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Knjiga Zapisi o bosanskohercegovačkoj književnosti svojevrsni je presjek moga naučnoistraživačkog rada u nekoliko proteklih godina. Sve studije sadržane u knjizi pročitane su kao izlaganja na različitim naučnim skupovima u zemlji i inostranstvu, te objavljene u pratećim zbornicima, dok su prikazi objavljivani u časopisima ili kao predgovori uz autorska izdanja knjiga. A to dalje znači da tekstovi rasuti na takav način ne mogu adekvatno reprezentirati moj istraživački fokus koji je usmjeren na različite bosanskohercegovačke autore koji su stvarali i stvaraju od početka dvadesetog vijeka do danas. Knjiga je podijeljena u dva dijela, Studije (dvanaest tekstova) i Prikazi (dvadeset i jedan tekst), a započinje studijom recepcije poezije Alekse Šantića u kojoj detaljno analiziram historijske i ideološke promjene koje su kroz vrijeme utjecale kako na različite recepcijske obzore, tako i na različite izbore Šantićeve poezije.
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The next volume in the series “The Balkans in the 20th and 21st Centuries” presents an overview of issues related to contemporary Bosnia and Herzegovina. Each chapter covers a distinct thematic area: culture, literature, language and politics. The publication has been intended to provide a repository of knowledge about the federal state formed after the bloody breakup of Yugoslavia. The collection of studies paints a detailed picture of Bosnia and Herzegovina. Investigated from an external perspective, the phenomena occurring in the literature of Bosnia and Herzegovina as well as issues related to language or to the political and economic conditions reveal the mental burden caused by the tragic war of the twentieth century’s last decade – in a country that structurally remains an immutable ethnic and cultural borderland. On the other hand, from the Bosnian authors' internal perspective, the analyses relate to the present as well as the distant past, uncovering the topics of the Ottoman heritage of Bosnia and Herzegovina that were suppressed or censored during the “brotherhood and unity” period of the federal Yugoslavia. From the review of prof. dr hab. Lilla Moroz-Grzelak (Institute of Slavic Studies, Polish Academy of Sciences)
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In Šehić's book “Football stories”, there is a story of the same name, which, among other things, evokes old childhood memories from the year when the Netherlands won the European Football Championship. It was the year when Marko van Basten sent an unforgettable volley under the Soviet bar and it was the year when the unfortunate Mujo Hadžin ran into a ball that Šehić and his football brothers filled with stones, convinced that one of the boys from rival team will end up being the naïve victim kicking the ball. Within the description of Muja's shot and the break that followed - in those few sentences, it seems to me, the magic of Šehić's football storytelling is condensed, which unobtrusively and charmingly connects the glittering world of “Princes' Park” and the street in Donja mahala, where instead of the usual tripods four "šakaša" were sunbathing.
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With this book, the author gives back to his (and thus every other) childhood the depth, richness and all the complexity of a life that flourishes, 'in spite of everything'. Yes, in his novel somewhere far away reader can hear sounds of cannonade, alarm sirens, rifle shots, military uniforms are carried and rifles are carried on the shoulders, but that does not stop one childhood from flourishing and living enthusiastically, searching for islands of joy and enjoyment, bending under the onslaught of divine secrets: growing up, friendship, love ... “Blue waters of the murky Danube” is the formula on which this prose works, which pulsates with the power of its vitality, both precision and conciseness of expression, and picturesque scenery and exciting associations.
