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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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The paper considers travelogues of Yugoslav female writers Alma Karlin, Jelena Dimitrijević, Isidora Sekulić, Marica Gregorič Stepančič, Marica Strnad, Luiza Pesjak. These texts created in the first half of the 20th century in Serbian, Slovenian and German are on the periphery of the literary field and, with rare exceptions, do not belong to the canon. The most famous of these authors are Sekulić from Serbia and the German-speaking writer Karlin from Slovenia. Recently, the work of Dimitrijević has also become an object of attention of researchers. Other travelogues writers are almost forgotten. Identity problems, especially national ones, are a constant component of the travelogue genre. During a journey, the author directs his attention to “other /alien” peoples and cultures that can be called foreign to the perceiving consciousness. However, when one perceives the “other”, one inevitably turns to one’s “own”, one’s own identity. The concept of “own – other /alien”, on which the dialogical philosophy is based (M. Buber, G. Marcel, M. Bakhtin, E. Levinas), implies an understanding of the cultural “own” against the background of the “alien” and at the same time culturally “alien” on the background of “own”. Women’s travel has a special status in culture. Even in the first half of the 20th century the woman was given space at home. Going on a journey, especially unaccompanied, was at least unusual for a woman. According to Simone de Beauvoir, a woman in society is “different /other”. Therefore, women’s travelogues can be defined as the look of the “other” on the “other /alien”. In this paper, particular attention is paid to the interrelationship of gender, national identities and their conditioning with a cultural and historical context. At the beginning of the 20th century in the Balkans, national identity continues actively to develop and the process of women’s emancipation is intensifying. Therefore, the combination of gender and national issues for Yugoslavian female travelogues of this period is especially relevant. Dimitrijević’s travelogue Seven Seas and Three Oceans demonstrates this relationship most vividly: “We Serbian women are no less patriotic than Egyptian women… Haven’t Serbian women most of the merit that the big Yugoslavia originated from small Serbia?” As a result of this study, the specificity of the national and gender identity constructs in the first half of the 20th century in the analyzed texts is revealed. For this period one can note, on the one hand, the preservation of national and gender boundaries, often supported by stereotypes, on the other hand, there are obvious tendencies towards the erosion of the established gender and national constructs, the mobility of models of gender and national identification as well, largely due to the sociohistorical processes of the time.
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Myths evolve continuously and they are influenced by transfer; in this way they cross the boundary between ages, geocultural areas, and art genres. This dynamic system of symbols, archetypes, images, and schemes has been integrated by culture and stimulates the artistic activity of the 21st century. This also happens when it comes to the playwrights and stage producers of the post-Yugoslav countries. One should point to the extraordinary transformations of myths by Ivana Sajko (Croatia), Ljubomir Ðurković (Montenegro), and Jeton Neziraj (Kosovo). As a result of such strategies as, for example, prefiguration, transposition, and reinterpretation, ancient and modern contents overlap and create new quality. The theatrical plays which are based on such texts are other examples of transfer and transformation depending on the performative circumstances of the exposition. Moreover, these productions are transcultural and transgressive.
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Hafiz Salih Gašević autor je popularnog Mevluda na bosanskom jeziku. Uz Mevlud Gašević je napisao kasidu bez naslova čija kopija se nalazi u Muzeju Hercegovine u Mostaru. U ovom radu, po prvi put naučnoj i široj javosti predstavljamo integralni teskt Gaševićeve alhamijado kaside na latinici. Pored toga, u radu smo analizirali kasidu na više različitih nivoa: ortografskom, historijskom, jezičkom i sadržajnom. Gaševićeva kasida pripada drugom periodu u razvoju arebice koje karakteriše vrijeme u kojem je njen autor živio i djelovao. Kasida nudi novu inforimaciju za biografiju Gaševića, a to je ime njegovog učitelja u Nikšiću. Gašević je kasidu napisao slijedeći oprobani obrazac orijentalnoislamske forme svojstvene gotovo svim kasidama sličnog žanra. Pri kraju kaside Gašević jasno naglašava da je kasida napisana na bosanskom jeziku, čime je, barem što se dobronamjernih istraživača tiče, stavljena tačka na stoljetnu raspravu o književnom jeziku njegovog Mevluda. Sadržaj kaside je opisno-imperativni s pretežno eshatološkim temama.
