![\"Goran](\"http:\/\/prosefest.rs\/wp-content\/uploads\/Goran-Goci\u0107.jpg\")
<\/a><\/p>\nGoran Goci\u0107 (1962, U\u017eice) is a journalist, editor, filmmaker, translator and a writer whose works have been published or broadcasted by thirty media houses in eleven languages\u200b\u200b, including dailies Borba, Politika<\/i> and Dnevni telegraf<\/i>; TV stations RTS and Channel 4; the film magazine Ekran<\/i>, Sight & Sound<\/i> and the International Film Guide<\/i>. During the war for Yugoslav heritage he had more than thirty appearances on global television stations (BBC World, News 24, etc.) as a political commentator, but he specialises in cultural mattersabout which hehas been publishing articles continuously since 1987.<\/p>\n
Goci\u0107 graduated in English Language and Literature (Faculty of Philology in Belgrade, 1991), and received his MA in Media and Communications (London School of Economics and Political Science, 1999). He has written essays for about fifteen compendiums on the mass media (such as Power Degraded<\/i>: The Media and the Kosovo Crisis<\/i>, 2000; and Entertainment or Art<\/i>: Concerns about Original Film<\/i>, 2008). He has also prepared several among them, for example the latter.<\/p>\n
He has published the books: Endi Vorhol i strategije popa <\/i><\/b>(Andy Warhol and the Strategies of Pop,<\/i> study, 1997\/2012), Emir Kusturica: Kult margine<\/i><\/b>(The Cult of the Margin<\/i>, study in English, 2001, translated into Serbian, 2006, translated into Chinese, 2012), \u017delimir \u017dilnik: Iznad crvene pra\u0161ine<\/i><\/b>(Above the Red Dust,<\/i> study, 2003, co-authored + English translation), Tai<\/i><\/b> (Thai, novel, 2013\/2014).<\/p>\n
Documentary feature films: Prokleti stranci <\/i><\/b>(Bloody Foreigners,<\/i>reporter\/camera, 2000), Blakanski dnevnik: Bugarska <\/i><\/b>(The Balkan Diary: Bulgaria,<\/i>screenwriter\/director, 2010).<\/p>\n
He has received two Borba Awards<\/i>for essay on society (1996 and 1997), the \u201cDu\u0161an Stojanovi\u0107<\/i>\u201d Award for publication in the field of film studies (2002\/2003), the \u201cMilo\u0161 Crnjanski<\/i>\u201dAward (2011 \/ 2013), and the NIN Award for novel of the year (2014).<\/p>\n
<\/p>\n
<\/p>\n
Goran Goci\u0107 won the NIN Award for his novel Tai<\/i><\/b> in 2013.<\/p>\n
The book that is defined by its topos: Thailand. Love and Thailand. Woman, sensuality, demystification of the main character. Analysis of the Far East in relation to the (Far) West.<\/p>\n
If it were not a novel, this would be a \u201cfeasibility study\u201d on how a self-conscious man could or rather – want to protect a woman (as a Christian). A project doomed to failure under the given circumstances: not because it is not achievable, but because it is not needed. This seemingly frail woman by her very \u201cpassive\u201d existence, presence, (Buddhist) refusal in acceptance, will contribute to a self-subsidence of the seemingly macho man from the beginning of the book, who will, in an amazingly honest self-analysis, turn into a vulnerable being. So vulnerable that he will need the help of St. Christopher, patron of travellers.<\/p>\n
The structure of the novel is built in way both simple and complicated. The result is very useful for the book: the weight outweighs into comprehensibility, just like the other character of the book, the hero’s shadow, complement, contrast or even alter-ego, ideally complements this guest in another culture. Equally, the Notes at the end of the text upgrade the fiction, that is, fine art.<\/p>\n
Tai<\/i><\/b> is a lesson for the egotistical Westerner on how to cure his arrogant ego by Easterners\u2019 suppleness. No, there are no winners. Maybe just the defeated. But then too – \u201chealed\u201d by the Empire of Emptiness.<\/p>\n
And she is female.<\/p>\n
<\/p>\n
Vladislav Bajac<\/i><\/p>\n
<\/p>\n
