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Based on the literary and cultural material, the article discusses two functions played by the term of emigrantology as a legacy of three waves of Russian emigration in the 20th century. The term was introduced by Lucjan Suchanek to the research space of Slavic emigration. It has systematized the area of intellectual and scientific self-reflection (including literary studies, historiography, philosophy and theology, and cultural studies), which developed in the community of Russian emigration. Additionally, the term provides modelling of the need for interdisciplinary and in the nearest future trans-disciplinary studies on the complex cultural phenomenon of Slavic emigrations. In this particular context, the article presents major research directions and achievements of Russian studies in Poland.
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This paper studies the cultural, in this case literary (prose),communication between writers-representatives of different nations. After the determination of the term interculturality and function of culture in slowing the stigma, ghettoisation, passes to the analysis of literary and social activities of two writers,members of the same minority in Serbia - Laslо Vegеl and Laslo Blašković. In the case of different strategies (writing in their native or second language, orientation towards his national community, the relationship to the majority, according to a former state – Yugoslavia – and present, Serbia, treatment of political issues, etc.) Establishes their relationship to their own entity stronghold and possibilities of overcoming its possible oppression (the term Gayatri Chakravorty Spivak) or oppressiveness (termed Susan Stanford Friedman).
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Anniversary; Scientific Life; Scholarly Conference
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The Home of Literature is a metaphor of the literature and literary community. However, this metaphor is connected with the home obsession in contemporary post-Yugoslavian literatures. After the collapse of the Former Yugoslavia and Bosnian war, the home is one of the constant themes in contemporary literature in all area. We can see that in the poetry of the Bosnian-Slovenian poet Josip Osti, but also in the novels and essays of the famous emigrant writer Dubravka Ugrešić, as well as in the works of Peter Semolič, Miljenko Jergović, Vida Ognjenović, Jasna Koteska etc. The home is often present even in the titles of their works (House of Language by Osti, House of Words by Semolič, The House of Dead Scents by Ognjenović), and what is more important – the home is a counterpart of the literature as a place of the sense in the world that every day loses a part of its sense and good taste. The literary home is not a utopian place, because it is a collective image and it could be the dystopian place as well. We mark that through the works about the prison and concentration camps – The Damned Yard by Ivo Andrić, the novels and stories by Danilo Kiš, Dragoslav Mihailović, Branko Hofman, Miroslav Popović etc. At all events, the literary home is always a place of the reinventing of the sense.
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Na odabir termina paratekst, kojim je moguće definirati specijalne žanrove u srednjovjekovnoj književnosti, filolozi su potaknuti definicijama i interpretacijama iz teorije književne kritike do kojih je došao Gérard Genette. Paratekstualnost je odnos između teksta i njegovog parateksta, koji okružuje glavni tekst, kao što su naslovi poglavlja, predgovor, uvod, pogovor, sažetak, napomene, ilustracije, sve što je pored teksta, s osnovnom svrhom da poboljša i prilagodi njegovu recepciju. U srednjovjekovnoj su rukopisnoj tradiciji naslovi poglavlja ili glave (capita), koje nose glavno (kapitalno) značenje sadržaja pripovijesti, potom popratni tekstovi u rukopisnoj tradiciji četveroevanđelja poznatoj kao sinopsis i hipotezis tipično paratekstualne prirode, a takvim se može smatrati i aparat koji je specijalno osmišljen za sinoptičko čitanje teksta četiriju evanđelja, naime Euzebijevi kanoni na hotizontalnim marginama. U Mletačkom i Hvalovom zborniku ta se pravila nalaze na istaknutom mjestu, na početku knjige a popraćena su tradicionalnim tekstom, Euzebijevom poslanicom Ciprijanu, u kojoj je objašnjena njihova svrhovitost. Riječ je o podjeli teksta četveroevanđelja na takav način koji omogućava usporedbu odlomaka u kojima su “evanđelisti jedno rekli.” Osim svih tih formalno uočljivih uputa redaktora oko, ispred, iza i iznad samoga glavnog teksta, kao paratekst se tumače načelno i svi parabiblijski tesktovi, koji se u odnosu na kanonski tekst mogu smatrati periferijskim tekstovima. Tekstovi ove vrste širili su se uglavnom sekularnim putevima i sačuvani su u zbornicima apokrifne literature. Nešto su rjeđi slučajevi kada oni ulaze u sastav kodeksa s primarno kanonskim sadržajem. Većina ih je prevedena u Preslavu u razdoblju od kraja 9. i početka 10. stoljeća. Obilježeni su intertekstualnošću, koja uključuje citiranje, reminiscencije i aluzije na kanonski tekst. Priređivači tih tekstova uživali su veću slobodu pri prepisivanju nego što je to slučaj s prepisivanjem kanonskih tekstova. Dijalektalne odlike lakše su prolazile u te tekstove, pa oni imaju poseban značaj i sa stanovišta historije jezika.
