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<\/a><\/p>\nSava Damjanov <\/strong><\/span>was born in 1956 in Novi Sad, where he went to school. He graduated from the Faculty of Philosophy (in 1980, Yugoslav Literature and Serbo-Croatian Language Section), where he also earned his Master (1986) and PhD Degrees (1996), mentored by academician Milorad Pavi\u0107. He works at the Faculty of Philosophy in Novi Sad as a tenured Professor at the Department of Serbian Literature; he teaches The 19th<\/sup> Century Serbian Literature <\/em>and Creative Writing<\/em>, and a PhD course in The Culture of Postmodernism. <\/em>From academic year 2003\/04 to 2006\/07, he was in charge of master studies at the Department of Serbian Language. Within doctoral studies he is engaged as a lecturer or mentor at national and foreign universities (Belgrade, Ni\u0161, Nik\u0161i\u0107, Ljubljana, Zagreb, Lisbon, Bordeaux, Venice, Krakow, Szeged, and Melbourne).<\/p>\n Damjanov writes poetry, literary critique and texts on literary history. His scientific research focuses primarily on fantasy literature, erotic and linguistic-experimental layers in Serbian tradition, theory of reception, postmodernism, as well as comparatistics. He has prepared for publishing texts of Serbian writers from the 18th<\/sup>, 19th<\/sup> and 20th<\/sup> centuries. During the 1990s he edited the world literature magazine \u201cPismo\u201d (Letter) <\/em>and \u201cSveti Dunav\u201d (Saint Danube) <\/em>\u2013 a magazine dedicated to the Central European culture. He is the editor of the \u201cThe Collection of Serbian Fantastic Fiction,\u201d<\/em> \u201cThe Novi Sad Manuscripts Edition\u201d<\/em> (published by the Novi Sad City Library), as well as the anthological series \u201cTen Centuries of Serbian Literature\u201d<\/em> with the Matica Srpska Publishing (since 2009). He served on the jury of the Branko Award<\/em> of Matica Srpska from 1987 to 2004 (and was its president from 1992). He is the founder of the international literary festival \u201cProsefest\u201d<\/em> (in Novi Sad, 2007) and the \u201cMilovan Vidakovi\u0107\u201d<\/em> prize (since 2008), which is awarded at this Festival for literary life opus. He was the president of the Board of Directors of the Novi Sad City Library (2005-2008), a member of the Board of Directors of the Serbian Literary Society (2010-2012) and a member of the Board of Directors of Matica Srpska (2008-2015); he is the president of the Board of Directors of the Sterijino Pozorje Festival (since 2012).<\/p>\n He speaks German, English and Russian.<\/p>\n In addition to numerous texts in domestic and foreign periodicals, he has published the following books<\/u>: Istra\u017eivanje savr\u0161enstva<\/em><\/strong> (Exploration of Perfection, <\/em>novel), Belgrade 1983; Gra\u017edanski erotikon<\/em><\/strong> (anthology of Serbian erotic poetry), Ni\u0161 1987; Koreni moderne srpske fantastike <\/em><\/strong>(Roots of Modern Serbian Fantastic Fiction, <\/em>study), Novi Sad 1988; Kola\u010di, Obmane, Nonsensi<\/strong><\/em> (Cakes, Deceits, Nonsenses, <\/em>stories), Belgrade 1989; \u0160ta to be\u0161e mlada srpska proza?<\/em><\/strong> (What Was Young Serbian Prose? <\/em>essays and critiques), Belgrade 1990; Pri\u010dke<\/em><\/strong> (Short Stories, <\/em>prose), Belgrade 1994; Nova (postmoderna) srpska fantastika<\/em><\/strong> (New (postmodern) Serbian Fantastic Fiction, <\/em>anthology), Belgrade 1994; Koder: istorija jedne recepcije<\/strong> <\/em>(Koder: The History of\u00a0 A Reception, <\/em>study), Belgrade 1997; Povesti razli\u010dite: lirske, epske, no najvi\u0161e neizrecive<\/strong><\/em> (Various Stories: Lyrical, Epical, but Most of All Unutterable<\/em>, stories), Novi Sad 1997; Glosolalija <\/strong><\/em>(selected and new stories), Novi Sad 2001; Novo \u010ditanje tradicije<\/em><\/strong> (A New Reading of Tradition, <\/em>literary history essays), Novi Sad 2002; Novi Sad \u2013 zemlji raj<\/em><\/strong> (Novi Sad \u2013 Heaven on Earth, <\/em>chrestomathy, co-authored with L. Mustedanagi\u0107), Pan\u010devo 2003; Novi Sad \u2013 Zemlji raj I-II<\/em><\/strong> (Novi Sad \u2013 