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Ich schreibe Geschichten über Liebe und Tod, über die Existenz Gottes und über die Seele, sagt Jani Virk, der für eine Schriftstellergeneration steht, für die nicht mehr die Verteidigung einer slowenischen Minderheit und ihrer Sprache im Zentrum ihres Schreibens steht. Sie bewegen sich in der lesbischen Subkultur (Suzana Tratnik), haben Erfahrungen als Musiker in einer Punkband (Andrej Blatnik), schreiben in der Tradition der Street Poetry (Dužan ?ater) und beschreiben ein kosmopolitisches Leben, in dem der Diskurs zwischen den Geschlechtern, Liebe, Sexualität und Frauen in der Männerwelt die größte Rolle spielen.
"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
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This volume is part of The Khayra Ummah series, being itself the culmination of a sequence of colloquium of several themes organised by IKIM. The issues addressed in this series are: Islamic economics; Islamophobia; governance; moral deterioration; disruptive technology; the Islamic state and society; enviromental degradation; and the Islamic mind.
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MY NAME IS DAMIANWritten by Suzana Tratnik Damian’s world is one of family quarrels, drugs, alcohol and fights, which the nineteenyear-old uses to rebel against his family’s stereotypical expectations. Through Damian’s first-person narration, the reader gains an insight into the torn-up soul of a teenager who turns in vain to his parents, sister, girlfriend and friends for help. It reveals the loneliness of a young man who has to fight against the prejudices and prescribed gender roles that he encounters while trying to find his identity and his own path in life. Format: 14 x 20 cm174 pages | Age: 15+
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NOMINATED FOR THE KRESNIK AWARD IN 2019 (FOR THE BEST NOVEL IN SLOVENIA). THE LOONY HOUSE ON THE HILL (Norhaus na hribu) “Oh, believe me, this woman, who is still so young, did all this. She killed someone, disposed of the body and concealed it all.” This sentence in the introduction to the novel surprises us, but still does not prepare us for what follows. The main character, Ariana, whose mother disappeared when Ariana was still very little, lives in a tense, conflictive relationship with her aunt, in the remote village of Privežice. The place which, as noted by the merciless observer and commentator Ariana, appeared around the madhouse on the hill at the end of the paved road, where one of the inmates was her grandmother. What happens is not a typical love story or a typical story about getting to know oneself, although it talks precisely about this. What distinguishes this novel above all else is the lively, flowing dialogue, and the uncompromising, direct aesthetics (sometimes involving ugliness or at least uncouthness or lack of political correctness), which grabs us and takes us on a crazy adventure.
A hospitable practice needs hospitable thinking and a way of believing. If, before being a right, existing is a debt that is extinguished only by becoming hospitable people, theology is called to favour coexistence among people by overcoming even its own self-understanding, when this is an obstacle to dialogue, helping to live this great change, and learning to welcome the spiritual riches that are for all. This, to the point of making a public contribution at the service of human and spiritual growth of humanity. A research of great value for a hospitable belief, which gives a theological foundation to a new paradigm of welcome and which opens up concrete perspectives for the indispensable interreligious dialogue.
Matjaž fears losing his friends over his obsession with his ex-girlfriend. To prove that he has moved on from his relationship with her, he embarks on a comical odyssey of dates around Ljubljana, the capital of Slovenia. Each chapter is devoted to each new encounter and adventure. The women Matjaž selects are wildly different from one another, and the interactions of the characters are perspicuously and memorably observed. On his adventures, Matjaž repeatedly struggles with the apparent fact that there is “none like her” out there. Or is there? The characters’ preoccupations – brilliantly sketched through sparkling dialogue – will speak directly to Generation Y, and in Matjaž, the hero, Jela Krečič has created a well-observed crypto-misogynist of the 21st century whose behaviour she offers up for the reader’s scrutiny.None Like Her has been described as the literary equivalent of a Hollywood romantic comedy that in spite of its breezy tone touches upon social criticism, portraying the spirit of the times through the characters’ lively and often humorous discussions on the phenomena of modern society, politics, Marxism, celebrity, ecology, etc.