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As the fundamental text for the study of artistic and literary avantgardes, Bürger’s Theory of the Avant-garde has been the subject of a wide and diverse critical reception. An especially contentious claim of Bürger’s is the one about the failure of neo-avant-garde art – a claim that cannot be separated from of his category of historical avant-gardes and the claim about the defeat of the pre-war avant-garde movements. Missing the construction of Bürger’s argumentation, different critics have pointed to different post-war artists and artistic movements which, through their work, revitalized avant-garde poetics with more or less success. However, by staying in the same framework of the Euroamerican capitalist West and its artistic system, these counterexamples could not offer a systemic intervention into Bürger’s theory. Due to its specific historical, social, and therefore cultural and artistic trajectory, the experience of Yugoslavia represents one of the possible points of departure for such an intervention. By focusing on existing interpretations of the relation between the Yugoslav avant-garde, neo-avant-garde and post-avant-garde, this article aims to show how the unique relation of the post-war avant-garde towards its tradition can contribute to the critical supplementation of Bürger’s theory and a more nuanced understanding of the possible relations between the neo-avantgarde and the avant-garde. In that sense, this article will try to show how the Yugoslav example is indispensable to a relevant discussion of artistic avantgardes in general.
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The aim of the paper is to present the subversive role of literature on the example of the Feral Tribune magazine and library. The analysis begins by listing the types of repressive measures the magazine was dealing with in the time of SFRJ and independent state of Croatia which ultimately led to the cancellation of the magazine in 2008. Following the literary procedures in the published texts, the interpretation deals with forms and contexts of literature which are deemed as subversive in the Feral. As examples of the most important art forms in the Feral, the author singles out the columns Bilježnica Robija K. and Greatest shits, shorthand forms of burlesque comedy, provocative aphorisms and travestied forms of poems published in the magazine. Additionally, the paper is also looking into the method in which the publishing venture of the Feral Tribune library subversively influences the social and cultural atmosphere of Croatia and its vicinity. The criteria of the book selection for the library itself and the manner in which the literary discourse of the chosen works was undermining nationalist and clero‑fascist metanarratives are further explained in the final part of the paper.
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In this paper, the presence of the motif of rebellion is analyzed on the basis of two prose works: Davoka’s story of Jahijel’s rebellion (1953) and The story of the farmer Siman (1969). We establish a connection between the two main charac- ters, Samokovlija’s Jahijel and Andrić’s Siman, to distinguish between two forms of resistance. Jahijel’s rebellion is an ordinary, human revolt, whereas Siman’s is a revolutionary one; Jahijel opposes Jewish customs and tradition, while Siman opposes authority and government. Although the reasons and results of their op- position are different, both are fighting against ingrained social principles that don’t allow a marginalized individual to progress and free himself
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Hasan Nametak was one of the most important leaders in the ield of collecting and describing Bosniak cultural and literary heritage from the end of the 19th century. He made a special contribution in the ield of folklore by collecting a collection of poems of Croatian folk songs and several legends, anecdotes and humorous stories that he published in the then Bosnian periodicals. As a narrator, but also a witness of the time, he wrote several autobiographical sketches and pictures about the events in Herzegovina after the arrival of the Austro-Hungarian Monarchy in Bosnia. He also made a signiicant contribution to the memory of prominent Bosniak scholars of the late 19th and early 20th centuries. He also wrote several texts about prominent Mostar’s vakufs (endowment) and their vakifs (founder).
