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Poznato je kako je u samoj osnovi pjesničke poetike Maka Dizdara figurirao postupak referiranja prema skupini starih bosanskih i apokrifnih tekstova, kako na formalnom (jezik, sintaksa, metaforika) tako i na sadržajnom planu ulaze- ći u citatnu polemiku ili naprosto odnoseći se spram toga korpusa tekstova u formi aluzije, komentara, parodiranja ili konačno sadržajnih posudbi kakvih imaju svi tekstovi i tekstopisci. Mihail Bahtin tvrdi kako je naš govor uvijek dijalog, replika na nečiji tuđi govor, uvijek s nekim razgovaramo pa svaki naš iskaz nužno ima dijalošku potku.
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Pjesnička zbirka Kameni spavač Maka Dizdara, a potom, preko nje, i ostatak pjesništva ovog autora, odavno je znatno više od puke književne umjetnine, više od umjetnosti riječi u n`jezinu uobičajenom uobličenju. Kako se to jasno vidi iz najvećeg dijela njezine književnohistorijske recepcije te pozicije koju zauzima u samom vrhu domaćeg, odnosno i šireg – bosanskohercegovačkog i užeg – bošnjačkog književnog kanona, ova jedinstvena pjesnička knjiga tokom vremena postala je, naime, i izrazito složena kulturalna tvorba, pojava sa značajnim učincima izvan čisto estetskog okvira književnosti, a zapravo mjesto koje se razumijeva ne samo kao mjesto vrhunskog pjesničkog odgonetanja „čovjekove situacije“ i „ljudske sudbine“ (što ova pjesnička zbirka nesumnjivo jeste), već i kao mjesto osobene autorski vođene potrage za identitetom čitave jedne literature, ali i cijele jedne kulture te zajednice kojoj ova pripada, baš kao što danas, u našem savremenom trenutku, zasigurno jeste i jedno od posebno važnih mjesta na kojima se na način literarne, kulturalne te kolektivne autorefleksije zasnivaju i neki od naročito značajnih, čak i temeljnih konstituenata i literarnih, i kulturalnih, i kolektivnih identiteta unutar šireg tekućeg bosanskohercegovačkog društvenog stanja.
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Irfan Horozović is an example of a writer who is created out of territorial, linguistic, ideological and existential framework of the home environment has become the spotlight of recent theoretical considerations that it emphasizes his identity / diversity. The ultimate goal of this book is to show in the case of Irfan Horozović how specific feature of Bosnian literature shares their writers with other literatures is in fact not a disadvantage but an advantage and with that it gets the diversity and interculturalism (Džafić, 2015), openness and specifics, which are all important characteristics of modern literature.Taking into account the spatial turn as a newer model in the study of literature, this book is basically moving in two directions, thus establishing two main hypothesis. The first hypothesis relates to the identity of the individual – in what way the identity is realized and / or built into contact with otherness (others) to point to the (lack of) strength of that identity (his weakening or strengthening), but also what is the role of the spatial movement during the process. The second hypothesis concerns the intercultural literature - in what way the area as a category within the literary work establishes and strenghtens intercultural relationships of the individual and the collective. By consideration of space in Horozović's work is observed how his protagonists with constant recognition and search for their own starting points set up specific intercultural topographies. At the same time the process of recognition is marked by areas in which the protagonists move on acquiring and conquering/adopting different identities. Those spaces are based on specific (o)positions: inside/outside, below/above, indoor/outdoor, private/public, here/there and separate topos: city/province, street/room, house/town, pub/inn, basement/ attic. Referring to the real spaces, spaces in this paper are divided into the spaces of faction, fiction and fantasy, which are the main chapters of the paper. Faction areas are related to the actual motion of the author in which process the cities of Banja Luka as the first and main topos and Zagreb as a study and a central topos are largely covered where the space between ensures Horozović to be placed in intercultural context. On the other hand, the spaces of fiction and fantasy are the spaces within the works in which the protagonists exist at the level of personal search for themselves in which movement these spaces become the point of convergence of deeper, essential connections of past and present, isolated spaces, and sometimes non-spaces and unreachable places, that eventually be turned into sentimental sanctuary places. Irfan Horozovic, as an author who has created within the two literatures, is tied to two (or more) topos, settled into the space of the text by statements such as the one that "belongs to the language he writes” while giving readers the freedom to place him in their personal receptive space.
