Utjecaji sevdalinke i balade na poetizaciju romana Grozdanin kikot Hamze Hume, Ponornica Skendera Kulenovića i Imotski kadija Irfana Hrozovića
Influences of sevdalinka and ballads on poetization of novels: Humo's Grozdanin kikot, Kulenović's Ponornica and Horozović's Imotski kadija

Summary/Abstract: Oral tradition is one of the key factors which mark the spiritual culture of Bosniaks. A significant place within this tradition is occupied by sevdalinka and ballade as the most valuable artistic forms which also had a huge influence on the Bosniak literature. Even though our first narrators were under a big influence of sevdalinka-ballade narrative, the portion ofthese oral forms in their work didn't go beyond thematic-motif level and more or less successful creation of the atmosphere that reminds one of sevdalinka and ballade. The key narrative structure of such books (for example, 'Zeleno busenje' by Edhem Mulabdić) remained firmly tied to the epic narrative pattern. Only in succeeding novels („Grozdanin kikot" being the first of this kind) authors effectively built sevdalinka and ballade into the novel structure - via the subjectivization of narration, the complexity and inner drama of protagonists, a particular emotional-sensual and erotic charge, a specific role of female protagonists, the theme of love, as well as an attitudc towards family. Since the lyric contents is superior to the epic in a ballade, lyric elements present a significant factor of the novel structure in the Bosniak novel. Furthermore, our novel, as well as ballade, with its historical background is indicative of the eonneetion among individual, family and society. At the thematic level, family, woman and love constitute a backbone of sevdalinka and ballade, so, in this text we are going to point at such themes and protagonists in novels intending to recognize the implicit presence of sevdalinka-ballade elements in the novefistic discurse. In this regard, we are going to pay special attention to the novel „Imotski kadija" by Irfan Horozović, which has been written as a postmodern interpretation of the ballade „Hasanaginica", and to which the novel explicitly refers.

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