Academic literature on the topic 'Slavenka Drakulić'

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Journal articles on the topic "Slavenka Drakulić"

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Todesco, Serena. "Maternal Troubling Bodies in Slavenka Drakulić and Elena Ferrante." MLN 136, no. 1 (2021): 164–85. http://dx.doi.org/10.1353/mln.2021.0009.

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Ahmetagić, Jasmina. "The case study by Slavenka Drakulić: Whose victim is Mileva Einstein?" Зборник радова Филозофског факултета у Приштини 50, no. 4 (2020): 3–17. http://dx.doi.org/10.5937/zrffp50-29483.

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By embedding the "theory of sadness" phrase in the novel's title (Mileva Einstein, a theory of sadness), Slavenka Drakulić suggests that she sees her heroine's life as a paradigm of melancholy and depression. By diving into the psychology of a woman who has been portrayed during the two decades as wilingless and gloomy, always lacking the sense of self-fulfillment, the author is trying to reveal the key drivers which are responsible for Mileva's humiliating life circumstances-non-assertiveness, suppression, adjustment, feeling of inferiority, inability to tolerate separation and addiction, as well as a tendency to deny the facts. The protagonist illuminates her own feelings of inferiority due to her birth physical defects which pushed her into the science. She compensates her low self-esteem by school achievements and by nurturing the love relationship towards the symbiosis and removal of self-boundaries. Therefore, the love loss is a personal impoverishment and an identity issue. The novel is told by the omniscient narrator influenced by the influx of Mileva's stream of consciousness (still unreliable, since it is a testimony of "melancholy effect" and distortion of reality). The heroine faces the deepest truth about herself and at the same time turns away from it. Intertwined contradictions and ambivalences are revealing that the main cause of Mileva's tragedy is her pathological sadness. Using the psychoanalytical repertoire of object relations, we point out that, following the loss of the object, the heroine transferred her libido to herself and became self-obsessed in a destructive manner. By suggesting to the reader why Mileva Marić Einstein's response to the circumstances was depression (amidst all other psychological possibilities), Slavenka Drakulić's work is breaking the journalistic boundaries and emerges as a psychological novel.
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Marin, Noemi. "Slavenka Drakulić: Dissidence and Rhetorical Voice in Postcommunist Eastern Europe." East European Politics & Societies 15, no. 3 (September 1, 2001): 678–97. http://dx.doi.org/10.1177/088832501766276317.

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Marin, Noemi. "Slavenka Drakulić: Dissidence and Rhetorical Voice in Postcommunist Eastern Europe." East European Politics and Societies: and Cultures 15, no. 3 (September 2001): 678–97. http://dx.doi.org/10.1177/0888325401015003008.

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Sabljić, Jakov, and Tina Varga Oswald. "Genre differentiation in A guided Tour through the Museum of Communismby Slavenka Drakulić." Journal of Education Culture and Society 4, no. 1 (January 12, 2020): 243–56. http://dx.doi.org/10.15503/jecs20131.243.256.

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On the 20th anniversary of the fall of the Berlin Wall, a Croatian novelist Slavenka Dra-kulić simultaneously in several countries published a collection of essays titled A Guided Tour through the Museum of Communism.The collection consists of eight stories narrated by ani-mals: a mole, a mouse, a dog, a cat, a raven, a parrot, a pig and a bear. The animals talk about neuralgic issues of Communism in former Eastern European countries (Eastern Germany, Czechoslovakia, Poland, Rumania, Albania, Yugoslavia, Hungary and Bulgaria). The genre differentiation is based on determining postmodern variations of basic genre conventions in the process of creating a piece of literature. Fable variations are determined by analyzing the relationship between a fable and other genre forms, such as, an essay, a novella, a legend, a myth. Next to genre differentiation of a literary structure, one can also observe the differen-tiation of its role that has been conditioned by today’s cultural memory. In that manner, my-thologized persons, objects and features of Communism are analyzed as universal symbols of a message, as well as elements of a satiric play. This paper will determine in which ways the above mentioned variations enrich the existent genre forms.
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Berber, Neval. "Writing the Rape in Post-Conflict Societies of the 1990s: John M. Coetzee and Slavenka Drakulić." Critique: Studies in Contemporary Fiction 59, no. 1 (August 4, 2017): 103–14. http://dx.doi.org/10.1080/00111619.2017.1354811.

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Bahun, Sanja. "There Was Once A Country An impossible chronotope in the writings of Slavenka Drakulić and Dubravka Ugrešić." European Journal of English Studies 14, no. 1 (April 2010): 63–74. http://dx.doi.org/10.1080/13825571003588486.

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Sambunjak, Slavomir. "Stokerov "Drakula" i Boškovićev putopis." Croatica et Slavica Iadertina, no. 4 (January 18, 2017): 309. http://dx.doi.org/10.15291/csi.610.

