Dijana Hadžizukić: Zapisi o bosanskohercegovačkoj književnosti
Review of: DIJANA HADŽIZUKIĆ: ZAPISI O BOSANSKOHERCEGOVAČKOJ KNJIŽEVNOSTI, FAKULTET HUMANISTIČKIH NAUKA UNIVERZITETA „DŽEMAL BIJEDIĆ“ U MOSTARU, MOSTAR, 2018.
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Review of: DIJANA HADŽIZUKIĆ: ZAPISI O BOSANSKOHERCEGOVAČKOJ KNJIŽEVNOSTI, FAKULTET HUMANISTIČKIH NAUKA UNIVERZITETA „DŽEMAL BIJEDIĆ“ U MOSTARU, MOSTAR, 2018.
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In the drama Teferič, as a result of the use of the genre elements of burlesque and the ideological startingpoints of Marxist humanism, Derviš Sušić deconstructs the rooted epic-patriarchal stereotypes of the fate of power as a timeless repressive force that survives due to the subservient consciousness of the oppressed classes. At the same time, according to the Marxist odium towards the class foundations offeudal chivalry, the author demystifies the epic heroic identity, bringing an end to the deepisation of Bosniak hero Đerzelez (started by Andric), who has been deprived of all attributes of honor and morals in this drama.
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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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In former studies Bosniak oral literature, oral literature for children has not been treated as a separate area. She was covered in fragments, as a cultural formation, and remained in its own hermetism, inferior to literature for adults. Due to centuries of ignoring such a fact of the existence of oral literature for children, the fundamental issues within this area, remained unlighted. It is not surprising, given the fact that the literature for children in Bosnia and Herzegovina, as a corpus separatum, has long been ignored and minimized. Systematic study of literature for children in B&H was approached only in the middle of last century and many questions are still left open. Oral literature for children, incorporated in the entire oral art, subject to generally accepted literary theory classification of genders and types, and was not considered and studied as a separate segment. It is therefore necessary to conduct the revalorization of oral literary texts in order to isolate the corpus for children and determined it terminologically as “oral literature for children.”
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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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Sevdalinka, which has preserved the cultural code of Bosnia and Herzegovina for centuries, represents a challenging research material for the analysis of Bosnian-Herzegovinian everyday life topics, especially of the language these topics have been coded into. Sevdalinka song has survived through centuries, and numerous modifications and artistic interpretations by different authors prove that the values which sevdalinka is based on are very interesting and close to the cultural sensibility of Bosnian-Herzegovinian society to this day. This paper analyzes English translations of sevdalinka songs, available on the Internet, in order to identify key cultural concepts that are intriguing to translate. Since translation always happens at a cultural level, such analysis of English translations of sevdalinka points at specific culture-related lexemes whose cultural noise indicate their original Bosnian-Herzegovinian value. The paper thus also examines the level of translatability in the area of human relations, especially love, as well as the social and family roles that appear in sevdalinka, reflecting the values of Bosnia and Herzegovina.
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The work analyzes the borderers’ Cyrillic letters from the Berčić Collection that are stored in the Archive of the National Library of Russia in Saint Petersburg. Besides the letters that have been recently published by S. O. Vjalova (2014), the work analyzes and transliterates two more unpublished letters: the letter of Ahmet-beg Jusufbegović (ОР РНБ, Берч. 66), captain of the Bihać province, addressed to the governor of Skradin, and the letter of Mahmut-beg Salihpašić (ОР РНБ, Берч. 62), captain and commander of the Ostrvice province, addressed to serdar Paosavljević, commander of the Šibenik province. The work also comments on the most important paleographical, orthographic and linguistic specificities of these letters.
