Zahvaćanje na izvorima životnih iskustava
The review of: Zdenka Čorkalo, Šimun, Hrvatska kulturna zaklada, Zagreb, 2018
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The review of: Zdenka Čorkalo, Šimun, Hrvatska kulturna zaklada, Zagreb, 2018
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The review of: Marina Kljajo – Radić: Borba za život, Alfa, Zagreb, 2017.
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Reviews of: 1. Exit West, Moshin Hamid 2. The Refugees, Viet Than Nguyen 3. Home Fire, Kamila Shamsie 4. Unaccompanied, Javier Zamora 5. Thousand Star Hotel, Bao Phi 6. Joy of Missing Out, Ana Božičević 7. We Were Eight Years in Power, Ta-Nehisi Coates 8. The Future is History: How Totalitarianism Reclaimed Russia, Masha Gessen
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Već nekoliko godina makedonska književnost (i makedonska kultura uopće) suočava se sa fenomenom pojave sve više stvaralaca, a sve manje uživalaca. U slučaju književnosti, povećani broj izdavača, dostupnost izdavačkog procesa, ali i društvene mreže kao alternativna platforma na kojoj se plasiraju književna djela doveli su do stalne ponude naslova. U makedonskom slučaju, ova bujica je još veća jer postojano pada na glave malobrojne publike — što zbog generalno malog broja govornika i čitalaca makedonskog jezika, što zbog još ograničenijih čitateljskih poriva te (potencijalne) publike. Ove 2017. godine ta se publika isto tako suočila i sa svojevrsnom amuptacijom izvjesnog broja medija koji su se godinama nadovezivali na kulturnu produkciju popularnim pregledima i kritikom, dajući tako publici neke smjernice ili, što je još važnije, dajući joj prostor u kojem se mogao pročitati i vidjeti ne samo kulturni proizvod nego i malo dublje kritičko razmišljanje o njemu.
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Roman Breme izvjesnosti - Kazna pitanja i slast mašte upečatljiv je i potresan prikaz sirijske revolucije i njenog odjeka u svijetu. Upravo poput revolucije, roman je kompleksan, aktuelan, nezavršen i izrazito efektivan u svojim „mnogostrukostima" ako govorimo o radnji, likovima i mogućim porukama. Ove se mnogostrukosti neprestano prožimaju čime se intenzivira i sadržaj i struktura romana. Iz gustog prepleta događaja i ličnih priča, moguće je razabrati dva temeljna narativna bloka. Oba bloka, unatoč prepoznatljivim okvirima autorove biografije, nisu monolitna niti se kreću pravolinijski. Breme izvjesnosti počinje u Siriji portretom jednog Ijevičarskog pobunjenika protiv tiranije porodice Al-Asad. Nakon petnaest godina u tamnici, od revolucionara je ostala samo ljuštura „izglobljenog" čovjeka čiji pokušaj predavanja pisanju postaje besmislen u ozračju neprestane represije i torture. Vjeru u život vraćaju vijesti o arapskom proljeću i revoluciji u Tunisu. Uvjeren u „ponovno rođenje" arapskoga naroda, priključuje se mirnim sirijskim demonstracijama protiv režima. Trenuci „opasnog" nadanja bili su kratki, te ponovni revolucionar ponovno završava u kazamatu u kojem ga nakon brutalnog mučenja ubija režimski oficir, inače njegov drug iz školske klupe. Nakon ubistva njegovo tijelo „biva uredno secirano", a organi prodani u Evropu.
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Ovaj roman je čin oslobođenja. Rezultat je mukotrpne borbe sa spoznajnoteorijskom težnjom za hegemonijom nauke. Priznanje poraza, kao i dokument neuspjeha, ali u isto vrijeme i nadasve uspješan bijeg iz zatvorskih zidova dogmatike, trijumf slobodnog pripovijedanja nad strogo dokazanim pokušajima ispitivanja uz pomoć kritičke analize.
