Putopisi Zuke Džumhura (Sto godina od rođenja i trideset godina od smrti Zuke Džumhura)
Dijana Hadžizukić: Putopisi Zuke Džumhura (Zuko Džumhur, Izabrana djela, Buybook, Sarajevo / Zagreb, 2018.)
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Dijana Hadžizukić: Putopisi Zuke Džumhura (Zuko Džumhur, Izabrana djela, Buybook, Sarajevo / Zagreb, 2018.)
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Review of: Melida TRAVANČIĆ - Fajko Kadrić: Udovičke zemlje, Tešanj, Planjax, 2019.
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The review of: Feđa Štukan, Blank; Centar za informativnu dekontaminaciju mladih, Banja Luka, 2019.
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Review of: Melida TRAVANČIĆ - Emina Žuna, Linija života, Tešanj: Planjax, 2016
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In this paper I analyse Memoirs, written by a Polish woman, Teodora (née Kosmowska) Krajewska (1854–1935), in the context of emancipatory discourse. The aim is to point out the strategies of Krajewska’s actions towards the cultural and physical emancipation of Bosnian women in the aforementioned context, what obstacles she had to overcome in this process and why her Memoirs are important in the cultural memory of women’s history. Krajewska worked as a doctor and teacher in Bosnia and Herzegovina for 34 years and made a strong impression there. Memoirs, as a bearer of memory, are important from the perspective of the history of women, herstory, especially the history of BiH Muslim women, who had no voice until then. They are also important as an exceptional element in the creation of a transnational network of female authorship narratives in general. One of the research perspectives in the context of winning a place for herstory in cultural memory is the experience of the female body. In this context, I give consideration to how understanding femininity through the prism of the body and its biological nature influences the process of forgetting/remembering and thus the absence/presence of narratives by women and about women in cultural memory. I refer, therefore, to the notion of gender in Maria Solarska’s interpretation in Encyclopedia gender: płeć w kulturze (Encyclopaedia of Gender: Sex in Culture) and the description of the relationship between femininity and power by Agnieszka Zembrzuska in Problem ślepoty rodzajowej u Michela Foucault (The Problem of Gender Blindness in Michel Foucault). I place the category of Alaida Assmann’s cultural memory, which she explains in the anthology Między historią a pamięcią (Between History and Memory), within this theoretical and methodological framework and I use it in correlation with the notion of corporeality as defined by Ewa Hyży in Kobieta. Ciało. Tożsamość. Teorie podmiotu w filozofii feministycznej końca XX wieku (Woman. Body. Identity. Theories of the Subject in Feminist Philosophy at the End of the 20th Century). In the paper, I follow the emancipatory steps of Krajewska, who educated and treated Bosnian women, sharply criticising them, but also offering her full understanding, empathy and affection. In a detailed and quite special way, Krajewska’s autobiographical records show how a Polish physician influenced the process of the emancipation of Bosnian women.
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In the period between the end of the 20th and the beginning of the 21st century, Bosniak literary science found itself, like its literature a century earlier, in proving its own identity. The recent generation of Bosnian-Herzegovinian theorists confirms in numerous studies the validity of the application of different literary-theoretical concepts in the study of the Bosniak literary past, with identity issues in literature being among the most important. In this regard, the paper will focus on two important issues. The first is the decades-long neglect of Bosniak literature and, consequently, the scientific exploration of its structural-poetic features. The second question, which the paper will attempt to answer, was raised in the study 'Literature and the Identities' by Vedad Spahić. This theorist believes that the most significant moments of literary science are when it reveals the deep structures of the whole culture while talking about literature. Apart from Spahić, the corpus of literature includes the studies by Enes Duraković, Sanjin Kodrić, and other theorists of the 21st century. Their works confirm that Bosniak literary identity today exists in areas distorted borders strict autonomy of literary science.
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In seven dramatic texts written by six Bosnian-Herzegovinian authors – Borivoje Jevtić, Štefa Jurkić, Nikola Šop, Nasko Frndić, Nada Đurevska and Dževad Karahasan – from the perspective of the art of memory we follow the construction of literary imaginaria on the examples of three Bosnian-Herzegovinian Franciscans (Anđeo Zvizdović, Matija Divković and Ivan Frano Jukić). The paper examines the relationship between historic reality and fiction, where in history was an inspirational incentive for dramatic texts, with individual members of the Franciscan order transformed into a collective place of traumatic memory. For this conscious work on cultural memory we are to thank both the history of remembrance and memory (mnemohistory) and the motivational associative images that have been cultivated in literature and the historiography of literature for more than a century.
