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Izuzetno mi je drago što je ovaj skup vezan za ime plodotvornog i u mnogo čemu originalnog pisca Saita Orahovca. Prisetimo se da je Orahovac bio toliko zaokupljen temama i idejama iz bosanske i drugih sredina i iz svakodnevnog života. Duboko je osećao čoveka, doživljavao ljudske sudbine, strepnje, patnje i stradanja. Sait Orahovac je autor preko 20 knjiga poezije i proze i bez sumnje značajno ime u istoriji bosanske literature XX stoleća. Spadao je u inventivne i zaslužne književne stvaraoce što potvrđuju njegove brojne knjige poezije i bogato životno delo. Uporedimo li mu zbirke pesama između dva svetska rata, a to su: Vihori uzdaha (Podgorica, 1928), Nemirne svetiljke (Sarajevo, 1930), Motivi iz Bosne (Sarajevo, 1931), Usponi (Nikšić, 1933) i Lirska saopštenja (Sarajevo, 1938, drugo dopunjeno izdanje u Beogradu 1939) sa knjigama nakon 1945., gde spadaju Vrisci i kliktaji (Sarajevo, 1946), Soneti (Sarajevo, 1953), Sonetska senčenja (Sarajevo, 1957), Korak do zida (Sarajevo, 1966), Soneti i minijature (Sarajevo, 1971), Izbor pjesama (Sarajevo, 1974), Krug se zatvara (Sarajevo, 1980), Slapovi: izabrani i dopunjeni soneti (Titograd, 1983) i Biserna orglica (Banja Luka, 1990) možemo konstatovati nekoliko bitnih i zajedničkih obeležja Saitove poezije.
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Religious studies class already incorporates fable within its structure. However, the author is of the opinion that this program, especially its didactic and methodical dimensions should be developed further. In this article the author presents some potential forms for applying fables, collected by Mehmed-beg Kapetanović Ljubušak (1839), to the religious studies class. Ljubušak was an author as well as a collector of fables, tales proverbs, aphorisms and poetry. He spent greater part of his life collecting and preserving this heritage that is today published in collections “Narodno blago” i “Istočno blago”. He gathered hundreds of aphorisms and fables that were later published in collection titled “Basne i poslovice” (fables and aphorisms). Ljubušaks’ fables reflect religious messages, moral instructions, social guidelines and universal values that may well serve in shaping education and upbringing as a public good in religious studies class.
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Budding and true development of our literature, poetry as well as in prose was initiated with the arrival of Islam. Becoming a part of the Islamic culture and civilisation, our authors, inspired by oriental literary heritage, particularly regarding divan poetry, have written verses often with complexity of expression, content, deep spiritual message and exceptional talent surpassing often the verses of their predecessors who inspired them. Themes and motives that stirred the inspiration of our poets are numerous. Tasawwuf is the most inspiring and most inherent theme of our poetry. Sufis view of the world and the life and their system of living that was often practiced by our poets, has greatly influenced their writing. The impact of this type of writing has a particular significance in presenting this spiritual-cognitive aspect of the awareness of our people. It is a specifically notable tendency of our poets to stir the true feeling of affection for God in our people thus waking within a desire to set one’s life path in accordance to His will. Reading their work we may notice three basic dominating motives: love, vine and beauty.
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This paper analyzes Lijeve priče (Left Stories) by Alija Isaković within the contexts of children’s literature and the author’s poetics.. In Lijeve priče Alija Isaković addresses a young reader in an original way, without false moralization or idealization. The importance of Isaković’s Lijeve priče inthe context of Bosnian-Herzegovinian prose for children lies in its departure from traditional topics and canonized style of children’s literature, as well as its discreet reliance on the previous cultural code, mirroring the author’s poetics.Unlike traditional stories for children, which genre-wise vary from fables to fairytales, Lijeve priče offers a particulry interesting selection of topics which extend well beyond the expected horizon. Thus,among others, the book explores transience or death, a highly unusual theme in children’s literature. Stylo-linguistically, the piece is a true storehouse of jargon, verbal and non-verbal communication tools. It is because of that that Lijeve priče is recognized as as the Bosnian-Herzegovinian prose in jeans, sharing almost all the characteristics with this prose category. Thanks to its adept verbal games and an abundance of stylistically marked lexemes, Isaković’s Lijeve priče yields a speciϐic type of humor with a softly parodic and satirical observation of real-world details and phenomena combined with fantastical elements, which also appear in the text. Finally, Isaković’s stories are disburdened of traditional moralizationand the young-reader-unfriendly type of didacticism. The narrator appreciates the implicit reader’s moral and intellectual integrity , which is why the paper acknowledges Isaković as a classic of Bosnian-Herzegovinianchildren’s literature.