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It has been noted, in the critical literature of the Bosniac novel, that with all the common traits that it shares with the novel of European and South Slavic region, its poetics has some specific characteristics of its own, which are of differential value and are an unavoidable poetic fact Upon recognizing the accentuated poetisation in certain number of novels, the need forits further highlighting and detailed analyses has imposed itself—the analyses which would point to the features of the structure of the Bosniac novel that make it different and that affect its poetisation, producing one of the aspects of its interior history The study analytically encompasses the following novels: Grozdana’s Giggle by Hamza Humo; Konak and the Czar’s Army by Ćamil Sijarić; Dervish and the Death and The Fortress by Meša Selimović; Ugursuz and Karabeg by Nedžad Ibrišimović, The Bridge by Jasmina Musabegović, Larva by Bisera Alikadić, Groundwater by Skender Kulenović; Man’s Family by Tvrtko Kulenović; and The Imotski Kadija by Irfan Horozović Furthermore, the poetisation of the narrative discourse has been found on different structural levels of the texts, each novel having different level of poetisation, in terms of quantity and quality Observed in the broader context, poetisation is achieved through the connection of figurative with cognitive and emotional tendencies, defamiliarized chronotope,process of characterization of characters, and interior monologueas one of the key forms of narration, as well as through the emphasized rhytmisation of the prose discourse, which was all enabled with the emergence of the modern novel The novel Grozdana’s Giggle by Hamza Humois the first modern Bosniac novel, and the first one to be written in the poetized form in our literature It appeared in 1927, during the period of European avangard and lyricism revolution; so, the influence of the modern techniques of novel writing as well as of the prevailing lyricism in the literary trends of the period in question, greatly affected its structure On the other hand, Humo’s background which was one of extremely rich mixture of cultural and civilizational heritage that he assimilated and creatively upgraded,would, even after the retreat of the avangard poetics from the literary scene, continue to affect our novels, written in the second half of the twentieth century.
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According to the materials found so far and available documents, it seems that the oldest samples of Bosniak short and humorous stories were recorded by means of Turkish language, done by hand of a Sarajevo chronicler, Mula Mustafa Bašeskija, and they go as far as the middle of the 18th century.From then until nowadays, the stories have been collected, recorded,and published occasionally. The first scripts of oral prose were mainly the result of some individual engagement, however, they had not been recorded in a professional and planned way until 1960s, under the auspices of the Ethnographic Department of the National Museum in Sarajevo, and the Institute for research of folklore in Sarajevo. The oral stories of Bosniaks are characterized by a thematic and motif variety as well as by a constant topic pattern. Didactical and entertaining modes were frequently formed and interwoven harmoniously, so that they make these stories didactical and amusing at the same time. The topic patterns owe their vitality to independent solutions of talented transferors of oral tradition, who – acting in accordance with the strict requirements of the genre – could express themselves at the level of language primarily. Similarly to other traditions, Bosniak short stories and humorous ones as well, have the features of the environment that created them. Comparing the most successful samples of stories recorded in Bosniak community poetically speaking to those in the neighbouring regions, as well to some oral-prose tradition in some distant places, one can find out that there is a similarity in narration, but also that the topic pattern differ mainly due to regional traits as well as independent solutions of the female and male narrators created during the very process of telling a story to their audience.
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The first edition of this book under the title Contacts and Confrontations (originally Doticaji i sučenja) was published in the year 1976 by Svjetlost publishing house in Sarajevo. The largest number of the essays included in this selection, which are the result of the author’s research in literary criticism, as well as repercussions of his personal reading, have been written and published in Bosnian-Herzegovinian periodicals Izraz, Život, and Odjek One portion of the texts represents published prefaces and epilogues which have been written as accompaniment to the author’s books Numerous texts dedicated to Maksim Gorky have been the result of the author’s engagement in this Russian writer’s opus during his doctoral studies, as well as his engagement in thea esthetics and poetics of Gorky within the time of Gorky’s laudation, and contestation alike. In the second edition of Contacts and Confrontations I, which serves as the first part of the author’s critically essayistic trilogy, the texts have, within significant interventions, been left as whey were originally. The first part of the book Contacts and Confrontations I has been dedicated to Russian authors; more specifically, to the Russian literature do-main as the fundamental subject of study, which the author had been re-searching at the time of his career as a university professor. The text on Lermontov’s A Hero of Our Time, for example, has been written to serve as preface to the author’s own translation of this perhaps most prestigious of Lermontov’s works; prestigious that is to say, not only considering that the main character of the novel can be recognised as thes ummary of Lermontov’s lyrical subjects throughout his poetic opus with a strong bond to the author’s own self, but also considering the significance and meaning which this novel had for the evolution of the Russian prose in the 19th century. The following four essays dedicated to the person and opus of Maksim Gorky represent, to a degree, a concise study on this Russian classic at the brink of the 20th century: Facing Gorky Again, The Manifold Oeuvre, The Subject and Its Style in Gorky’s Opus, and Chekhov – Gorky: The Dramaturgical Counterpoint The study in question offers, throughout approximately forty pages, a versatile evaluation of Gorky’s opus, and the explanation of the place this Russian author holds in relation to the traditional Russian literature, as well as in relation to the changes the literature of the 20thcentury had brought within the specific historical, social, and ideological context Consequently, this work would later provoke various controversies, outlooks, as well as evaluations of Gorky’s opus.