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It is difficult to describe the way Radmila Karlaš writes, because it really is not something that is encountered every day. Her stories take place in an undefined time that may be ours, but it may also be fifty or a hundred years ago, because they are deprived of everything that could be burdensome in terms of a specific timeline, and focused on the essential. There are only people in them, their mutual relations and the forces that affect them, and which do not have to be from this world. And it's something that sometimes makes you shudder, because those stories are sometimes on the verge of fantasy, but it's not epic, or science fiction, or some fiction from horror literature, but something that strikes at the very core of our collective imagination and doesn't stop until we don’t stop with reading, and sometimes after. Radmila's language is extremely polished, her descriptions are clear and we can easily imagine everything she writes about in front of our eyes. And because of that, everything we read leaves an even stronger impression on us.
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This is poetry that does not run away from confessional, but the author does not intend to present her childhood struggle to the readers and burden us with personal experiences. Her obsession is more with the world she sees, the one around her, closer and further, foreboding in the past and the one that is just becoming through forebodings - one at the same time a magical and cruelly naked world, all built in opposites. In tenderness and rudeness. This is where the strength, dynamism and beauty of her poetry begins. And in the ability to easily describe things in many ways and from completely different and often opposing perspectives. Her range of interests, which find their place in poetry, is very wide - from philosophy, through classical art, feminist icons, geography, tourist maps of cities, to pop culture. Here, in the same place, you will meet Aztec and Mayan gods, heroes and heroines of Mexican series, paintings from the Sistine Chapel, women from Caravaggio's paintings, heroes from anime, Roman goddesses and many close, everyday deities that the author revives before us, which she finds on the streets of distant cities or on a bus while driving to work.
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This book, in a way, engages in a polemic with texts which interpret avantgarde exclusively in the context of a destructive and negatory attitude toward tradition as such. It aims to present Dizdar’s best collection of poems as an exceptional, unique example of an avant-garde text, and to discuss Stone Sleeper from a somewhat different angle.As is known, the main task the avant-garde movement took on was to create a kind of art which would correspond with the basic principle of life – the principle of perpetual renewal; the stress avant-garde laid on the written word was informed by a deeply-held conviction that poetry is able to revive lost or forgotten worlds, but also to remember and in this way save worlds from disappearance and death. Stone Sleeper is a magical, lyrical inscenation which fulfils this task by placing trust in, and paying particular attention to the written word. Dizdar’s focus on the word, as one of the fundamental principles of avant-garde, is motivated, of course, by the subject matter of Stone Sleeper,its inspirational basis. The stećak1 is Dizdar’s fundamental artistic reference.In an attempt aesthetically to express the weight, hardness and substantiality of the stone and the facture of the sepulchral word and letter, Dizdar revives the petrified word of the Bosnian epitaph, masterfully demonstrating how creative potential of poetic language, from which an entire forgotten world emerges, is awakened.Avant-garde is also characterised by the principle of innovation. At first glance, and first glance only, this principle does not fit into Dizdar’s aesthetics.For, as has been said in one of the manifestos of the Russian literary avant-garde, “(...) New subjects and objects of creation do not determine its true novelty, and a new light cast on an old world may bring about a most wondrous play.” Stone Sleeper is one such spiritual delving into the silent primordium of Dizdar’s native land and culture. Instead of progressive movement toward future, amid the roar of time, in Dizdar, just as in Russian acmeists and some futurists (Khlebnikov), we find innovation asa recreation of direct, vivid experience of the world through primordial meanings of the words whose sense had either been petrified by prolonged everyday use and is thus in need of de-petrification, or completely forgotten and needs to be resurrected. Such words in Dizdar’s poetry are invested with power, or, as K. Prohić says, with “naturalness of elementary truths and unmediated experience.”