Heaven on Earth I-II, <\/em>chrestomathy, co-authored with L. Mustedanagi\u0107), Pan\u010devo 2004; Antologija serbskoj postmodernoj fantastiki<\/em><\/strong> (Anthology of Modern Serbian Fantastic Fiction, <\/em>in Ukrainian), Lvov, 2004, Postmoderna srpska fantastika<\/em><\/strong> (Postmodern Serbian Fantastic Fiction<\/em>), Novi Sad 2004; Gra\u017edanski erotikon <\/em><\/strong>(Civilian Eroticon, <\/em>anthology, the second, updated and illustrated edition), Novi Sad 2005; Remek-delca<\/em><\/strong> (Little Master-Pieces<\/em>, stories), Belgrade 2005, Eros i Po(r)nos<\/em><\/strong> (Eros and Po(r)nos, <\/em>essays, reviews, mystifications), Belgrade 2006, Istorija kao apokrif<\/em><\/strong> (History as an Apocrypha, novel), Novi Sad 2008, Apokrifna istorija srpske (post)moderne<\/strong><\/em> (An Apocryphal History of Serbian (Post)Modernism<\/em>, essays), Belgrade 2008, Porno-liturgija Arhiepiskopa Save<\/em><\/strong> (Porno-Liturgy of Archbishop Sava, <\/em>stories), Novi Sad-Zrenjanin 2010, Itika Jepolitika@VUK<\/em><\/strong> (novel), <\/em>Novi Sad 2014.<\/p>\n DAMJANOV: SRPSKA KNJI\u017dEVNOST ISKOSA (SERBIAN LITERATURE FROM ASKEW) <\/em><\/p>\n (selected literary history and literary critique texts),<\/p>\n Books 1-5<\/strong>, \u201cSlu\u017ebeni glasnik\u201d<\/em>, Belgrade 2011-2012:<\/p>\n Book 1: VRTOVI NESTVARNOG<\/em><\/strong> (The Gardens of the Unreal, <\/em>essays on Serbian Fantastic Fiction)<\/p>\n Book 2: VELIKI KOD: \u0110OR\u0110E MARKOVI\u0106 KODER<\/em><\/strong> (The Great Kod (Code): \u0110or\u0111e Markovi\u0107 Koder, <\/em>study and essays)<\/p>\n Book 3: SRPSKI EROTIKON<\/em><\/strong> (Serbian Eroticon, <\/em>erotography in Serbian literature)<\/p>\n Book 4: NOVA \u010cITANJA TRADICIJE 1-3<\/em><\/strong> (New Readings of Tradition, <\/em>literary history essays)<\/p>\n Book 5: \u0160TA TO BE\u0160E SRPSKA POSTMODERNA?<\/em><\/strong> (What Was Serbian Postmodernism, <\/em>essays and critiques)<\/p>\n His texts have been translated into English, French, German, Russian, Polish, Czech, Hungarian, Slovakian, Ruthenian, Ukrainian, Bulgarian, Slovenian and Macedonian. He has been included in anthologies of Serbian contemporary prose. During the winter term of 2001\/2002, Damjanov taught at the Department of Slavistics at the University Tubingen; he has lectured at the Universities in Regensburg<\/a>, Freiburg<\/a>, Berlin<\/a>, Halle<\/a>, Trier<\/a>, G\u00f6ttingen<\/a>, Bonn<\/a>, Torino, Venice, Krakow<\/a>, Wroclaw<\/a>, Warsaw<\/a>, Gdansk<\/a>, Lodz<\/a>, Opol\u0435<\/a>, Veliko Trnovo<\/a>, Ljubljana<\/a>, Skopje<\/a>, Budapest, Kiev and Lvov. He has taken part in a number of international literary and academic symposiums in our country and abroad.<\/p>\n For his literary works and works in the field of literary history he has received: \u201cBranko Award<\/em>\u201d, \u201cZaharije Orfelin<\/em>\u201d Award, Award of the Culture SIZ of Vojvodina<\/em> for the original reaches in literary historiography, Award of the Literary Society of Vojvodina for Best Book of Prose of the Year<\/em>, \u201cLaza Kosti\u0107<\/em>\u201d Award, \u201cGospo\u0111in vir<\/em>\u201d Award, and \u201cSreten Mari\u0107<\/em>\u201d Award. His \u201cAntologija srpske postmoderne fantastike<\/em>\u201d was the best foreign book in Ukraine in 2004. There are more than two hundred pages of reviews or essays on his books, as well as interviews in domestic and foreign press.<\/p>\n \u00a0<\/p>\n About the novel Itika Jepolitika@Vuk<\/em><\/span><\/p>\n In regard to his prose, later also recognised as postmodernist, Damjanov insists on innovativeness and inventiveness, on ARS COMBINATORIA, on creative-constructivist combination of various elements, etc. His prose is more than an invitation to read postmodern literature. It is a unique defence of postmodernist literature. Ranging from the statement emphasised by Damjanov: \u201cPostmodernism is no (literary) crime,\u201d through perseverance in the continuity of reading, to a democracy of reading and presentation of literary text as a computer hypertext.