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This paperwork presents the literary constructions of Kulin Ban's personality in contemporary Bosnian literature on the example of three novels: Zlatko Topčić Kulin (1994), Mirsad Sinanović Kulin (2007), and Irfan Hrozović Sokolarov sonnet (2016). The themes of these novels are real historical events and historical figures, and we try to present the way(s) of narration and shape the image of the past and the way the past-history-literature triangle works. Documentary discourse is often involved in the relationship between faction and fiction in the novel. Yet, as can be seen from all three novels, it is a subjective discourse on the perception of Kulin Ban today and the period of his reign, a period that could be characterized as a mimetic time in which great, sudden, and radical changes take place. If the poetic extremes of postmodernist prose are on the one hand flirting with trivia, and on the other sophisticated meta- and intertextual prose, then the Bosnian-Herzegovinian romance of the personality of Kulina Ban fully confirms just such a range of stylistic-narrative tendencies of narrative texts of today's era.
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This article focuses on certain authorial figures or myths that appear in both paratextual elements and literary works of the writer Bekim Sejranović. These figures or myths, already established in Croatian literary criticism during the 20th century, are the bohemian, nomad or flâneur (associated with A. G. Matoš and Tin Ujević), and the author positioned in between (the paradigmatic example would be Ivo Andrić). Autofiction is an important characteristic of Sejranović’s literary corpus and can help perpetuate certain authorial myths and figures that surround the writer. The article analyzes the ways in which elements of authorial figures appear in paratextual elements but also in the literary text Dnevnik jednog nomada, which has a strong autofictional tone. On this example, the paper tries to present how certain authorial figures established in the 20th century function in contemporary context.
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Faruk Šehić’s 2021 long novella/short novel Greta, subtitled “The Ballad about Migfold/Dark, Emotional Transrealism”, is a transrealist refugee story about one Bosnian and Herzegovinian boy/young man and his family who dream of returning home, and finally come home to a town ravaged by war. Greta deals with their brutal war and refugee reality and, simultaneously, with the higher reality in which their life is embedded. It is a fairy tale for adults. The story is retrospectively narrated by a boy/a young man named Uviđavni (Ar./Tr. Truth teller). Greta, the title character, is his non blood related family member and his own Lady of the Light. Even though Greta is the story about the darkness of a war, it is also the story about the power of imagination, hope, and dreams that all together bring light into the dark reality. Therefore, Greta can be seen as a transrealist fiction about light. This paper will deal with the trans/realist poetics of belletrism in Šehić’s Greta, as well as with its off modern Weltanschauauung, and then with Šehić’s poetic aim to praise the mutilated world in his own way.
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Book-Review: Mile Stojić, Muze i Erinije. Sabrane pjesme 1977. – 2020. (Zagreb: VBZ, 2021). Review by Naida Mujkić
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The comparative work The Character of the Bride by I. Andrić and A. P. Chekhov: Exceptional and Free compares two female characters of engaged / promised girls: Andrić’s Fata Avdagina from the novel The Bridge on the Drina and Chekhov’s Nadia from the novel The Fiancée. The paper examines the mode of heroines and their way of deciding when giving up a marriage that none of the heroines want. Referring to the text, the paper examines the exceptionality of Fata Avdagina in the context of the spatial and temporal specificity of the character, as it also examines the issue of freedom and decision to leave the space and the potential conventional marriage of Chekhov’s Nadia. Through the literary analysis of the character, the paper draws conclusions that determine the modal affiliation of the heroines and opens the question of the freedom of female characters with an emphasis on a specific situation where within the historical context a more modern female character emerged in an earlier time period, which in turn raises the question of different literary contexts in different literary communities and spaces of literary creation. With this clue, the most representative female character of the Chekhov’s bride and the most exceptional character of the only bride who does not agree to the marriage of Andrić were chosen for this work. The paper examines the extent to which Nadia’s individualization, ie Fata’s socialization, determines the further course of the action and their completion, as well as calls into question the relationship of individuals to society and the relationship of society to individuals. Also, the work raises the question of why an exceptional being in the world of the small town of Andrić’s novel must be destined for tragedy, while Chekhov’s female character is given the possibility of freedom the moment he becomes a character of activity.
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This work deals with older Bosniak literature where alhamiado poetry plays important role between oral and writen culture. The focus in this work is in some older literary forms such as arzuhal and mahzar. They are interpreted as parts of Bosniak`s literary heritage, but also as places where cultural memory and collective identity play important role.