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The Jewish cultural tradition, which within the framework of the Bosnian habitus went through stages - from assimilation, concretization, activation, and even fusion - represents a paradigm of intracultural processes in the complex Bosnian society. These processes take place through various interactions, which have not been bypassed by local literature, and are representative of one part of the literary oeuvre of Isak Samokovlija. Based on the theoretical starting points of intercultural interpretation and psychoanalysis, the work questions Samokovlija's short stories in which the characters act through the suppressed own versus the foreign. This is especially expressed in the stories “Od proljeća do proljeća” (From Spring to Spring) and “Plava Jevrejka” (The Blue Jewess).
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This article describes Bosnian-Herzegovinian-Polish literary contacts in the period of the second Yugoslavia. I’ve started with a brief presentation of the history of literary and cultural contacts between Bosnia and Herzegovina and Poland. They are shown within the context of law, political and the institutional circumstances of cultural cooperation. The most detailed presented period from 1944 to 1989 can be named as ‘Dukanovic’s period’ dute to the role this translator, literary critic, and editor, who stayed in Poland after the Cominform Resolution of June 28, 1948, played in cultural contacts.
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The article is devoted to the legacy of selected manuscripts from Bosnia and Herzegovina, formed before the fall of Bosnia in 1463, which is the reflection of the cultural wealth that was created in the area throughout history. At the same time in the texts of manuscripts, their illuminations, we can see elements from different traditions, which main determinant was confession (Slavia Latina, Slavia Orthodoxa). This specific feature will be confronted with the contemporary political and cultural situation of the Polish Kingdom and slightly later Polish-Lithuanian Commonwealth (Polish Kingdom and Grand Duchy of Lithuania, Res Publica Utriusque Nationis). Example of Hrvoje Vukcic Hrvatinic Missal and the chapel at Lublin Castle is the best paradigm of vital currents associated with infiltration of various ethnic groups and their nurtured artistic traditions. This fact made those two dualistic countries significant centers of art and cultural communication nodes with an extremely strong influence on Europe at this time. A special place in the article will take analyze the cultural perspective and illumination, taking into account the border nature of Balkans art, its homo-and heterogeneity. On this occasion, may be necessary to appeal to the complicated political history of the area, its multiculturalism and multi-confessional nature. Article will also attempt to bring the problem of South Slavic miniature painting, in a little present in the minds of western researchers, which will allow for fuller and more coherent view of the artistic map of Europe in the Middle Ages. The basic argument for the desirability of taken theme is its validity from the standpoint of cultural reconstruction of the full picture of South Slavs in the medieval period, which is an important aspect of miniature paintings, tested and well known in relation to Western Europe. Synchronous perspective of history and culture of BiH and the Polish-Lithuanian Commonwealth will find the universal elements, as well as those who contributed to the uniqueness of the analyzed area.
