Abstract: Click to increase image sizeClick to decrease image size Notes1 Most of the data for this research has been gathered in the UK. However, successful ex-Yugoslav writers experience a similar reception across the anglophone world, which is why I use UK and anglophone readership interchangeably.2 See CitationBourdieu's study of the literary field which, he argues, consists of actors such as publishers, reviewers, editors etc who jointly create the symbolic value of a work of art.3 Dubravka Ugrešić is also among the most acclaimed ex-Yugoslav authors. However, her life and work have been extensively written about (including an interview in this journal), and this is why I choose to focus on authors who have received less analytical focus.4 See CitationAmit and Rapport's discussion on the dangers of assuming a simple relationship between imagined categorical identity and social groups, which cannot itself tell us which categories will be drawn on for the mobilisation of social relations and/or resources.5 The genre of testimony and its specific poetic and moral expectations have been studied by many scholars from different disciplines, including anthropologists such as CitationFassin and CitationSkultans and critical and literary theorists such as CitationBerlant and CitationFelman.6 The term Balkan is often used by literary editors and reviewers to refer to writers from ex-Yugoslavia. Ugrešić was, for example, dubbed a ‘Balkan warrior’ in Maya CitationJaggi's article in The Guardian. Authors also often identify themselves as Balkan in order to tap into the symbolic system of the ‘exotic’, which might help them get translated.
Publication Year: 2014
Publication Date: 2014-04-03
Language: en
Type: article
Indexed In: ['crossref']
Access and Citation
Cited By Count: 4
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