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Over the past 130 years, the National Museum of Bosnia and Herzegovina has become a rich treasury of the cultural and historical heritage of the peoples of Bosnia and Herzegovina. This unique resource allows for a scholarly approach to studying different subjects including aspects of the preserved spiritual heritage. The collection entitled Narodne umotovorine (Folk Wisdom), along with its accompanying introductory paper, has the goal to bring a valuable manuscript of folk poems and songs kept at the Folklore Archives of the National Museum closer to the audience. This manuscript, created by Smajl O. Bradarić (1914-1993), a religion teacher from Maglaj, over the course of ten years of his collecting efforts and containing over one thousand oral lyric works, arrived to the National Museum in the middle of the 20th century. Exactly this period – from the1950s through 1980s – was the period of the greatest abundance of ethno-folkloristic contributions since the Museum was established until today.The manuscript collection created by Bradarić represents the folklore life as it was in the period between 1938 and 1948 in the area of Bosanski Novi, Derventa and Malglaj, as well as along the roads connecting these towns in northern Bosnia. This manuscript portrays the life of people de-scribed through different forms of lyric expression – and although most songs were told by elderly women and a few older community leaders who lived in the area and in the period of collection – it also contains several songs which came to the author through his students, who collected them from different people, often the younger ones. Bradarić’s collection also contains the entire songbook collected by Mihajlo Prosenik, Orthodox Christian church official, who collected it from his closest family members, with whom Bradarić collaborated. It also contains songs recorded in Maglaj, Žepče as well as parts of Central Bosnia, told by – as he puts it –Muslims and Bosnian Catholics, today ethnically labeled as Bosniaks and Croats. As such, this unique collection represents a valuable “treasure chest of the folk’s soul”. It is in fact an example of a folklore idyll collected from persons of different age, sex and religion who Bradarić met, and who were willing to share their songs with him.
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Dervis Susic begins with his literary work in the post-war and ideologically burdened period, which was completely characterized by cultural formal-ism and accurately defined horizon of expectations of the ruling communist system.Thus, everything that is literary produced, but was outside of the imposed and firmly set patterns, was not considered as “a successful” literature, because it did not meet the horizon of expectations and was considered as a sporadic literary phenomenon. Because of this, all the literature outside the solid and firmly set standards was at the level of outsider’s at-tempts of rebellion against the imperatives of sociorealistic poetics.With the establishment of the new communist country, the internal need for a completely new kind of arts and cultural life has occurred, which will not be reserved only for the social elite, but will be ideological opiate of the broad masses. Because of these basic settings of the new literary poetics, apparently it was necessary for the complete simplification of literature to the level of entirely realistic, narrative simplified literature whose basic structural principle was based on the chronological succession of images.Literature had only one, and explicitly clear goal, and that is the agitation through utilitarian-didactically simple and easy acceptable literary forms. In this period of cultural imperatives at the level of an ideological worldview emerges also a writer, Dervis Susic, who since his partisan days has the need to act “positively and socially useful” through the overwhelming desire of the collective consciousness that people have to be taught, to have literacy knowledge and as well for the people to be guided at the ideological right path. Thus, his first literary works were created by desire that his art, above all would be socially useful and used in educational purpose.By this (the partisan favorite genre) memoirs were created, which are not by anything aesthetically different from the same mass literature in time they occur. But what must be pointed out is the fact that after these first‘socially’ useful literary attempts, the process of Susic’s literary adulthood has completed, when he breaks the shackles of firmly set aesthetic but also ethical patterns and transcends the stereotype of sociorealistic utopian ideology in literature and his work and certainly brings his greatest romanesque weapon, and that is satirical introspection which has primarily given birth to his famous hero – Danilo Liscic.