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Bosniak and Croatian culture are multiply interconnected in different areas, including the area of cultural heritage, and, consequentially, in certain periods of time these ties and relations have been of crucial importance for both of these cultures. This was the instance especially after the Austro-Hungarian occupation of Bosnia in 1878 when Bosnia, after over four centuries of Ottoman administration, has been reinstalled in the modern Western European culture and civilization, leaving behind its previous Oriental-Islamic context as its primary and crucially setting cultural and historical framework.The aim of the paper is to shed light on the processes of the pro-European acculturalization of Bosnia in which one of the key roles was assigned precisely to the Croatian culture as the first neighboring culture to Bosnia of the Western-European type. Exceptionally important traces of these cultural ties and relations have been preserves in the Bosniak journal production in the late 19th and the early 20th century, including the most significant Bosniak literary and cultural journal of the age entitled Behar (1900–1911), which also included texts of Croatian authors of the age. Among other things, the content of the paper provides concrete examples of the role of Croatian authors in poetry, prose and translation in Behar, shedding light on the Bosniak – Croatian ties and relations in the late 19th and the early 20th century, all in the context of the epistemological framework of digital humanities, pointing simultaneously to new possibilities of studying both the history of literacy and the history of literature, i.e. the literary journals as a part of the (inter)cultural heritage.
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Andrić's creative soul in the timeless present, opens wide like the doors and windows on a house on the steep Alifakovac in Sarajevo, all the way to the deepest well in the soul, to the soul's endlessness, so that it could accept all of those who would like to enter the story and to point to the bright and pristine ”heavenly” moments of the soul, and even more to the dark ones, sinful and shameful, horrifying and tragic, now and forever intervowen into the Mann's “festivity of the story”. These stories by Andrić are but walking shadows and states of the soul. Searching for and recognizing the irrational moves of the soul and its timeless forms, the genuine stories of this The House on Its Own are the depths and the essence, or as Mann put it: ”the blessing of the sky above and of the depths below”. One of the last books by Andrić, consisting of interconnected short stories, deconstructs the narrator's creative technique and reinterprets the author's idea from the essay Of stories and story telling – that literary discourse is equal to historical truth. Both history and fiction are but means of telling stories about the central, eternal and timeless – about the human soul.
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In this paper, the author examines the relationship between literary creation and the social circumstances in which the prose of one of the most important writers of contemporary South Slavic literature was created. In doing so, the author points out the unique skills of Mirko Kovač to place a cultural and traditional world into the fictional literary space by reconstructing real historical events and engaging in literary play of different narrative strategies. Kovač’s world functions as a testimony of a time, which is given a symbolic and mythical dimension. In his narrative procedure, Kovač draws material from the social reality which surrounds him, processing and adapting it to the concept of text that is being born. This leads to duplication of fictional and mimetic, mythic and symbolic. Thus, modelling the material from one reality to another, Kovač engages in documentary discourse, aiming to snatch the work from the hands of the average reader.
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(New)historical novels Bitter taste of the soul (Gorakokusduše), Freeing the devil: Chronicle (Oslobađanje đavola: Kronika) and Introduction to the fortress: The Bible for unbelievers, (Uvod u tvrđavu: Biblija za nevjernike) in the literature of literary science also known under the name Dubrovnik trilogy, Croatian and Bosnian writer FeđaŠehović wrote in the eighties of the last century under the pseudonym Raul Mitrovich.Writing under the pseudonym would be no totally estranging process of literary production that Šehović pseudonym choice does not match the name of one of the characters (the compiler of the manuscript) in the concluding novel of the trilogy, thus setting the intertextual and outertextual borders as unspecified and fluid. Shaping the destiny of the characters (especially the characters that carry the role of “author” of the record) and conventions of an inscription found (in the context of intertextual relations) they are components of novelistic structure representing guidelines for questioning the status of the author within these Šehović novels. The issue of authorship in this paper will be observed on the entanglement of popular Barthes’s thesis on the author’s death (1968), which, among other things, grows out of the context of intertextuality as the general characteristic of each text, and Foucault’s attempt to, with syntagma author-function, rather than once again confirms death / disappearance of the author, “locates the positions where it fulfills its function” (1969).
More...odnos poetike i egzistencije u poeziji Amira Brke
In the poetry of Amir Brka is represented the special cultural self-referentiality, it is about the relation of the poetry against the existence in the coordinates of the mentioned social-historic field. In so many numbers of his songs we can recognize this phenomenon, meaning that here is poetry in the significant way determined by the existence in Bosnia considering to the selfreferentiality which is reflected by the way that Brka thinks about in his poetry. This poet is preoccupied with history, with human misfortunes and in the need of understanding the human first, him and his position in the time that he lives in, he sings before and after the war. The poet Brka shows how the poetry is referenced on the character and the circumstances of the country he lives in and what is his opinion that he reflected through his poetry. A reality that was destroyed by the war and afterwards with the war traumas, by one his word, are the hard historic experiences, that are obsessive theme of this poet. Within his poetry, historical fate is never explicity expressed, no images of war of terror, but through his own life trauma, or through images of individual human destiny is told in fate. His poetry bears witness to the historical fracture, human, but also poetry speaks of poetry inside that unfortunate moment, namely: bringing synthesis of historical relativity, moral and metaphysical absolute.