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U radu će se dati prikaz slike ,,drugih“ kroz koju se defi nišu kulturna posebnost, kulturna raznolikost i kulturna sličnost utemeljene na smjeni turske crnogorskom kulturom nakon oslobođenja Nikšića od Turaka pred Berlinski kongres 1878. (Poslije slavnih pobjeda nad turskom vojskom, na Vučjem dolu 1876. godine, u Dugi nikšićkoj i Ostroškom klancu 1877. godine, koje je slavila sva Evropa, 9. septembra 1877. godine oslobođen je Nikšić. U gradu je prije oslobođenja bilo 3.000- 4.000 stanovnika (V.Klaić, 1878., str. 93). Bilo je samo 40 hrišćanskih porodica. U selima u ravni polja i obodu bilo je 1800 starosjedilačkog stanovništva. Oslobađanjem od Turaka konačno je nestalo izolacije Nikšića i Nikšićkog kraja od široke okoline... Tada je još jednom došlo do mijenjanja skoro cjelokupnog stanovništva. Od muslimanskih porodica ostalo je svega 19. Ostali su odselili pretežno za Skadar, a kasnije za Tursku. Nikšićki kraj naseljavaju učesnici u borbama za njegovo oslobođenje.(Radojičić 1982:113)
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Ivo Andrić u svojim djelima naglašava čovjeka kao biće sa svim manama i vrlinama koji ga čine čovjekom. Prikazuje zlo, ljudske nagone, nemirnu savjest, izopačenosti ostale pojave koje utječu na čovjeka i njegovo ponašanje. U najpoznatijem Andrićevu povijesnom djelu Travnička kronika do izražaja dolazi obični travnički život, pomutnja nastala dolaskom stranaca te neprihvaćanje istih. Također, prikazan je i pogled stranaca na život u Travniku u doba Osmanskog Carstva. Andrić turskim uzrečicama, smiješnim poštapalicama i anegdotama, čitatelju pokušava dočarati suživot muslimana, kršćana i Židova u Travniku za vrijeme Drugoga svjetskog rata. Prikazana je važnost komunikacije, pregovaranja, slušanja i osluškivanja pozadine između političkih subjekata tijekom ratnog vremena te posljedice prilikom komplikacije istih. Uz verbalnu, istaknuta je i neverbalna komunikacija kojom su tadašnji Travničani pokazivali brojne reakcije poput negodovanja, žalosti, bijesa. Travnička kronika djelo je bogato etnološkim, kulturno-povijesnim, tradicijskim i ostalim vrijednostima koje je Andrić odlično prikazao kroz brojne likove, a posebice glavne likove, austrijskog i francuskog konzula.
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This article presents an interpretation of stories written by Alija Nametak, one of the most significant Bosniak authors from the period between the two world wars. It also deals with theoretical backgrounds of cultural recollection, new historicism, and cultural materialism. His narrative illustrates Bosnia and Bosniaks in space and time within different frameworks of varying empyreal and governmental rules during the first half of the 20th century when the country was facing changes induced by the phenomenon of Europeanization, nationalization, agricultural reform, as well as political and national marginalization, prosecution and annihilation. Alija Nametak’s literary work is of great significance for the cultural awareness of Bosniaks, however, the communist government in Yugoslavia imprisoned this author immediately after the Second World War and sentenced him to fifteen years. His works were banished from the literary canon and Bosniaks were condemned to oblivion and extinction.