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Review of: Vedad Mulavdić, Jezičke odlike u djelu Edhema Mulabdića, Radovi, knj. XXV, Institut za jezik Univerziteta u Sarajevu, Sarajevo 2020
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The paper analyzes the story of Ivo Andrić The Bridge on the Žepa in the interpretive key of hermeneutic narrative ethics. The goals of the work were multiple. The first goal was to look at and explain the mentioned theoretical-analytical framework, which has not been the subject of the study within the Bosnian-Herzegovinian literary-theoretical discourse. The reason why hermeneutic narrative ethics is presented is that it, as a new, insufficiently known approach to storytelling, enables new readings of narrative texts. This goal was realized by presenting the methodological apparatus of this framework, which includes the following concepts: ethical potentials of storytelling, sense of the possible, historical imagination, dialogicity, subversive narrative understanding, awareness of other people’s perspectives, ethical search. These concepts are applied in the second part of the paper, which offers a new reading of the short story The Bridge on the Žepa. The main hypothesis of the paper is that Andrić’s story develops certain ethical potentials of storytelling. The paper showed that the stated interpretive approach with its methodological apparatus enables the understanding of the ethical potentials of Andrić’s story The Bridge on the Žepa, which were not the subject of literary criticism. The analysis also revealed that the narrative of the circumstances of the construction of the magnificent bridge in Žepa is a means of understanding the individual and wider cultural past of characters whose lives took place in the space of possibilities of a particular historical world, and that the story is a form of ethical search, which develops the ethos of dialogue because it encourages the dialogic conception of narration.
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This paper deals with Mehmed Handžić’s treatise Risāla bayān al-umanāʼ fī ḥukm al-istimnāʼ (Treatise: Explanation of the regulations of onanism provided by the trusted), a manuscript kept in Gazi Husrev-beg’s Library under the classification number R. 2650/7. This paper gives a brief introduction to the status of human sexuality in Islam and the Qur’an and also a description of the manuscript itself, its terminology and the style in which it was written. Most of this paper deals with the review or reinterpretation of topics and attitudes that Mehmed Handžić took towards onanism, masturbation and sexual self-gratification from famous and recognized classical authorities on tafsir, especially in the tafsīr āyāt al-aḥkām discipline, fiqh, and literary works. A special section in this paper is devoted to Handžić’s interpretation of Ibn Ḥazm’s views on onanism. This paper was written with the aim of presenting this manuscript of Handžić in an accessible and interpretative manner. The paper has no pretensions to offering anything normative, nor should the paper be treated as a fiqh-legal work on onanism. Accordingly, this paper should not be read as a Shariah discussion of onanism. We recommend that you consult the official stances of the Islamic Community on onanism, masturbation and sexual self-gratification, which Prof. Dr. Enes Ljevaković, the deputy raisu-lulama and fatwa-i emin, took on several occasions in the Islamic Newspaper Preporod, at: https://www.islamskazajednica.ba/index.php/pitanja-i-odgovori-home.
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The poem Kitab-i bosnevi is just one of several that represents a compilation of moralistic alhamijado poems. They are collected in one Collection of Bosnian alhamijado literature with individual Arabic texts. The aim is to determine orthographic features through orthographic and phonetic-phonological analysis of the manuscript Kitab-i bosnevi, supposed to date from the 19th century, show how the author wrote words of domestic origin and recorded terms of oriental origin taken from Arabic and Persian. Detailed orthographic analysis of words of domestic and oriental origin was emphasised in the poem Kitab-i bosnevi. The Viennese version of the part of Sehvetul-vusul, by Omer Hazim Humo, offered us more precise insight into the characteristics of writing alhamijado literature. Words of oriental origin were recorded by respecting their way of writing concerning the original language. In some examples, there were deviations where the author offered a completely different way of recording certain voices. Based on the phonetic-phonological analysis of the song Kitab-i bosnevi, specific voices are entirely adapted to the phonetic system of the Bosnian language.
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The presence of phraseological synonymy is analyzed in the corpus of the literary work Pobune by Derviš Sušić. The aim is to explain the use of phraseological synonymy and close meanings of phrasems in the mentioned work, as well as the use of phrasems variants. Methods of analysis and description were used. The obtained results indicate that the synonymous phrasems wasn’t found in the work, but that the frequent use close meanings of phrasems, as well as variant forms of phrasems. Based on the found, analyzed and described phrasems, it was determined that phrasems from the analyzed corpus and phrasems from consulted sources don’t have the same meaning, but close, nuanced, while the meaning of variant forms of phrasems remains unchanged. The phrasems found in the analyzed corpus are mostly generally known, although certain examples of phrasems haven’t been recorded in the consult- ed sources.
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