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The diversity of the texts and topics of this book of essays, third in a row,titled Doticaji i suočenja III (the first one – Doticaji i suočenja – 1976, andthe second one – Doticaji i suočenja – 2002) comes out from the fact that those texts were emerging, were written and published in the Bosnian-and-Herzegovinian periodicals over the time period of several years and they represent a result of both the author’s literary-critical and literary-theoretical research and even intimate reading, as well as of a fascination with some writers and artists, or with their individual accomplishments.The first part of the book consists of the essays on individual pieces of artistic work, which according to the author, must not be neglected or left out concerning the critical reception. Among others, it deals with the novels of Sead Fetahagic Jednog dana jedna žena negdje (2001, and the 2ndedition 2003) and of Nenad Velickovic Otac moje kćeri (2000), which are combined, maybe, with a syntagma of the “war writing”. In the first part of the book the place also belongs to the texts written on the occasion of marking two important anniversaries – one of them dedicated to the hundredth anniversary of Chekov’s death, and the secondone written on the occasion of the death of the Russian Nobel Prize winner A. I. Solzenjicin.There are also the texts on Bosnian-and Herzegovinian poet writers,that is, on some of their poems. The essay Intepretativni zahvat u nizu Skenderovih soneta – ekfrazisa dedicated to the following Skender Kulenovic’s sonnets: Tarih za Karadjozbegovu džamiju, Tarih (II) za Stari most,Ničija već moja, with the topic on Mestrovic’s monument to Njegoš with a subtitle Tarih; two sonnets related to buildings (Sahat kula – and Tvrđava)and one sonnet, which takes a sculpture for its object of artistic reflections (Vaze). Dvije pjesme Muse Ćazima Ćatića is a text about two excellent works of this Bosnian and Herzegovinin a writer, about the pomes Reminiscenca and Teubi-Nesuh, whereas the theory of ecphrasis is used as a basis for interpretation of Abulah Sidran’s verses (the poem Hrast i knjiga – u ateljeu Ibrahim Ljubovića from Sarajevske zbirke, dedicated to painter Ibrahim Ljubovic and his canvases (the essay titled Iz slike u stih).
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Im Buch Kulturemi u romanima Ive Andrića (Kulturspezifika in Ivo Andrićs Romanen) wird ein Vergleich der Kulturspezifika in deutschen und englischen Romanübersetzungen von Ivo Andrićs Na Drini ćuprija (Die Brücke über die Drina) und Travnička hronika (Wesire und Konsuln) angestrebt. Unter dem Begriff „Kulturspezifik“ werden die kulturspezifischen Gegebenheiten, die eine Kultur charakterisieren und die für sie spezifisch sind, zusammengefasst. Es handelt sich um Bezeichnungen für sprachlich und/oder kulturell Fremdes, um Wörter, Ausdrücke, Begriffe etc., die für den Leser, der aus der gleichen Kulturgemeinschaft stammt, innerhalb derer der Originaltext verfasst wurde, leichter zugänglich sind als für den Leser der Übersetzung.Kulturspezifika spielen eine wichtige Rolle in den genannten Romanen – ihre Protagonisten und ihre Weltanschauungen sind unauflöslich in den Rahmen der jahrhundertelangen gesellschaftlich-historischen Prozesse, die in Bosnien stattgefunden haben und die von Andrić meisterhaft beschrieben worden sind, eingebettet. Ohne Auseinandersetzung des Lesers mit dem äußerst komplexen religiösen, politischen und soziokulturellen Kontext Bosniens, dessen Verworrenheit sich deutlich in den zahlreichen Kulturspezifika widerspiegelt, sind diese Meisterwerke nicht zu verstehen. Deshalb ist die Aufgabe des Übersetzers, die Besonderheiten des bosnischen Kulturkreises dem nicht-bosnischen Leser näher zu bringen, von so großer Bedeutung. Außerdem wurden diese Romane (vor allem Die Brücke über die Drina) im englisch- und deutschsprachigen Raum als vorzügliche Lektüre für das Verständnis von Nationalitätsproblemen in Bosnien beworben – davon zeugen die paratextuellen Elemente von Andrićs Werken, die im Rahmen dieses Buches genauso detailliert analysiert wurden. Die Chroniken des Nobelpreisträgers dienen somit als Schlüssel für die Annäherung an das „vergessene Land“ und werden von der Leserschaft als repräsentatives literarisches Beispiel für die Begegnung und das Kennenlernen dieses exotischen Kulturraumes angenommen. Deshalb wird es für wichtig erachtet die deutschen und englischen Übersetzungen anhand der Kulturspezifika auf ihre Verschiedenheit hin zu überprüfen. Ziel der Arbeit war es zu erkunden, ob die kulturspezifischen Besonderheiten Bosniens von den verschiedenen Übersetzern identisch übertragen wurden.Das methodologische Gerüst wurde in Anlehnung an Pernilla Rosell Steuers Dissertation (2004) aufgestellt. Sie untersuchte den Roman von Günter Grass Ein weites Feld (1995) in fünf verschiedenen Übersetzungen. Dabei wandte sie die sog. „Transfer-Methode“ des Göttinger Sonderforschungsbereichs „Die literarische Übersetzung“ (SFB 309) an. Die von ihr entworfene übergreifende Skala von Vorgehensweisen zur Übertragung von Kulturspezifika, die ein Kompendium aus mehreren Theorien unterschiedlicher Übersetzungswissenschaftler darstellt und von Übernahme bis zur Auslassung reicht, bildete die Grundlage für diese Untersuchung.