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Due to the gradual breakdown of the socialist realism a consciousness emerged that has led to the formation of modern socialist theories. These theories established the foundations for the emergent neo-historical drama as the realization of obvious social needs for political theater, developed as a specific form of neo-historical drama in the region. In 1967, with his play Bosnian King, Miroslav Jančić launched a drama circle with neo-historical themes. In the theatrical mess called Baš-Baščaršija (1970), Jančić used and processed the turbulent and turning period of Bosnia-Herzegovina's history, that brings together the turbulent cataclysms of the First and Second World Wars, as well as the period between the wars. At that time he found and psychologically precisely dissected the most important problem that Bosnia has always been exposed to and that all his playwriting is based on. This issue is the problem of inter-ethnic (inter-religious) hatred, which persistently leads to the denial of a common, Bosnian identity. Jančić's play Baš-Baščaršija is a neo-historical text with the utilitarian tendency to be a mirror of social reality, but it turns into a political satire of modern humanity that includes the microcosmos and macrocosmos of human life.
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U radu je prikazan metodički pristup jeziku romana„ Derviš i smrt“ Meše Selimovića i mogućnosti uočavanja jezičkih vrednosti Selimovićevog jezika i njegove primene u školi. Dali smo zadatak, da se, iz školskog aspekta studiozno pozabavimo romanom i da istražimo neke komponente njegovog tumačenja u današnjoj školi. U radu se razmatraju jezik, stil i kompozicija Derviša. I pritom se, uglavnom ukazuje na filozofiju jezika Meše Selimovića, što je sigurno jedna od njegovih estetičkih dominanti, a analizira se i problem leksike u delu: „Turcizmi u romanu...“, te njihova upotreba i stilogena vrednost. Ovaj vid moguće jezičke-stilske analize romana pokazuje kako forma može i često treba, da bude relevantna u školskom tumačenju književnog dela.
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У раду се, кроз упоредну анализу четири драмска текста, четворице аутора (Алексе Шантића, Милана Огризовића, Владислава Тмуше и Љубомира Симовића) разматра начин преображаја предлошка – народне баладе Хасанагиница. Посебна пажња посвећена је развојном луку Хасанагиничиног усуда који условљава смрт над дететом у колевци. Обрада Хасанагинице условила је реинтерпретацију мотива стида који води до мотива лудила, мотива од пресудног значаја за драмске расплете. Четири драме, настале током 20. века, на различите начине приказују удес Хасанагинице, у широком распону – од отете жене, симбола јунаштва, верне љубе, па све до доброг политичког потеза.
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Плесно остварење Проклета авлија, у кореографији Дане Рутенберг и у режији, према концепту и у сценографији редитеља Небојше Брадића, након свог летошњег, премијерног извођења у Будви, недавно је у Народном позоришту у Београду имало и своју београдску премијеру. Овај балет дочекан је, разумљиво, са нескривеним ишчекивањем, али и високим очекивањем наше балетске и културне јавности, будући да је реч о првој кореографској адаптацији овог дела нашег нобеловца.
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Priča o čoveku koji je dva puta poverovao da ima čvrsto tle pod nogama (prvi put u veri, drugi put u moći) i oba puta doživeo da sve ispadne samo obična varka, može se izdvojiti kao središna tema romana Meše Selimovića. Sudbina pojedinca koji se nadao da je pravda jednaka za sve (a da je istina najveća vrednost) i njegovo suočavanje sa stvarnošću u kojoj se pravda otkrila kao nehumana (a istina kao surova) zapravo je jezgro unutar kojeg se prošlost i sadašnjost, aktuelnost i večnost, odbrana i optužba, neprekidno prepliću i poništavaju.
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