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Sedam strahova naslov je prvog romana književnika i novinara Selvedina Avdića koji se bavi jednim proživljenim intimnim iskustvom u poslijeratnom periodu. Do kraja neimenovani junak u Avdićevom romanu figurira, istovremeno, i kao lik i kao narator kojeg na svakom uglu posmatraju njegovi strahovi. Autor atmosferu priče gradi oko čovjeka koji je devet mjeseci proveo sam u stanu slomljen onim što ga je progonilo u proteklom periodu. Bračni raskol, posljedice ratnih dešavanja i iznenadna posjeta jedne žene čine priču čovjeka koji će se istovremeno naći u ulozi i svjedoka i učesnika. Tako koncipirana, priča što nam je nudi lik počinje da podsjeća na ispovijest. U toj se ispovijesti prepliću prošlost i sadašnjost koje su direktno vezane za potragu u koju se lik upušta. Okidač za potragu u romanu postaje posjeta djevojke Mirne koja sa sobom donosi priču o svom ocu koji je nestao 1993, u jeku ratne stihije. Avdićev roman počinje odlukom glavnog junaka, bivšeg novinara da izađe iz stanja pomućene letargije i neplanirano krene, preko potrage za Mirninim ocem, u suočavanje sa vlastitom sudbinom.
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Otvarajući svoju književnost novim poetikama i drugačijim shvatanjima umjetnosti romana Zilhad Ključanin je, kao malo koji bosanskohercegovački savremeni romansijer, razumijevao kako je romaneskna forma fluidan okvir pogodan za sasvim neobična i neuobičajena poetička i narativna oblikovanja. U prvoj fazi svoga književno-umjetničkog stvaralaštva, kojom dominira potraga za pjesničkom formom dovoljno pogodnom da izrazi nove tipove lirske osjećajnosti, Ključanin je razmišljanje o prirodi romaneskne forme zadovoljavao pisanjem književne kritike, gdje je jasno uočljivo njegovo opetovano pladiranje za djela koja razbijaju uvriježenu ozbiljnost modernističkog shvatanja romaneskne književnosti.
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Ovo što ću reći znaju pisci toliko pametni da svoje knjige ispisuju ljubavlju i pažnjom: postoje određeni romani koji toliko svoje pisce čine sretnim da, bez obzira što se okončavaju jednim umjesnim ‘krajem’, njihovi junaci nastavljaju sa svojim avanturama u piščevim maštanjima i izvan objavljene knjige. Neki od pisaca XIX stoljeća svoje mašte pokušali su objasniti u drugim i trećim tomovima. A drugi, koji ne žele pasti u klopku ponovnog spašavanja već spašenog svijeta, kao da hoće okončati ovaj novi i opasni život na kome može trajati njihova knjiga, na kraju svojih romana dodaju jedno poglavlje koje nabrzinu iscrpljuje moguću budućnost junaka.
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After a true initiatory journey, with dramatic sequences when it seemed that he lost his identity, Barbarius manages to return to his own self, the real man who can love and be loved. At the end of the novel, the protagonist achieves that much desired inner balance along with Dr. Zamfirita Micescu. However, we can not speak of eros without taking into account the desire, because the place where desire appears, also appears the needs to satisfy it. The feeling of fullness, inner balance, satisfaction manages to materialize through the harmonious fusion between the two forms of eros, namely sexuality and spiritual love. Therefore, we can state that along with Dr. Micescu, Caesar achieves a high hypostasis of eros. The narrator admirably manages to capture the reader's attention from the first chapter of the novel, which describes a passionate scene, of heartbreaking love that ends in a perverse cruelty and murder.
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The path from authors to readers requires a gynocritical approachwhich inevitably focuses on women’s literature, women’s aesthetics and creativity, the problem of the representation, and themes, motifs and forms of female authors. This papar will show that the novel Snopis by Jasmina Musabegović is read in the context of woman’s writing. The closeness of woman and writing is evident in this novel as well as the writing about her own life and experiences, and presenting intimate moments. Whereby, the novel can also be understood as a confession. The author presents the question of character’s identity through body and physicality, and through the motif of sleep. Thus, the aim of this study is to show that sleep serves as the narrative representation of the female experience.