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Religious subtext of the novel Death and the Dervish is an unavoidable starting point for its interpretation. Besides, the religious subtext of the novel has not been researched enough yet. The novel is pervaded by the islamic simbolism for that his cyclic composition, wich points out the circle dance of Mevlevian Dervishes is an example. The quotations from the begining of each chapter are very different from the original Koranic text. The majority of the quotations have been totally extracted from the context by wich they have got absolutely different meaning from the Koranic. The central story inserted in the subtext of the novel is the story of God emissaries who, preaching the true religion come into a conflict with the rulers and are exiled. Quotes from the works of well known Islamic philosophers point to a possibility of interpreting the novel Death and the Dervish from the view point of the Islamic mysticism, while the traditional folk myths and beliefs in the subtext of the novel complement the intricate religious subtext of Selimovic’s work at hand.
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Činjenica je da nam novija stručna i naučna literatura iz usmene bošnjačke i bosanskohercegovačke književnosti nudi dvije neujednačene, odnosno različite verzije teksta balade o Hasanaginici. To je, uz podsjećanje i ukazivanje na nekoliko najnovijih istraživačkih poduhvata na temu sadržaja i originalnosti Hasanaginice, više nego dovoljan povod da se ovom pitanju posveti pažnja istraživača.
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Neznatan je broj autora koji su svoje lingvističko istraživanje usmjeravali na književnoumjetnička djela bosanskohercegovačkih pisaca. To nikako ne znači da o jeziku pisaca Bosne i Hecegovine dosad nije pisano. Činjenica je da je jezik u književnim djelima bosanskohercegovačkih pisaca zanimljiv, izražajan, autentičan i pogodan za različite istraživačke pristupe.
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This research paper deals with the lexical level of the linguistic structure of Songs and undersongs from Bosnia and Herzegovina, collections of lyric poems, ballads and romances that represent a result of the Czech melograph Ludvík Cuba’s four-month collection work in 1893. The aim of the paper is to record and quantify the lexicon of foreign origin in this collection of poems in order to create an insight into inclusion of this lexicon in oral lyrical and lyric-epic creations, and to classify words of foreign origin according to thematic units in order to establish thematic the most numerous borrowers in the Cuba’s collection. It is important to note that orientalisms were not the subject of this research since the words of oriental origin are perceived as native, autochthonous words that more faithfully reflect tradition.
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This paper is about woman’s motive and about possibilities and types of their realization within Andrić’s novels, recognizing and explaining them on concrete examples. Realization of these motive, very common for Andrić, is happening in several different and complex variants, among which, common characteristics can be found. Motive of a woman is one of the most common for Andrić. It can be witnessed in titles of novels where woman characters can be found. For him woman represents obsessive subject that breaks down into several appearing variations. For him woman is a sort of fateful temptation. With this motive, it is most commonly linked to a body and beauty which he experiences as punishment and as greatest gift, at a same time, which faithfully determines the woman. In his vision, woman usually suffers, she is unhappy and lonely, quite and hidden, deprived of love and understanding of a man and usually ends with tragedy. She is mainly the victim and object. Even those women that are full of angry and spite, that take certain actions, getting out of expected template behavior and habits, whether they rebel or revenge, they rarely escape from such destiny and even less rare they find their happiness. Woman in Andrić’s novels is the main catalyst of all events, even when she is presented as presage and vision. She is present in all things, events and around them.
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Bili smo znatiželjni i neiskusni, ratna generacija koja se na brzinu doškolovala. Nastojali smo nadoknaditi “izgubljeno vrijeme” te prionuti na posao. Sudjelovali smo na izgradnji omladinskih pruga, zbližili se jedni s drugima na radnim akcijama. Nadali se. Očekivali.