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Reviews of: *O SPOZNAJNOM ETHOSU HELENSKOG SVIJETA I MORALNOM SAZNANJU U SREDNJEM VIJEKU; Zukorlić, Muamer: Etika: epistemologija etike antičkog doba i Srednjeg vijeka, Novi Pazar: Matica bošnjačka, 2021, 342 str. *NAD KNJIGOM SANDŽAK ZEMLJA GAZIJA I ŠEHIDA; Harun Crnovršanin, „Sandžak zemlja gazija i šehida“, El Kelimeh, Novi Pazar, 2021. *Aida Abadži Hodžić, Behaudin Selmanović Selman, Bošnjački institut, Fondacija Adila Zulfikarpašića, Sarajevo, 2019. godine, str. 220 *ŽIVOT SE PO STIHU PREPOZNAJE; Aladin Dino Lukač: SABRANE PJESME, izdavač Porodica Lukač, Novi Pazar, 2019. *BOSNA, PJESMOM ODBRANJENA; Safet Hadrović Vrbički: TARIH, Antologija anti-ratne poezije Bošnjaka *DOSTOJANSTVO I DRAMATIČNA SUDBINA BOŠNJAKA U KNJIŽEVNOM OGLEDALU; Safet Hadrović Vrbički:“Sermija“ – Antologija prozne književnosti Bošnjaka Sandžaka i Crne Gore, Udruženje bošnjačkih pisaca Crne Gore, Rožaje 2020. *DA BI UPOZANO ČOVJEKA, UPOZNAJ NJEGOVO VRIJEME KAKO BI GA BOLJE RAZUMIO; Šefkija Borančić, Halali, ako možeš, Divan, Skoplje, 2020. *O SIMBOLIMA VITEŠTVA I OPSTAJANJA; Sead Kajević, Saga o Kajevićima, Prijepolje: Muzej u Prijepolju, 2020. godina, 222. strane
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Instead of subversive action, in literature, as well as in the culture, women clash and thus enable the unhindered survival of patriarchal norms. In some literary texts, female characters are often opposed, i.e. women show envy towards other women, either because of beauty or a man who is the object of desire. In any case, such opposition is often only part of a patriarchal strategy aimed at women's disunity that distances women from projects that would allow them to act more homogeneously and to oppose traditional patterns of behavior.
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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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Conference-Report: A X-a ediţie a festivalului internaţional „Zile şi nopţi de literatură” (Irina Ionescu)
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Matija Bećković (Матија Бећковић) was born on November 29, 1939 in Senta, in the Serbian province of Vojvodina to Serbian parents from Montenegro. He graduated from the Valjevo Gymnasium in Valjevo in 1958. It was during his gymnasium years in Valjevo that he published his first poem, in the journal „Mlada Kultura”. Furthermore, it was also in Valjevo that Bećković met Vera Pavladoljska, to whom the poem of the same name, published in 1960, was dedicated. This poem remains one of his most widely known and read poems. Bećković went on to Marry Pavladoljska, and he remained married to her until her death. Upon graduating from the Valjevo gymnasium, he entered the University of Belgrade and graduating with a degree in Yugoslav and world literature. He became a corresponding member of the Serbian Academy of Sciences and Arts in 1983, becoming a full member in 1991. He is one of the most prominent Serbian poets of the 20th century. Bećković is a close friend of Serbian Prime Minister Vojislav Koštunica, and an active supporter of his Democratic Party of Serbia. He lives in Belgrade since 1960. On the Montenegrin independence referendum, 2006, Bećković did not vote since he lives in Serbia. However, he, as the most prominent figure in the block against Montenegrin independence, gave passionate speeches against separation. A distinguishing feature of Bećković’s poetry is its regionalism. Distinctly Montenegrin archaic dialect and phraseology permeate his work. This aspect of his work is most often lost when one reads it in translation. Even so, other features that distinguish Bećković’s poetry in the cannon of South Slavic literature will not be lost on the foreign reader. Bećković’s poetry often strikes the reader as profoundly rhetorical. By the same stroke, he avoids the danger of didacticism that often comes hand in hand with the resort to rhetoric. He does so by insisting on the entertaining aspect of his poetry, regardlessly of the subject matter, ranging from love, over politics, to theology. His poetic mains works are: Vera Pavladoljska; Metak Lutalica; Tako je govorio Matija; Dr. Janez Paćuka; O međuvremenu; Če: Tragedija koja traje (Published in English as Che: Permanent Tragedy); Reče mi jedan čovek; Međa Vuka Manitoga; Lele i kuku; Dva sveta; Poeme; Služba Svetom Savi; O Njegošu; Kaža; Čiji si ti Mali?; Nadkokot; Služba; Sabrane pesme; Kosovo najskuplja srpska reč ; Ćeraćemo se još; Kad budem mlađi.