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Review/Prikaz: Zilhad Ključanin, “Šeherezadina djeca”, Dobra knjiga, Sarajevo, 2014.
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This paper deals with analysis of stylemec aspect (structural/formal extraordinariness) and with the interpretation of stylogenic quality of sentential constructions created in the literary work of “Grozdanin kikot” by Hamza Humo. We investigated both aspects of the analysis of the sentence (stylemec and stylogenic) as dependent mutually and as integral parts of extraordinary sentential structure respectively that is potentially predetermined for passing of intensified expressiveness, especially stylistic effect.
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Formulaity as the basement for transfer of the oral prose tradition can be discovered in novelettes, as well. One can recognize the talent of a story-teller in examples of formula in individual performances. As a model, one can make use of novelettes from the manuscript collection of oral-literature kinds of a teacher, etnographer and writer for children, Hamdija Mulić, which were developed during his teaching period in Hrasnica at the beginning of 20th century.
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In the (post) communistic society was born, our female novelistic voice cannot avoid its politicization and ideological speech, so it produces women’s text that reflects basic social dichotomies of their cultural context and asks the ontological similarity of two genres, autobiography and the novel. It is legitimate to consider it sequence and at the same time, despite to the inherited literary matrix, and to acknowledge its poetic contribution which relieves some kind of constitutive surplus that faces us with uncontested view that women’s writing brings into our tradition of novel - the concept of difference. It is actually the beginning of women’s tradition that unites the persistence of tensions in our own ambivalence and streaming to establish a women’s common sense about women, about her creativity, the language that speaks about her...
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The aim of this article is to seek some significant directions in culturalism and elements of high and low culture in the novel “My name is Red” by Orhan Pamuk. In these last years Pamuk, who is the most read Turkish author, sold many works and attracted not only domestic audience but also foreign audience, hence building himself an international career. Proof of that is a huge variety of rewards and acknowledgements, among which Nobel Prize for literature. The novel, that ensured a renowned place for Pamuk in world literature, will be here presented as attractive love story, an exciting thriller and a fascinating tale about differences in eastern and western understanding of religion, art, love and life as whole.The final goal is to show how cultural studies, and popular culture as a part of them, become dominant element in modern and postmodern novels and to prove that connection between literature and culture has become indivisible.
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This paper primarily deals with Humo’s novel Grozdanin kikot from 1927, but with the aim of more complete scientific conclusions, it is supplemented by reading stories similar to Kikot, like Kaja (1926) and Priča o Jasiki (1927). However, since the idyllic-harmonic chronotope includes the one activated in the space of nature, as well as the one which is identified with the past, traditional ways of life (e.g. the tope of sevdah), thus the paradigmatic stories Sevdalijina ljubav (1925) and Krnata (1926) are included in the interpretation. The interpretation shall first critically consider the existing reading of the novel, which interpret it as a narrative of the final liberation of the subject from the anxiety of the historical space in order to integrate it into the nature as a new authentic chronotope of existence. However, our reading is based on demonstrating the unilateral stabilization of the subject: the stabilization which will problematically draw the line on the territory of gender unitarianism and supremacy. In order to demonstrate this polarization, one first has to redefine the chronotope of nature (Bahtin et al.), followed by the harmonically-idyllic mythical space and time, and the counterpoint (n)Nature / (c)Culture. The following question will be raised: Is Grlica’s suicide the confirmation of natural selection, which would, of course, correspond to the process of ‘naturalizing’ Kikot, or is it about subject interpelation and the ‘choice without choosing’, or in the end, about the place where paradoxically the subject is conceived!? Furthermore, in the context of the selected corpus by Humo, the question is raised about the adequacy of re-actualizing myth and tradition, and Humo’s temporal retroversion in the sense of subject abolition, who, having lost one locating space, thus the ‘traditional horizon of sense’ (Charles Taylor) has to search for a new one.
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The text is a fragment from Cnstantin Arcu's journey book.
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