Промишљања традиције
Reflection of Tradition
Folklore and Literary Research
Contributor(s): Boško Suvajdžić (Editor), Branko R. Zlatković (Editor)
Subject(s): Language and Literature Studies, Customs / Folklore
Published by: Институт за књижевност и уметност
- Print-ISBN-13: 978-86-7095-207-2
- Page Count: 738
- Publication Year: 2014
- Language: Serbian
Критичка фолклористика Ненада Љубинковића
Критичка фолклористика Ненада Љубинковића
(The Critical Folkloristics of Nenad Ljubinković)
- Author(s):Nada M. Milošević Đorđević
- Language:Serbian
- Subject(s):Serbian Literature, Theory of Literature
- Page Range:15-24
- No. of Pages:10
- Summary/Abstract:Writing about the works of Nenad Ljubinković is no easy task, not just because there are almost four hundred of them and because they encompass almost all the topics of importance that Serbian (and not only Serbian) science of folk literature has dealt with, but first of all because each and every one of them poses a challenge of sorts. His texts, marked by a sharp wit, rich in terms of connotations, re-examine accepted interpretations, coming up with new ones, often contrary to the previously established ones, bringing into question the usual ones. In all of Ljubinković’s studies there is a tendency towards discussing the cultural-historical basis of oral creation, which does not mean that other factors are neglected, such as mythological ones or the mutual connections between the oral and the written at a broader comparative level. What connects all of the above is studying folk literature as a phenomenon.
Полемички глас српске науке о фолклору – Ненад Љубинковић
Полемички глас српске науке о фолклору – Ненад Љубинковић
(The Polemical Voice of the Serbian Study of Folklore – Nenad Ljubinković)
- Author(s):Smiljana Đorđević Belić
- Language:Serbian
- Subject(s):Oral history, Serbian Literature, Theory of Literature
- Page Range:25-39
- No. of Pages:15
- Summary/Abstract:This paper provides a cross-section of the scientific interests of Nenad Ljubinković. Particular attention is paid to the polemical elements in the opus of this author. His polemical moments are viewed as essentially constructive, due to the fact that, from a polemic, as if from some kind of focal point, there arises a succession of texts of a theoretical bent, from which one can read the author’s concept of folklore and folklore studies, in a nutshell, the poetics of oral culture. We analyse the specific features of Ljubinković’s contextual approach to studying folklore and point out the stylistic characteristics of his polemically intoned texts (I-statements, contamination of stylistic registers, methods of decanonisation and dethronisation of authority). Our analysis of Ljubinković’s studies of oral epic poetry reveals the modernity of this author, in view of the fact that he raises a number of exceptionally complex and topical issues (the issues of the second-degree ideologisation of folklore, acceptance of history as a social construct).
Мирјана Дрндарски – поклоник тумачења лингвистичких и литерарних појава у друштвено-историјском контексту
Мирјана Дрндарски – поклоник тумачења лингвистичких и литерарних појава у друштвено-историјском контексту
(Mirjana Drndarski – A Scholar Prone to Interpreting Linguistic and Literary Phenomena in a Social-Historical Context)
- Author(s):Boško Suvajdžić, Branko R. Zlatković
- Language:Serbian
- Subject(s):Cultural history, Serbian Literature, Theory of Literature
- Page Range:41-46
- No. of Pages:6
- Summary/Abstract:In this paper, the authors present a systematised overview of the results of Mirjana Drndarski’s scientific-research work, her complex approach to studying problems and phenomena (historical-linguistic and social-historical ones), which, in the case of her research work, always leaves the impression of being harmonised and interactive when it comes to the basic topics of her studies.
