Slavenka Drakulić

U ovome radu, analizirane su žene u pojedinim romanima hrvatske suvremene spisateljice Slavenke Drakulić. Rad je koncipiran od kratkog prikaza povijesti feminizma u svjetskoj i hrvatskoj književnosti, a ukratko su predstavljene i neke od najpoznatijih i najznačajnijih europskih, svjetskih i hrvatskih feministica. Također, jedno je poglavlje posvećeno i feminističkoj kritici, te su podrobno opisane i značajke pripovjednog teksta pomoću kojih su romani i analizirani. Najviše pažnje posvetilo se upravo feminizmu i njegovim tendencijama iz perspektive različitih ženskih, ali i muških autora. Rad također sadrži afirmativne i negacijske teze ovog političkog pokreta s čestim retoričkim pitanjem je li feminizam na strani žena ili protiv njih. Kroz analizirane romane, prate se odnosi između majki koje se nalaze u tradicionalnim okvirima i kćeri koje žele biti oslobođene društveno nametnuh normi. Ipak ono čime se Slavenka Drakulić bavi jest nasilje koje se nad tijelom vrši različitim sredstvi...

Der Bosnienkrieg (1992-1995) gilt als ein Krieg, bei dem die Vergewaltigungen der Frauen als eine politische Strategie eingesetzt wurden. Damit ordnet sich dieser Krieg in die Reihe der Konflikte ein, bei denen die körperliche und seelische Erniedrigung und die Gewalt an Frauen systematisch betrieben wurden. Nach dem Krieg entstand, namentlich aus der Feder- und Kameraführung von literarischen und Film-Autorinnen, eine Reihe von Werken, die sich mit eben dieser Thematik beschäftigt. Im Zentrum dieses Aufsatzes stehen deshalb die exemplarischen Auseinandersetzungen mit dem Tatbestand der systematischen Vergewaltigungen und ihrer Verarbeitungen in den literarischen Werken (Roman Kao da me nema von Slavenka Drakulić aus dem Jahr 1999) und in dem Spielfilmen (GRBAVICA/ESMAS GEHEIMNIS – GRBAVICA (2006) von Jasmila Žbanić). Diese Werke fungieren als Formen des „Umgangs mit Geschehenem“ in der neueren südslawischen Kulturgeschichte.

Der Bosnienkrieg (1992-1995) gilt als ein Krieg, bei dem die Vergewaltigungen der Frauen als eine politische Strategie eingesetzt wurden. Damit ordnet sich dieser Krieg in die Reihe der Konflikte ein, bei denen die körperliche und seelische Erniedrigung und die Gewalt an Frauen systematisch betrieben wurden. Nach dem Krieg entstand, namentlich aus der Feder- und Kameraführung von literarischen und Film-Autorinnen, eine Reihe von Werken, die sich mit eben dieser Thematik beschäftigt. Im Zentrum dieses Aufsatzes stehen deshalb die exemplarischen Auseinandersetzungen mit dem Tatbestand der systematischen Vergewaltigungen und ihrer Verarbeitungen in den literarischen Werken (Roman Kao da me nema von Slavenka Drakulić aus dem Jahr 1999) und in den Spielfilmen (GRBAVICA/ESMAS GEHEIMNIS – GRBAVICA (2006) von Jasmila Žbanić). Diese Werke fungieren als Formen des „Umgangs mit Geschehenem“ in der neueren südslawischen Kulturgeschichte.

In 1915, six months into the bogged-down horror which was the First World War, Sigmund Freud reflected on the world that had been lost. Before the war, Europe belonged to all of us, he recalled, and its achievements were our shared heritage. We read all the great philosophers and poets and admired all artists regardless of their nationality. None of them were alien to us just because they spoke a different language. And we went to live abroad too, without regard for borders. There was no need to chose between the gray waters of the Baltic or the blue waters of the Mediterranean, between the snow clad Alps or the green river valleys, since all of it belonged to all of us.

And then all hell broke lose, and the war which engulfed Europe was far bloodier and more destructive than anything previously experienced. The war, said Freud, has " brought to light the barely conceivable phenomenon of civilized nations knowing and understanding each other so little that one can turn from the other with hate and loathing. " The European of only a few months ago now " finds himself helpless in a world that has grown strange to him when he sees his great fatherland disintegrated, the possessions common to mankind destroyed, and his fellow citizens divided and debased. "

In 1938, after Hitler and the Anschluss, Freud too was forced to take sides. Friends with connections in high places whisked him off to Britain in the nick of time.

At its most fundamental level, a nation is simply a substantial group of people who share and acknowledge some cultural trait that binds them together meaningfully. Claims of nationhood can result from shared history, shared language, shared beliefs, shared location, or some combination of these and other factors. The selection of contemporary novels and films we will read this selection will survey not only the positive value of such communal impulses but also the darker aspects of nationhood, in particular the difficulty of peacefully integrating competing nation-based identities into meaningfully pluralistic societies.

One of the most prominent critical discourses of recent decades involves examining how and why particular groups define themselves, not only through positive self-identifications but also (and perhaps more importantly) through exclusionary negative definitions. Whether considered in terms of nationality, ethnicity, gender, sexuality, race, religion, social class, or a host of other contexts, the ways in which human communities define who is “in” and who is “out” has a profound effect on nearly every aspect of life. During this course, we will look at eight novels and four films that depict and comment upon some of the various processes by which intra- and intercultural relationships become defined by a process of determining what is “normal” and what is “abnormal,” “freakish,” or “the other” with an eye towards understanding how and why such constructions arise and are maintained.

This is a story about gradual deterioration of children and women in warfare, about dehumanization and losing souls, about destroying lives. On the other hand, it is also a story about everlasting hope that love concurs all and that you can never break a spirit that was meant to rise above and survive. People should understand that there is no point in seeking revenge and continuing the circle of evil. The only way to put a stop to misery is forgiving and moving on. End all wars on Earth.