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This book has been the result of my two central, concurrent and continuous interests – the interest for concrete literary-historical issues from the history of the Bosniak literature, as well as the literature(s) of Bosnia and Herzegovina, on one hand, whereas, on the other one, the interest related to issues of literary and cultural theories, primarily the issues about the theory of the history of literature It deals, therefore, with the issues I find inextricably connected in the approach I happen to propose, promote and practice Even when I am dealing with the research of literary-historical nature, I am inclined to treat them with that kind of literary theoretical awareness, particularly in the context of examining the possibilities of applying diverse literary theoretical concepts in the process of studying the Bosniak and the literature(s) of Bosnia and Herzegovina At the same time,these two interests of mine and the related issues I have duly considered and deliberated upon in this book merge somehow in the question: What is Bosnistics? and, especially, in the question: What is Cultural Bosnistics? or, rather, what that cultural Bosnistics ought to be? As it seems in the case of Bosnia and Herzegovina itself, the literary production in Bosnia and Herzegovina is a rather complex and complicated phenomenon Having been observed as a whole and in its historical continuation, it has not come, above all, into existence within a single people or nation, or one ethno-national community, for that matter, especially if such a phenomenon is to be perceived with the awareness about the realistic nature of complex processes of ethnic and nation-state identifications which had been taking place with such an intensity in Bosnia and Herzegovina from mid-19th century until nowadays Thanks to them, the former relatively homogeneous existence of Bosnian people developed, in the course of time, into three distinctly separate, yet intertwined, ethno-national communities, primarily alongside their previous religious or confessional identifications and ties of a kind in a wider South Slavic context. This distinctive ethno-national situation in Bosnia and Herzegovina in the period between the emergence of the New Age and our contemporary times, one should add, as the given fact, involves also the existence of other ethnicities in Bosnia and Herzegovina Some of them have also managed to develop their own literary traditions, and alongside other minority communities in the country, one of the best known among them has included the Jews in Bosnia and Herzegovina and their own literary tradition(s) .In this way, one must take, in this sense, as the reality of having a number of parallel literary practices of, at least, three, or mainly four clearly recognisable and comprehensive ethno-national communities in Bosnia and Herzegovina All this must be considered with the full awareness about the wider framework of Bosnia and Herzegovina, and, consequently, when taken all together, it can be of help in order to understand the literature in Bosnia and Herzegovina in its overall complexity, primarily in the cultural sense.
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The first edition of the second book of essays Doticaji i suočenja II (Contacts and Confrontations II) was published in the year 2002 by the Faculty of Philosophy in Sarajevo. The book begins with an essay dedicated to the 200th anniversary of the birth of Alexander Pushkin entitled In the Beginning Was Pushkin. Referring to the well-known critical evaluations of Russian researchers, who rightly call Pushkin Adam of Russian Literature and The Principle of all Principles, Nazif Kusturica shows why it is said that this great artist of words, originated in the era of romanticism, is the founder of Russian realism and modern, original Russian literature.In the essay On Tolstoy’s epopee the author explains the concept of the novel-epopee and talks about War and Peace as a unique novel, that did not find a typological relative before the novel Quietly Flows the Don by Sholokhov. Aware of his innovation in the novel structure, Tolstoy only found similarities with his work in Homer’s Iliad. Intending to show Tolstoy’s transition from epic to drama, Kusturica also talks about the features of epic in the drama The Power of Darkness, reminding that Tolstoy is also an outstanding playwright.Based on the statement that Dostoevsky’s realism is firmly marked by romance, the author shows, by the example of the novel Poor Folk, in which way Dostoevsky had rehabilitated (N. K.) the sentimental principle of his characters, on which realism challenged his right.From Gogol’s ‘The Overcoat’ to Chekhov’s ‘Case’ is an essay in which the author of the book tells about the development of the theme of the little man, comparing two typologically related models – Gogol’s Bashmachkin and Chekhov’s Belikov. Having described one of the most important themes of great realism in Russian literature in the previous essay, the author also brings an extremely informative essay about Chekhov’s stories.Chekhov dealt with topics that were of great importance for the further development of Russian literature, and some of them: the responsibility of a small man for his destiny, chameleonism, the banalization of the Russian intelligence...
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Serbocroatistic contributions have been published on the pages of “Ricerche slavistiche” since 1952, when this academic journal of Slavic Studies was founded by Giovanni Maver at the University of Rome (now Sapienza University). Articles and reviews on various Serbocroatistic topics (that is concerning linguistics, literary history, literary criticism, culture) have been appearing in this journal with such a continuity that they can be included among the most frequent ones.
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