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U članku se uspoređuju prikazi slavenskih naroda i prostora iz Stokerova romana Drakula i iz Dnevnika putovanja iz Carigrada u Poljsku Ruđera Boškovića. Usporedba je metodološki opravdana stoga što su opisi nekih prostora (Bukovine, Moldavije, Transilvanije, Dobruđe i dr.) zajednički i romanu i Dnevniku pa su i razni Slaveni i vidovi njihova života prikazani u obama djelima. No na tome se u članku ne ostaje, već se pretpostavlja da je građu za svoj roman taj irski pisac fantastike mogao uzimati, ne samo iz beletrističke i iz znanstvene, etnološke, povijesne i slične literature, već i iz putopisa po balkanskim zemljama, po Karpatima itd. Točnije, pretpostavlja se da Bram Stoker jest poznavao Boškovićev putopis i koristio se nekim podatcima iz njega. Tu pretpostavku omogućuju sljedeća polazišta: 1) Stoker je opis Drakulina lika preuzeo od jednoga hrvatskog pisca, biskupa Nikole Modruškoga. 2) Stokerovo je pripovijedanje o putu prema Drakulinu zamku moglo biti u stanovitu odnosu s romanom Srce tame engleskoga pisca slavenskoga porijekla, Josepha Conrada. 3) I Bošković i Conrad djelovali su u Londonu kao i Stoker. 4) Vlad Ţepeş Drakulea vojevao je po Bosni zajedno s hrvatskim članovima Reda Zmaja. 5) Vampir je mitski lik i termin, vjeruje se, slavenskoga porijekla. 6) Vlad Ţepeş Draculea bio je u raznovrsnim odnosima sa slavenskim jezicima i kulturama, što Bram Stoker zna.
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Despalatović, Elinor Murray. "Sterben in Kroatien: Vom Krieg mitten in Europa. By Slavenka Drakulić. Trans. Ulrike Bischoff and Katherina Wolf-Grieβhaber. Hamburg: Rowohlt, 1992. 155 pp. DM 9.90, paper." Slavic Review 53, no. 3 (1994): 927–28. http://dx.doi.org/10.2307/2501582.

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Drezgic, Rada, and Dubravka Zarkov. "Feminist troubles with the Balkans." Sociologija 47, no. 4 (2005): 289–306. http://dx.doi.org/10.2298/soc0504289d.

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The paper analyses writings of Slavenka Drakulic and certain number of other feminist writers from ex-Yugoslavia aiming to answer to the following questions: first, how much and in what way the discourses on ex-Yugoslavia Balkans, (post)socialism, nationalism and war have been produced by local feminists and/or imported from the West; second, have these discourses been overlapping with local feminist discourses about masculinity and femininity and how.
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Dissertations / Theses on the topic "Slavenka Drakulić"

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Vasiljevičová, Dajana. "Proměna obrazu ženy v chorvatské próze od realismu dodnes." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324426.

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The thesis deals with the picture of woman in the Croatian prose and its transformations from realism to present times. The main aim of the thesis is to map out characteristics of the female subject primarily within discourses of feminist critique in the context of social aspects of the Croatian milieu. Thesis focuses on analysis of female characters that firstly embodies the social hierarchy, secondly represents the mythological concept of femininity and thirdly works towards confrontation of feminine identity with the patriachal phallogocentric discourse. It also focuses on the analysis of femininity, sensibility and sexuality. The main part of the thesis comprises the analyses of nine selected texts written by Croatian authors, namely Goldsmith's gold by August Šenoa, In the Registrar's Office by Antun Kovačić, Diary by Dragojla Jarnević, Melita by J. E. Tomić, The Last of the Stipančićs by Vjenceslav Novak, The Return of Philip Latinowicz by Miroslav Krleža, Marina; or, About Biography by Irena Vrkljan, Divine Hunger by Slavenka Drakulić and Ministry of Pain by Dubravka Ugrešić. The thesis shows the transformation of female characters by the influence of intellectual concepts and specific cultural situation in patriarchal society. Texts are chosen for typological diversity, which aims to cover...
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Books on the topic "Slavenka Drakulić"

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Drakulić, Slavenka. Balkan Express: Fragments from the other side of war. London: Hutchinson, 1993.

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Drakulić, Slavenka. The Balkan express: Fragments from the other side of war. New York: W.W. Norton & Co., 1993.

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Iaia, Caputo, and Lepri Laura, eds. Conversazioni di fine secolo: [12 interviste con 12 scrittrici contemporanee : Anita Desai, Banana Yoshimoto, Slavenka Drakulic, Renate Siebert, Pieke Biermann, Miriam Laurini, Fabrizia Ramondino, Luce D'Eramo, Kaye Gibbons, Gioconda Belli, Sahar Khalifa, Clara Sereni. Milano: Tartaruga, 1995.

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Book chapters on the topic "Slavenka Drakulić"

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Flaake, Karin. "Adoleszentes Begehren zwischen homo- und heterosexueller Leidenschaft: Die Sehnsucht nach dem Körper der Mutter und die Verführung durch den Mann in Slavenka Drakulic´ Roman »Marmorhaut«." In Körper, Sexualität und Geschlecht, 131–35. Psychosozial-Verlag, 2011. http://dx.doi.org/10.30820/9783837969917-131.

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