order to take part in feminist and national discourse. This tendency is illustrated with Milica Micic Dimovska’s novel Last Fascinations of MSS (1996) and Ljubica Arsic’s short story The Other One Who Waits in the Dark Night (1998). However, in the first decade of 21st century, these icons of romanticism also became heroes of popular literature. The case of Isidora Bjelica and her two prose works Secret Life of P. P. Njegos (2007) and The Serbian Woman (2009) illustrates this point.
3
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Teorie i praktyki genderowe w słowiańskich tekstach kultury. Innowacje – Inspiracje – Interpretacje

100%
Koch M.
Poznańskie Studia Slawistyczne
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2016
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issue 11
13-22
4
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Modernizm jako polisystem w ujęciu globalnym i genderowym

100%
Koch M.
Poznańskie Studia Slawistyczne
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2016
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issue 11
343-349
PL
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5
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Kobiece narracje o Wielkiej Wojnie w serbskiej literaturze popularnej okresu międzywojennego (casus Мilicy Jakovljević – Мir Jаm)

100%
Koch M.
Porównania
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2015
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vol. 16
103-124
EN
The aim of this paper is to present women’s personal narratives which offer an alternative picture of the First World War in Serbian literature. Literary historians have not focused on this problem so far, whereas it would greatly enrich the literary representation of the Great War to add female perception and illustrate this historical cataclysm with women’s everyday war experience. The literary material analyzed here is the work by Milica Jakovljević (better known under the pseudonym Mir Jam), the author of popular literature in the interwar period. This paper contains an analysis of her three works, each belonging to a different genre: the drama Tamo daleko (‘There, Far Away’), the novel U slovenačkim gorama (‘In Slovenian Mountains’) and the autobiography Izdanci Šumadije (‘Offsprings of Šumadija’). The key categories applied in the discussion of Milica Jakovljević’s work are: women’s literature (women’s thematic and narrative perspective, women’s authorship and female recipient), popular literature/culture, microhistory and cultural memory.
PL
Przedmiotem ba-dania w artykule są osobiste, alternatywne narracje kobiece o pierwszej wojnie światowej w literaturze serbskiej. Dotychczas historycy literatury nie zwrócili na nie uwagi, tymczasem wzbogacają one literackie reprezentacje o Wielkiej Wojnie, pokazując kobiecą percepcję i ilustru-jąc kataklizm ich doświadczeniem wojennej codzienności. Materiałem do analizy jest twórczość Milicy Jakovljević, piszącej pod pseudonimem literackim Mir Jam, autorki literatury popularnej w okresie międzywojennym. Analizie interpretacyjnej zostały poddane trzy gatunkowo odmienne teksty: dramat Tamo daleko (‘Tam daleko’), powieść U slovenačkim gorama (‘W górach Słowenii’) oraz autobiografia Izdanci Šumadije (‘Dzieci Szumadii’). Kluczowymi kategoriami, przez których pryzmat zostały utrwalone obrazy wojny, są u Milicy Jakovljević kategoria litera-tury kobiecej (kobieca perspektywa tematyczna i narracyjna, kobiece autorstwo i kobiecy od-biorca), kategoria literatury popularnej, a także kategoria mikrohistorii i pamięci kulturowej.
6
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Svetlana Slapšak’s Feminist Essay: A Polygraph of Contemporary Culture

100%
Koch M.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
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issue 8
93-111
EN
The article discusses the problem of the theory and practice of contemporary Serbian feminist essay. The text indicates how – at the turn of the 21st century – the essay participated in the reading of the nationalist culture of fear during the breakup of Yugoslavia, how it became the tool for creating an analytical and methodological platform and a means of quick anthropological and cultural diagnoses, as well as a form of transfer of social or philosophical notions. This new strategy of the essay was illustrated through the examples of books by Svetlana Slapšak, a leading figure of the (sub)genre in the Serbian culture, a professor of cultural anthropology, classical philologist, and feminist critic: Mala crna haljina. Eseji o antropologiji i feminizmu (1993/2007, Little Black Dress. Essays on Anthropology and Feminism), Ženske ikone XX veka (2001, Female Icons of the 20th Century), Ženske ikone antičkog sveta (2006, Female Icons of the Antiquity), Antička miturgija: žene (2013, Antique Mythurgy: Women). It becomes clear that one of the trends of the contemporary essay in the Serbian and post-Yugoslav cultures is the application of the genre in the spirit of modern engaged humanities and textual intervention.
7

Re-wizje Europy we współczesnym dramacie chorwackim (Europa — Monolog dla Matki Courage i jej dzieci Ivany Sajko)

63%
Abrasowicz G., Koch M.
Miscellanea Posttotalitariana Wratislaviensia
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2014
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vol. 2: Postkolonializm — tożsamość — gender. Europa Środkowa, Wschodnia i Południowo-Wschodnia
249 - 266
EN
The complex figure of great mother of the nation in the play Europe — Monologue for Mother Courage and her Children (2004) by the famous Croatian artist Ivana Sajko offers a new perspective on the issue of contemporary gender role distribution, power relations and postcolonial discourse. The monologue presents the woman’s point of view on the connections between gender, culture and neo-colonialism. Europe is the main character in the play. Taking as a reference the mythical story about the princess and the white bull, Brecht’s Mother Courage, a fantasy of the Mother goddess, Sajko adds various political implications of Europe. Through this trope Sajko analyses the issue of unusual motherhood and the construction of “motherland” with its social and cultural phenomena.
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