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The book deals with the issue of witnessing war and remembering war trauma in a Bosniak novel with a theme from the 1992-1995 war showing the perspective of a victim/witness of a difficult historical moment such as war. Writers and their works included in this research, apart from fictional ones, carry important historical values: writers are historical witnesses and victims, and their works are resistance to all forms of war devastation. The research focus includes the following novels published in the period 1995 - 2005: Dževad Karahasan's Night Council and Sara and Serafina, Jasmine Musabegović's Women.Voices, Nedžad Ibrišimović's Book by Adem Kahriman, Zilhad Ključan's Šehid, Nermina Kurspahić's Disappearance of the Blue Riders, Irfan Horozović's Similar Man. The research is divided into three thematic parts based on the concepts of the theory of testimony and the theory of memory: the first part deals with postulating the figure of the witness in the mentioned novels, recognizing its ethical values. An important segment in shaping the figure of a moral witness is the identification in the historical experience of ancestors and the community of the dead. The second part of the book goes into the factual places where the writers and their characters move, portraying how literary testimony is recorded in places such as Vijećnica (National Library), the Sarajevo Rescue Tunnel, Ferhadija, city spaces under siege such as Sarajevo, Mostar, Banja Luka also shaping the space of exile. All spaces, except real ones, carry symbolic values. The third part of the book opens questions about the possibility of the literary text as a space of authentic witnessing, starting from the terms such as Bakhtin's polyphony, and dialogicity from which intertextuality emerges as an artistic place of articulating war trauma and historical experience. In the intertextual key, the relationship of the small story to the big ones constructed over time in different forms of culture such as religion, history and literature is questioned. All the novels portray war as a horror, calling for dialogue, humanism and preservation of memory and remembrance.
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The book Novelistic Gardens of Dževad Karahasan consists of texts dedicated to the author's topos such as: garden, city, the relationship between the inner and outer (the meaning of the border / door), death, the semiotics of letters and writing, while the first part of the book provides a brief description of each of the six novels. The research corpus included the novels: Eastern Diwan, Šahrijar's Ring, Sara and Serafina, Night Council, What the Ashes Say and Introduction to Floating. Each of Karahasan's novels offers different reading possibilities, but, with regard to the chronotopic determination and compositional structure, we can basically divide them into two groups: Eastern Diwan, Šahrijar's Ring and What the Ashes Say, on the one hand, and: Sara and Serafina, Night Council and An introduction to Floating, on the other hand. The first group consists of novels whose textual characteristics are predominantly postmodernist, with a metatextual framework in which an old manuscript was found in focus, and with a multitude of different chronotopes and narrators. The author links the second group of novels to the recent history of Bosnia and Herzegovina, and their composition is much simpler than that of the previous ones. The Night Council takes place in 1991 in Foča, while the plots of the novels Introduction to Floating and Sara and Serafina are set in besieged wartime Sarajevo. Even though, these novels completely exhaust their chronotope in pre-war and post-war Sarajevo and Foča, their protagonists' search for wholeness, identity and freedom, a story about evil and crime, a story about sacrifice and betrayal, a story about the position of bastards in a single-minded political system, the meanings of borders, writing, longing, carnivalization etc., make these novels an inseparable whole with the previous ones. The play with the text, which is visible at first glance in the first group of novels, is now hidden, so it is more complex.
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