Österreichisches Filmmuseum, Zeughauskino) and film critic (senses of
cinema, Sight & Sound, Ray, taz, Kolik, Filmdienst, EPD film). Recent
publications (as co-editor): Digital Formalism. Die kalkulierten Bilder des
Dziga Vertov (3/2009), Kino! No. 10: Partizanski Film (2010).
Zimmermann, Tanja, junior professor of Slavic Literatures and General
Literature at the University of Konstanz. Habilitation also in Art History.
Main fields of interests: media policy, memorycultures, literature, art and
media in 19th and 20th century in Eastern Europe
From Memoir to Fiction. Early Yugoslav
Partisan Narratives Revisited1
INTRODUCTION: MEMOIRS INTO FICTION, OR HOW TO
ESTABLISH A MEMORYCULTURE
The postwar years in socialist Yugoslavia saw the production of an enor-
mous quantity of testimonial literature devoted to the NOB (Narodnooslo-
bodilačka borba, The People’s Liberation Struggle), as the Partisan war
against the Nazi occupiers and their auxiliaries was called. Apart from the
memoirs of people with a leading function, such as the war diaries of Vla-
dimir Dedijer (Dnevnik, 1945-46) or
2017; Srbija i demokratija 1904-1913,
Tanja Zimmermann, professor of history of art with a focus on East, Central East
and South East Europe at the University of Leipzig. Research interest: memorycultures, art policy, cultural transfer between East andWest Europe, Russian Avant-
garde art, art in communism, comics. Recent publications: Der Balkan zwischen Ost
undWest. Mediale Bilder und kulturpolitische Prägungen, Wien, Köln,Weimar 2014; co-
editor: Räume der Kunst. Ausstellungspraktiken im 20. und 21. Jahrhundert, Leipzig 2017;
Ethos und Pathos
, Wien/Köln/Weimar: Böhlau
SLOVENE PARTISAN STORY | 317
of Yugoslavia. This contribution has therefore to be read in connection with
other essays of this collection in order to compare and to link the shaping of
Partisan narratives in Slovenia with the one(s) in the Yugoslav state as a
whole and in its other single parts.
SLOVENE PARTISAN NARRATIVES AND
SLOVENE INTELLECTUALS TODAY
The ‘clash’ of memorycultures that followed the dissolution of Yugoslavia
has also led to numerous discussions on the Partisan narrative in Slovenia.
These are taking
far from fortuitous: “Life only assumes the form of
the past on which a memoryculture can be built through its end, through its
irremediable discontinuity” (Assman 2011: 19, originally Assman 1992).
Jakiv represents a generalised image of the peasant culture of Western
Polissia in 20th-century Ukraine.1 This region witnessed many of Ukraine’s
key historical events. Their narration through the hero’s personal history is
a valuable contribution to Ukrainian anti- and post-colonial discourse and,
in general, to the development of political thought that “in
Runet in Kazakhstan: A Plea for a Cyberlinguistic Turn in Area Studies«.
In: Journal of Eurasian Studies Nr. 2, 172–183.
Uelmann, Dirk (2014): »The Issue of Genre in Digital Memory: What Literary
Studies Can Oer to Internet and MemoryCulture Research«. In: Digital Icons:
Studies in Russian, Eurasian and Central European New Media Nr. 12, 1–24. http:
Uffelmann.pdf (letzter Zugri 9. März 2017).
Uelmann, Dirk (2017): »Is There Any Such Thing as ‚Russophone Russophobia‘?
When Russian Speakers Speak