Bojana Šolaja

Bojana Šolaja was born on September 15, 1999, in Cetinje, Montenegro. She completed her secondary education in Danilovgrad, as the Student of the Generation 2018. She obtained her Bachelor’s and Master’s degrees in Nikšić with an overall grade of A (10.00), and was recognized as the Laureate of the University of Montenegro for being the best student of the Faculty of Philosophy.

Under the mentorship of Professor Drago Perović, she defended her Bachelor’s thesis Epiphany and Enigma in Ethical and Poietic Experience (2021) and her Master’s thesis System and Anarchy: The Tragic in Nietzsche (2023). She is currently a PhD candidate in Philosophy at the Faculty of Philosophy, University of Belgrade.

She has participated in several regional academic symposia and worked as an external associate of the Publishing Council of the University of Montenegro. Since 2010, she has been active as a columnist and editor of media content. She was the co-founder and columnist of the online platform Kombinat. She is the author and host of the educational radio show The Inverted World, broadcasted on Radio KRŠ and Montenegrin National Radio Satation.

Since 2023, she has been a member of the Adriatic Region Film Festival Network’s Young Film Critics Network, which enabled her participation in the Sarajevo Film Festival and the Author’s Film Festival in Belgrade.

She is the author of the award-winning theatre play On Silence and Other Imitations of Happiness (2017) and the medium-length documentary film Who Spares You (2023).Top of Form

Research abstract

The central question of this research project concerns the problem of emancipation within the context of the spectacle. Building upon the Situationist thesis, the concept of the spectacle is approached broadly as another name for the contemporary social configuration, and more narrowly as a language and a program that, through the aesthetic sphere, installs the matrices of reproduction of established social dynamics and shapes the individual’s consciousness for willing participation in them. The project aims to examine whether—and under what conditions—resistance to the spectacle remains possible within the aesthetic dimension. The focus is placed on the dramatic arts, understood in their constitutive ambivalence: on the one hand, as instruments that reproduce the dominant spectacular reality; on the other, as a potential field of existential experimentation, that is, of embodied reflection. Within this field, drama may serve as a form of preparation for a radically new sensibility and mode of collective experience—one capable of reactivating and emancipating those impulses which, in the current social dynamics, are subjected to repression. Such reactivation, finally, points toward the possibility of a qualitatively new, trans-capitalist architecture of subjectivity and community.