<\/p>\n Zoran \u0110eri\u0107, <\/em>Matical Srpska Journal<\/p>\n When Sava Damjanov published his Remek delca<\/em> (Little Master-Pieces) <\/em>in 2005, he probably, without even dreaming of it, left room for a master-piece by putting the \u2018little\u2019 in the title – a master-piece that he will symbolically be published nine years later. But, as nothing happens by chance, this novel, announced as the last one by the author, comes as a great synthesis of the entire Damjavnov\u2019s opus, and at that, interestingly enough, not only his fiction prose but scientific work, as well as a number of personal interests. In a sense, this novel could be set as a fiction counterpart of the theoretical five-volume title Srpska knji\u017eevnost iskosa <\/em>(Serbian Literature Askew, <\/em>2011). As the basic \u201cposition\u201d of the author\u2019s aspect in this scientific domain is actually a view from askew, so his \u2018askew\u2019 position as a scholar of literary history actually defined him as a writer.<\/p>\n Branislava Vasi\u0107 Rako\u010devi\u0107, <\/em>Trag<\/p>\n It is a very good thing indeed that the book Itika Jepolitika@Vuk, A Little Common People\u2019s Slavenoserbian Novel, <\/em>appeared in Serbian literature, that there is the inspiring scholar and story-teller Sava Damjanov with power and creative erudition to overcome the ossified oppositional principle of our cultural being, which assumes devaluation of the leading canons of writing and thinking based purely on the oppositional model: for and against (Dositej and Vuk; for and against Vuk, etc.). The novel Ethics is politics and Vuk could be, in his witty style, defined by genre as a novel without a novel, but it is actually a novel about a hero-author who debates with the dead, whereas he primarily addresses his own self, while Vuk puts his hand on the author\u2019s right shoulder, as a gesture of friendly and kind conciliation.<\/p>\n Miodrag Maticki, <\/em>Beogradski knji\u017eevni \u010dasopis (Belgrade Literary Magazine)<\/p>\n The novel, certainly the most intriguing and the most mature work by Sava Damjanov, walks through time with self-awareness and self-confidence – in the style of Eco, I dare say \u2013 seeking to change our perception of literary-historic circumstances. A task by no means easy, but when an author uses his mastery, his knowledge of Poeta Doctus, then there is no doubt that the level of the reader\u2019s empathy with the very ironic-parodic approach is guaranteed.<\/p>\n Dragana V. Todoreskov, <\/em>Knji\u017eevni magazine (Literary Magazine)<\/p>\n This novel is as if written by a sweet Slavenoserbian Scheherazade who, maintaining a constant tension of a frenetic, parodically elevated rhythm worthy of the great master Rabelais, reports on Vuk the Reformer contradictorily, while, actually, its language and spirit depict an alternative literary reality where the novel spans a range from a graphic novel, through Damjanovian-sentimental story about Serbian Tristam Shandy, to a civil-baroque creation brimming with the spirit of ethic symbolism of a guidebook through the realm of virtues and vices, the good and evil, the beautiful and ugly.<\/p>\n Considering the fact that this is not \u201cjust the latest creation, but the last one as well\u201d by Sava Damjanov, Sterne and Rabelais of the contemporary Serbian prose, it should be consumed \u2018bottoms up\u2019 and enjoyed!<\/p>\n \u0110or\u0111e Pisarev, <\/em>Blic<\/p>\n Thus, Sava Damjanov, together with his readers, easily and with self-confidence constructs a novel as a Labyrinth (like the Cretan and Borges\u2019 labyrinths), from which, owing to wisdom and life energy, fly out Daedalus and winged Vuk, who, lame as he was, hovers over the Serbian people and wakes them up when they are fast asleep while History is happening… In this Labyrinth, Sava Damjanov observes the entire Serbian political, social and cultural past and present \u2013 walking, wondering through its corridors there are the Nemani\u0107 family members, Sokollu Mehmet Pasha, Ivo Andri\u0107, Vinaver, Tito, Slobodan Milosevic, Zoran \u0110in\u0111i\u0107… And Vuk\u2019s encounters in time and in eternity, with Prince Milo\u0161 and Crnjanski, or dinner at Lukijan Mu\u0161icki\u2019s, by the abundance of ideas, witty words and associations undoubtedly belong among some of the most inspired pages of our new literature.