У Будима у бијела града. Прилог истраживању старине епског десетерца
У Будима у бијела града. Прилог истраживању старине епског десетерца
(U Budima u bijela grada. A Contribution to the Research on the Prehistory of the Epic Decasyllable)
- Author(s):Aleksandar Loma
- Language:Serbian
- Subject(s):Serbian Literature, Theory of Literature
- Page Range:49-62
- No. of Pages:14
- Summary/Abstract:The paper deals with the so-called ”epic genitive” which in South Slavic epic decasyllable and long-verse poems often substitutes the accusative of inanimate objects, e.g. mača plamenoga ‘(he unsheathed) the fiery sword’ and of direction, e.g. u bijela grada ‘(he went) into the white town’. Such forms are ungrammatical and metrically conditioned, i.e. they fit into the second half-line of the decasyllable, which is not the case with the gramatically correct sentences, e.g. u b(ij)eli grad ‘to the white town’, at least after the loss of the final ”weak” semi-vowels shortly before 1000 A.D., for hitherto, in its original phonetic shape, the sequence *vъ(n) bělъjь gordъ, with six syllables, the penult long and the preceeding two short, perfectly matched the second hemistich of the Common Slavic epic decasyllable as reconstructed by Roman Jakobson; consequently, the pattern must be older than the 10th century and rooted in the prehistoric past. The substitution of genitive for accusative may be regarded as purely morphological process, inspired by the analogy of the category of animate nouns in which genitive is used to design the direct object, and/or by the phonetic coincidence of two Common Slavic prepositions, *vъ ‘in(to)’ with accusative and locative and *u ‘at’ with genitive, in Serbian. However, the starting point of the development may have been a phonetic phenomenon, the persistent pronunciation of final weak semivowels in the metrical speech long after their fall in the spoken language, not unlike the ”e muet” in French poetry, e.g. u Budimə gradə, which subsequently resulted in u Budima grada ‘into the town of Buda’ as the shwa reflecting Common Slavic ъ and ь in the strong position turned, in Shtokavian, into the full vowel a. It was supposedly only then, in the 14th–15th centuries, that the original accusative in those inherited formulas was reinterpreted as a genitive in a. In any case, the ”epic genitive” seems to be an archaism bearing a further testimony to the prehistoric roots of Serbian oral poetry. Additionaly, the occurence in the reconstructed formulas of the word *gordъ ‘town’, initially ‘enclosure, fortified place’, confirms that fortresses played in the epic world outlook of the ancient Slavs a role no less important than among other early Indo-Europeans.
Вино пију три добра јунака (сижејни потенцијал формуле у усменој поезији)
Вино пију три добра јунака (сижејни потенцијал формуле у усменој поезији)
(Three Brave Heroes Drinking Wine (The Sujet-Related Potential of Formulas in Oral Poetry))
- Author(s):Snežana Samardzija
- Language:Serbian
- Subject(s):Oral history, Serbian Literature, Theory of Literature
- Page Range:63-96
- No. of Pages:34
- Summary/Abstract:Even though it seems that the recurrent image of drinking wine is one of those constants that are neutral in terms of the sujet, it encompasses a number of structural factors (chronotope, hero, metrical organisation, the context of improvisation, etc.). Being very flexible, this formula can be found in all positions in the “text“, and it supports the meaning of numerous situations that are stylised in accordance with the rules of oral epic poetry, lyrical and lyrical-epic genres. A stable minimum model manifests a broad spectrum of meanings, along with activating the pagan and Christian layers of our heritage, the ethnographic basis, the reality of the collective and reminiscences of the historical past. In this paper, we follow the functions and meanings of the formula of drinking and serving wine that are connected with the poetics of oral forms andvarious models (initiation of the bridegroom; a slandered hero; refilling a glass; self-praise and realisation of a plan; unfaithful relatives, etc.). Most frequently found in the initial position of a “text“, the formula also gets shifted towards other syntagmatic levels, whereby its semantic and sujet-related potential is increased (from a reflex of a ritual act to complications essential for the development of the sujet and the characterisation of the protagonists, from initiation of the horizon of expectation and emotional involvement of the reader, through making a point, to parody). The manifold functions and possibilities of its application are adjusted to the symbolic values of wine, the genre rules and the circumstances of realising the variants.
Очи лажљиве, а срце соколово
Очи лажљиве, а срце соколово
(Lying Eyes, a Hawk’s Heart)
- Author(s):Ljubomir Zuković
- Language:Serbian
- Subject(s):Serbian Literature, Theory of Literature
- Page Range:97-104
- No. of Pages:8
- Summary/Abstract:In this paper, the author attempts not only to establish the connections but also to explain the crucial phrase in the poem analysed, lying eyes, relying on his assumption, explained in more detail in the preface to a critical edition of Volume Four of Serbian Folk Poems, that the poem „Old Vujadin” was recorded by Vuk’s well-known blind singer Đuro Milutinović. In the text, the author also comments on the interpretation of that poem and the above-mentioned phrase contained in it by Miodrag Pavlović.
Вечна кућа у усменој епици
Вечна кућа у усменој епици
(Eternal Home in Oral Epic Poetry)
- Author(s):Mirjana Detelić, Lidija D. Delić
- Language:Serbian
- Subject(s):Serbian Literature, Theory of Literature
- Page Range:105-126
- No. of Pages:22
- Summary/Abstract:This paper focuses on one of the aspects of the atypical attribution of home in the oral tradition (eternal home = grave). Searching for the origin of the atypical motif of leaving an opening on a coffin wherein the body of a deceased person is placed, encountered in the poem “A Sad Wedding” from the manuscript collection of Jovan Srećković (The Ethnographic Collection of the Serbian Academy of Sciences and Arts, no. 1, 1/55, 48–49а), the authors sift through layers inherited from the ancient Slavic past (confirming the existence of the said motif in the north of Russia and in the regions of the Carpathians, Ukraine, northern Romania and Poland) and follow the connections with lyrical variants (Kosovo) and certain motifs and pat terns (death in the woods, a fairy building a city). Furthermore, the authors point to a transfer of formulas and occasional collisions between the traditional images and layers of epic poetry within the framework of specific poetic creations.