Although told mostly from a narrative perspective (the main character is the narrator as well), in terms of genre, Tai<\/i><\/b> is a polyphonic and multi-dimensional novel. Essentially a love story – \u013eamourfou<\/i> between a middle-aged intellectual, a tourists from Serbia, and a Thai prostitute employed in a strip club in Bangkok \u2013 it is constantly intertwined and pervaded with motifs of travel, sometimes adventure literature, as well as the semantic key essayistic reflections, and the theoretical discourse and journalistic omniscience (which can often be read in a parodic key). In this case the love romance cannot be separated from the novel-essay and the novel-travel journal, and this is probably the most obvious, the primary value of Goci\u0107\u2019s book. The main conceptual thread that unites genre and linguistically so diverse segments of the novel, finds its inspiration in the well-known introspective twist of Montaigne\u2019s Essays<\/i>. In a contemporary context, in which Tai<\/i><\/b> sets the thought of the Renaissance philosopher, that would practically mean: in the very process of writing ruthlessly re-examining oneself, the whole complex of one\u2019s own prejudices, self-deceptions and \u201cnecessary illusions\u201d, the entire load of existential lies of a westerner and a man from the Balkans in particular, in a concrete, sensual and emotional encounter with a Buddhist, matriarchal culture of the Far East.<\/p>\n
<\/p>\n
Sr\u0111an Vu\u010dini\u0107<\/i><\/p>\n
<\/p>\n
Goran Goci\u0107, the hero of the same name of the confessional novel Tai<\/i><\/b> by Goran Goci\u0107, is a Serbian writer with an identity crisis. A freshly divorced man. You could say an almost stereotypical example of a disappointed middle-aged intellectual who seeks any kind of sense, which quickly eludes him on all levels. The search for meaning initiated by life disappointments of all kinds results in a desire for an adventure that takes the hero of the novel to Thailand. A friend of the hero – a cynical and brutally realistic, on-line guide to the secrets of Thai love cuisine, with views that are often on the verge of racism \u2013 is present in the novel by means of e-mail correspondence, and communicates with the hero of the story from the address with the sender field which reads: mas (master@gmail.com ), could actually be Goci\u0107\u2019s alter-ego. More precisely, a devil\u2019s advocate of his own convictions and prejudices from the time preceding the experience of his intellectual and emotional transformation. The presence of the heroine of the story is unobtrusive and largely mediated by the correspondence and dialogues between the male heroes, and by re-examinations of the writer given in the form of a monologue. What begins as a classic trafficking, or more precisely, sex tourism and an attempt to embody the desire for an unusual erotic adventure guided by the impulse of a Western man to consume something new and unusual – in the case of Goci\u0107\u2019s hero, gets a seemingly surprising turn. Prone to introspection, something that he has been prone to as a writer as well, Goci\u0107\u2019s character gradually reveals the other side of the Thai sex paradise. In fact, instead of the expected \u201charmless\u201d and certainly casual entertainment with a go-go dancer that he happened to meet \u2013 he engages in a complex game of re-examination: of identity, the meaning of life, male\/female relations, civilisation differences, traditions, attitudes towards family, love, sex, fidelity…<\/p>\n
<\/p>\n
Neboj\u0161a Milenkovi\u0107<\/i><\/p>","protected":false},"excerpt":{"rendered":"
Goran Goci\u0107 (1962, U\u017eice) is a journalist, editor, filmmaker, translator and a writer whose works have been published or broadcasted by thirty media houses in eleven languages\u200b\u200b, including dailies Borba, Politika and Dnevni telegraf; TV stations RTS and Channel 4; the film magazine Ekran, Sight & Sound and the International Film Guide. During the war […]<\/p>\n","protected":false},"author":2,"featured_media":1063,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[59,60],"tags":[],"class_list":["post-1062","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-59","category-uchesnitsi-2014"],"acf":[],"_links":{"self":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/1062","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/comments?post=1062"}],"version-history":[{"count":3,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/1062\/revisions"}],"predecessor-version":[{"id":1125,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/1062\/revisions\/1125"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media\/1063"}],"wp:attachment":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media?parent=1062"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/categories?post=1062"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/tags?post=1062"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}