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OBDOBJA 44 Ivanka Hergold’s The Knife and the Apple: Herta Jamnik’s Search for the Authenticity of the Self DOI: 10.4312/Obdobja.44.321-326 Patrizia Raveggi, Siena; patrizia.raveggi@gmail.com V romanu Nož in jabolko odraža prehod iz tretje v prvoosebno pripoved čustveni crescendo glavne literarne osebe Herte Jamnik – vsak »jaz« je kljubovalni utrip samopodobe proti praznini izbrisa. Ta avtobiografska fikcija razbija identiteto na mitske in modernistične črepinje: nož odtujenosti (hladen, natančen, moško upravljan) se spopade z jabolkom hrepenenja (rajskim, a gnilim zaradi družbene krivde). Hertino nasprotovanje konformizmu ni intelektualno, temveč visceralno; njeni onemogočeni pobegi in surovi čustveni odzivi – bes zaradi konfinacije, žalost zaradi izgubljenih korenin – razkrivajo feministično telo kot bojno polje. Fikcija, pisana v obliki dnevnika, postane taktika preživetja, njegova čustvena intenzivnost pa sredstvo proti ranljivosti. S pomočjo klasičnih mitov (npr. napis na stebrišču Apolonovega templja v Delfih) in modernistične fragmentacije prikaže avtentičnost kot čustveno dejanje: čutiti pomeni obstajati. Natančno branje posameznih prizorov razkriva, kako Hertina telesna govorica (tresenje, molk) kodira potlačena čustva. avtobiografska fikcija, identiteta, odtujenost, feminizem, mitologija In the novel Nož in jabolko (The Knife and the Apple), the shift from third to firstperson narration mirrors the protagonist Herta Jamnik’s emotional crescendo, with each “I” a defiant pulse of selfhood against the void of erasure. This autobiographical fiction breaks identity into mythic and modernist shards: the knife of alienation (cold, precise, and maledominated) clashes with the apple of yearning (Edenic but rotting with social guilt). Herta’s resistance to conformity is not intellectual but visceral; her thwarted escapes and raw emotional responses, rage at being confined, and grief for her lost roots expose the feminist body as a battleground. The diary’s form itself becomes a tactic of survival, its emotional intensity weaponizing vulnerability. Through classical myths (e.g., the inscription on the pediment in Apollo’s temple at Delphi) and modernist fragmentation, the text maps authenticity as an emotional act: to feel is to exist. Close readings of specific scenes reveal how Herta’s body language (shaking and silence) encodes suppressed emotion. autobiographical fiction, identity, alienation, feminism, mythology 1 Introduction: the thing called emotion1 Over the centuries, emotions have been studied and interpreted by philosophers and 2 scientists, resulting in innumerable definitions. Emotions are the bloodstream of Herta 1 This section’s title is borrowed from Aaron BenZe’Ev’s essay published in Goldie (2010: 41–62). 2 Restricting ourselves to a few of the most recent examples: According to The Oxford Book of Philosophy of Emotions (Goldie 2010: 1), emotions are paradigmatically mental and bodily phe Alojzija Zupan Sosič (ur.): Čustva in slovenska književnost. Ljubljana: Založba Univerze v Ljubljani, 2025 (zbirka Obdobja, 44) ISSN: 1408-211X, e-ISSN: 2784-7152 ISBN 978-961-297-712-2, 978-961-297-709-2 (PDF) 321