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Poems: Karla Crnčević – 17. Armin Stefanović – 1993. Vernes Subašić – EMININ MACONDO; Emina Elezović – GEOMETRIJA SOPSTVENOSTI; Tihana Gambiraža – HIJERARHIJA STRAHA; Dženedina Mušanović – KAD SI REKAO DA JE VOLIŠ; Josip Zlodre – KOLEKTIVNO DOBRO; Stjepan Bajić – MICHAEL KEATON; Maša Živković – SEZONOSKOPIJA; Nikolina Todorović – SVJEDOK.
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U uvodnoj napomeni svoje knjige Pozorište Azije (Zagreb, 1983) Tvrtko Kulenović se prisjeća kako je njegovo interesovanje za azijsko pozorište počelo preko interesovanja za film. „Bio sam pasionirani poklonik sedme umetnosti, nameravao sam da joj se u potpunosti posvetim, što se, međutim, nije ostvarilo.
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Azija. Velika Tvrtkova strast, koje se do kraja života nije kutarisao. O toj svojoj strasti je pisao: Azija me davno zainteresovala.
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Srđan Gagić je rođen u Bosanskom Novom / Novom Gradu, u Bosni i Hercegovini. Diplomirao je srpsku književnost i jezik sa komparatistikom na Filološkom fakultetu u Beogradu. Autor je dve pesničke zbirke: Deca u izlogu (2015, Bijelo Polje, Crna Gora), za koju je dobio Brankovu nagradu, i Prelazno doba (2016, Treći Trg, Beograd), koja je nagrađena na konkursu za poeziju Beogradskog festivala poezije i knjige. Pesme su mu prevođene na engleski, rumunski i slovenački jezik. Priredio je antologiju bosanske, crnogorske, hrvatske i srpske poezije Meko tkivo: izbor iz nove poezije regiona, koja je objavljena u izdanju Kluba A302 Filozofskog fakulteta u Zagrebu. Književnu kritiku objavljuje u časopisu za kulturu Prosvjeta iz Zagreba. Član je žirija za zbornik poezije i kratke proze Rukopisi u Pančevu, kao i koordinator 11. Beogradskog festivala poezije i knjige. Član je Srpskog književnog društva.
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Patrik Kovalski rođen je u Doboju, u Bosni i Hercegovini, a danas živi i radi na relaciji Novi Sad – Veliko Gradište, u Srbiji. Autor je knjige kratkih priča Sugarfree (2005) i dve zbirke poezije Žuč mikrokozma (2010) i Zlatna groznica (2016), koja je objavljena kao nagrađen rukopis na konkursu Trećeg Trga i Beogradskog festivala poezije i knjige. Poeziju objavljuje u književnim časopisima, zbornicima, a zastupljen je i u antologijama savremene srpske poezije.
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Srđan Gagić was born in Bosanski Novi/Novi Grad, Bosnia and Herzegovina. He graduated from the Faculty of Philology in Belgrade with a major in Serbian literature and language with comparative literature. His first poetry collection, Deca u izlogu (Children On Display) was published as the first-place winning manuscript at the regional poetry event, Ratković’s Poetry Evenings, in Bijelo Polje, Montenegro. For this collection he received the most significant national award for young poets in Serbia, Branko’s Award, and the reviews of the book were published in relevant literary magazines in Serbia and Croatia. His second poetry collection Prelazno doba (A Transitional Age) was published by the publisher Treći Trg from Belgrade, after winning Treći Trg literary contest. His poetry has been translated into English, Romanian and Slovenian. He is the editor of the anthology of new poetry from Bosnia, Croatia, Montenegro and Serbia named Meko tkivo (Soft tissue) which was published by the A-302 Club of the Faculty of Philosophy in Zagreb, Croatia. He writes book reviews for culture journal Prosvjeta. In 2017 he is on the jury of Rukopisi (Manuscripts) poetry and short story writing contest at Pančevo Literary Festival and chief coordinator of the 11. Belgrade Poetry and Book Festival. He is a member of the Serbian Literary Society.
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