\u00a0\u00a0 \u00a0\u00a0<\/p>\n An\u0111elka Cviji\u0107, <\/em>Knji\u017eveni list (Literary Magazine)<\/p>\n Refusing to satisfy the reader\u2019s need to find a line of a narrative in and behind everything, the author disrupts the natural way of perceiving a novel which is always, even sub-consciously, focused on determining cause-effect links between its parts and on finding semantic signals that the mind could rely on. His novel is a linguistic, semantic and textual labyrinth which, as any other labyrinth, seen from the inside, by its simulation of openness and freedom of movement actually fits the fact that there is probably no way out and that one stays in it walking in circles forever.<\/p>\n Vesna Triji\u0107<\/em>, Povelja<\/p>\n The magical feature that I see in this book stems from the fact that this, before my eyes, is a total novel. If Itika jepolitika <\/em>can be labelled as a novel at all; since Damjanov has perhaps surprised us with some angles of this work, but not with its hybrid and undetermined nature. What is this piece of work: is it a dictionary? A collection of essays? Of short stories? Previously published and those unpublished? A pastiche of a heraldic textbook, which is a collection of poetry at the same time? Is it a handbook for divination? Itika jepolitika <\/em>is everything: <\/em>a book that is Babylonian (or Alexandrian, indeed?) by its textual reach, or alternatively historical, humorous, micro and macrocosmic. The fact that I find particularly to my liking is that which is microcosmical, intimate and delicate in this book.<\/p>\n Milo\u0161 Joci\u0107<\/em>, Novi polis<\/p>\n Embodying each emblem-tarot card of Serbian literature, Sava Damjanov has impressed in it both the appropriate style of the epoch and woven into our linguistic treasure in all its changes, flashes, vigour and silences. This Work can be said to be a Great Synthesis of the creative opus of Sava Damjanov, a synthesis of his ambiguous intentions, as well as Life\u2019s diversity and multilayeredness. This Book, like twenty-nine old Nietzsche\u2019s The<\/em> Birth of Tragedy from the Spirit<\/em> of Music<\/em>,<\/em><\/strong> \u201cviews science throught the eyes of an artist, and art through the eyes of life,\u201d as Nietzsche wrote in his An Attempt at Self-Criticism. <\/em>Sava Damjanov’s book, another attempt of self-criticism of everything contempated, written and most importantly \u2013 everything EXPERIENCED so far. Since, a dream is no less expereinced than reality, or fantasy…<\/p>\n Jelena Mari\u0107evi\u0107, <\/em>Koraci<\/p>\n <\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Sava Damjanov was born in 1956 in Novi Sad, where he went to school. He graduated from the Faculty of Philosophy (in 1980, Yugoslav Literature and Serbo-Croatian Language Section), where he also earned his Master (1986) and PhD Degrees (1996), mentored by academician Milorad Pavi\u0107. He works at the Faculty of Philosophy in Novi Sad […]<\/p>\n","protected":false},"author":1,"featured_media":2383,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[80],"tags":[],"class_list":["post-2125","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ucesnici-2016"],"acf":[],"_links":{"self":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/2125","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\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/comments?post=2125"}],"version-history":[{"count":6,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/2125\/revisions"}],"predecessor-version":[{"id":2462,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/posts\/2125\/revisions\/2462"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media\/2383"}],"wp:attachment":[{"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/media?parent=2125"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/categories?post=2125"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/prosefest.rs\/en\/wp-json\/wp\/v2\/tags?post=2125"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}