„Иво Сенковић и Ага од Рибника” – између бајковне структуре и херојске семантике
„Иво Сенковић и Ага од Рибника” – између бајковне структуре и херојске семантике
(“Ivo Senković and Aga of Ribnik” – between a Fairy-Tale Structure
and Heroic Semantics)
- Author(s):Zoja S. Karanović
- Language:Serbian
- Subject(s):Serbian Literature, Theory of Literature
- Page Range:127-145
- No. of Pages:19
- Summary/Abstract:The subject of this paper is the poem “Ivo Senković and Aga of Ribnik” (Serbian Folk Poems III, no. 56), which is connected to the international theme of a duel between an inexperienced hero and a seasoned fighter, and whose content is placed within the framework of the struggle of the uskoks [rebels, guerrilla-type fighters] of Senj against the Turks, while actually being the hero’s very first duel, which can be brought into connection with the quest of a fairy-tale hero. In other words, the unfolding of the plot manifests a morphological equivalence between this heroic poem and a fairy tale, evidencing their common genetic origins, overlapping and layering, even though in the poem there is a great deal of heroic resemantisation of the fairy-tale sujet, which should be evident from a detailed analysis of the poem.
„Орао се вијаше”. Над градом формула
„Орао се вијаше”. Над градом формула
(“Orao se vijaše”. Above the Town of the Formulas)
- Author(s):Boško Suvajdžić
- Language:Serbian
- Subject(s):Serbian Literature, Theory of Literature
- Page Range:147-164
- No. of Pages:18
- Summary/Abstract:In the context of the bugarštice it is discussed the oral formula of the oldest recorded bugarštica from 15th century. It is studied the complex interweaving flows of the tradition and history in the bugarštice. The metrics and the verse of bugarštice are compared with metric solutions of octosyllabic verse in the oral poetry.
Цртице о физиономији и идентитету песама из Хекторовићевог Рибања и рибарског приговарања
Цртице о физиономији и идентитету песама из Хекторовићевог Рибања и рибарског приговарања
(Observations on the Profile and Identity of the Songs in Hektorović’s Fishing and Fishermen’s Talk)
- Author(s):Sanja V. Radinović
- Language:Serbian
- Subject(s):Music, Serbian Literature, Theory of Literature
- Page Range:165-190
- No. of Pages:26
- Summary/Abstract:The beginning of the prehistory of Serbian ethnomusicology is marked by the appearance of two significant musical recordings, realised by means of the late Renaissance mensural notation. They were made by the poet and patrician Petar Hektorović from the island of Hvar, located in central Dalmatia, and included in his famous poem Fishing and Fishermen’s Talk, published in Venice in 1568. Hektorović’s poetic work represents an idyllic travelogue, arising from a three-day cruise he undertook in the company of two fishermen who were the poet’s faithful crew, wise collocutors, excellent singers of the above-mentioned folk songs, and at the same time the first ones whose names (Paskoj Deblja and Nikola Zet) are featured in the history of our science. Some parts of Hektorović’s poem, containing the poet’s comments on the manner of signing and his approach to notation, have become a precious source of additional knowledge about the melodies preserved in this way. Almost 150 years have passed since Hektorović’s notation of these songs (in the original referred to as bugaršćica and pisan) have been attracting the attention of the professional public – of textologists more than of ethnomusicologists, and to a greater extent in Croatia than in Serbia. Various issues have been dealt with in numerous texts, especially in connection with bugarštica, which belongs to a small corpus of the earliest known layer of the epic heritage of Serbs and Croats. In spite of this, many of them remain highly controversial – primarily the question of the origin of the verses and melodies, that is, whether they are of Serbian or Croatian, folk or authorial origin. After a detailed presentation of the confrontational views of the above in Serbian and Croatian ethnomusicology, which have been the subject of polemics for many years, the author focuses her attention on some deeply-rooted fallacies concerning the structure of the poetic and sung texts of bugarštica-type poems. Approaching this issue as an ethnomusicologist – who, as opposed to textologists, always bears in mind the difference between the demelodised and the sung version of the text of a folk poem – the author proves the inaccuracy of certain views advocated by Valtazar Bogišić, the author of a still very influential study on bugarštica-type poems published in the second half of the 19th century. On the basis of numerous arguments, among which Hektorović’s musical notation has a special place, it turns out that Bogišić’s long-sustained fallacy was due to his inadequate insight into the structural role of the so-called addendum, a textual addition of specific character that ends some verses of bugarštica-type poems. Finally, based on discovering the characteristic coupling of verse-type texts and the quasi-stanzaic melopoetic form – which is a significant feature of the South Slavic (especially Serbian) vocal heritage – the author draws the conclusion that this indubitably constitutes a case of a melopoetic expression originating from the folklore tradition of South Slavs.