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Review of: Mahmud Derviš, SABRANA DJELA, POEZIJA, I-IV, prijevod s arapskog: Džemo Redžematović, Horizonti – centar za međukulturno razumijevanje, Podgorica 2022, 510+478+400+278 str. Olga Vladimirovna Sarıgöz, Praktičeskaja grammatika sovremennogo tureckogo jazyka (v dialogah i tablično-shematičeskih objasnenijah) // Praktična gramatika suvremenoga turskog jezika (u dijalozima i tabličnim objašnjenima//, URSS, Moskva, LENAND 2022, treće prerađeno izdanje, 426 str. Amina Šiljak-Jesenković, RE/KONSTRUKCIJA PRIČE O LJ/ljUBAVI: FABULE I IZBOR STIHOVA IZ MESNEVIJA U PRIJEVODU NA BOSANSKI JEZIK, Univerzitet u Sarajevu – Orijentalni institut, Posebna izdanja LXVIII, Sarajevo, 2023, 570 str. Emrah Seljaci, POEZIJA FEVZIJA MOSTARCA NA OSMANSKOM TURSKOM JEZIKU, Fondacija “Baština duhovnosti”, Mostar, 1444/2023, 105 str. Aladin Husić, DEVŠIRMA U BOSNI (O REGRUTACIJI BOSANACA U JANJIČARE), Posebna izdanja LXIX, Univerzitet u Sarajevu – Orijentalni institut, Sarajevo, 2023, 164 str. Elma Korić, OBLIKOVANJE GRANICA BOSNE: BOSNA U AHDNAMAMA I HUDUDNAMAMA IZ 16. I 17. STOLJEĆA, Univerzitet u Sarajevu – Orijentalni institut, Posebna izdanja LXVII, Sarajevo, 2022, 174 str. Faruk Taslidža, IZMEĐU RATOVA – NA GRANICI SVJETOVA: DRUŠTVENO-PRIVREDNI ODNOSI HERCEGOVAČKOG SANDŽAKA U PRVOJ POLOVINI XVII STOLJEĆA (1606–1645), BZK Preporod, Mostar, 2022, 233 str. Hana Younis, A QADI IN THE CHRISTIAN EMPIRE: THE STAFF AND WORK OF THE SHARIA COURTS IN BOSNIA AND HERZEGOVINA 1878–1914, Univerzitet u Sarajevu – Institut za historiju, Sarajevo, 2023, 430 str. Dijana Pinjuh, Anđelko Vlašić, TRAGOM EVLIJE ČELEBIJA KROZ HERCEGOVAČKI SANDŽAK, Srednja Europa, Zagreb 2023, 290 str. ULOGA I ZNAČAJ GAZI HUSREV-BEGA U HISTORIJI BOSNE I HERCEGOVINE: Zbornik radova sa naučnog skupa “Uloga i značaj Gazi Husrev-bega u historiji Bosne i Hercegovine”, Sarajevo, 22. septembar 2021. godine, Gazi Husrev-begova biblioteka u Sarajevu, Univerzitet u Sarajevu – Orijentalni institut, Univerzitet u Sarajevu – Institut za historiju, Historijski arhiv Sarajevo, Sarajevo, 2022, 305 str. ZAMIŠLJANJE ŽENE: O IDEOLOŠKIM I KULTURNIM KONCEPTIMA ŽENSKOG RODA U POVIJESTI BOSNE I HERCEGOVINE, ur. Sabina Veladžić, Aida Ličina Ramić, Fondacija Heinrich Böll, Sarajevo, 2023. Dženita Karić, BOSNIAN HAJJ LITERATURE: MULTIPLE PATHS TO THE HOLY, Edinburgh University Press, Edinburgh, 2023, 256 str. Katalog arapskih, turskih, perzijskih i bosanskih rukopisa, Svezak treći. Obradio Hamza Lavić. Historijski arhiv Sarajevo, Sarajevo, 2022, 370 str.
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A simile is a semantic-stylistic figure, very common in literary texts and authors tend to use it to give their text a new, broader, figurative meaning. In the category of simile, there exist simile phrases, that is, a special type of phraseological unit intended to create a more powerful artistic impression. Given the high frequency of use of these lexical elements in Ivo Andrić's literary works, to conclude their structure and use in Bosnian, we will analyze several phraseological units that contain similes, all taken from Andrić's novel Devil’s Yard. We consider it interesting to observe these lexical units contrastively, so in the Italian translation of Devil’s Yard (La Corte del Diavolo) done by Lionello Costantini, we will identify the Italian equivalents of original simile phrases and analyze their characteristics. With this contrastive analysis, we aim to offer an overview of the basic features of special lexical constructions which contain similes, and to make generalizations about the similarities and differences in their structure, meaning and use in the two language systems. The results of this study will also allow us to comment on the intensity of the author's creativity and the skill of the translator to recognize the semantic and stylistic value of these phraseological units and transfer them into the Italian language.
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Review of: Mula Mustafa Ševki Bašeskija, Ljetopis, prijevod s turskog, uvod i komentar Mehmed Mujezinović, Zenica: Vrijeme, 2021, 497 str.
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Review of: Husref Tahirović, Dr. Isak Samokovlija: Život u bijelom mantilu. Sarajevo: Akademija nauka i umjetnosti Bosne i Hercegovine, 2023, 200 str.
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