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This paper deals with the comparative analysis of the phenomena of female beauty as a significant trait of tragic circumstances in the history of literature and film, with a special focus on the central subject ‒ Jelisaveta, a Venetian noblewoman who married Đurađ Crnojević, the Montenegrin ruler. Reviewed through a diachronic perspective is the motif of the cursed foreigner, which in this drama is a compositional leitmotif that serves as evolutionary cause of physical and moral suffering, as well as the spiritual darkening. Prominent place within this work has the placement of the play “Jelisaveta, Princess of Montenegro” by Đura Jakšić in the context of Romanticism, which highlights black-and-white psychological characterizations. In a related manner, the issue of imagological aspects is raised‒the attitude towards the Other, the ties to historical revisionism, and the place of Crnojević dynasty in both historical and literary texts.
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The key topic of this text is the re-vernacularisation of post-Croato-Serbian standard languages in the service of the state and the nation. The author’s starting point for the elaboration of this topic are four books criticising the subordination of language to nationalist ideas of the state and of the nation: Škiljan’s Speech of the Nation: Language, Nation, Croats (2002); Kordić’s Language and Nationalism (2010); Bugarski’s Do You Speak Polycentric (2018); and Glušica’s The Montenegrin Language and Nationalism (2020). Well-sourced and analytical, Glušica’s book provided the most material for a critique of the practice of re-vernacularisation. The author believes that the practice alienates metalinguisticity from its linguistic community, turning language into state vernacular and discourse of nation, engendering a schism, a diglossia within the Montenegrin linguistic community. The author also believes that such practice is anachronistic and un-emancipatory. What is more, it is entirely contrary to the contemporary processes of vernacularisation that have developed under the influence of communication technologies and computer-mediated communication. The latter represent a challenge to the current practices of standardisation, as, in place of the monologuist, monoglottal and mono-semiotic institution of standard language, they are establishing the foundations for a dialogic, polyglottic and poly-semiotic institution of public language.
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The paper Imaginary Structures of Exile Miroslav Krleža, Dubravka Ugrešić and Ognjen Spahić includes three subchapters: The (Auto)exiled Returned Home, The (Auto)exiled Left Abroad and Sanitary Exile, which discuss some aspects, individual and collective, of this kind of experience. The history of humanity includes forms of exile, consequences of power struggles, ideologies and drifting collective or personal history. The demographic and ethnic map of the world has been in perpetual transformation. Closely related to the notion of”chronotope”, the exile, in all its forms (autoexile, exodus etc.) refers to the time and space left behind.
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The paper Border as a Specific Modelative Space in the Novels of Zuvdija Hodžić and Husein Bašić concerns itself with presenting some of the manifestations of the border phenomenon in the novels of Husein Bašić and Zuvdija Hodžić. The border is one of the main motifs and modelative principles in the novels of these authors and one of the specifics of the literature of the Sandžak cultural-historical space. The author aims to show that this phenomenon is manifested in the works of the aforementioned writers through several forms of meaning-making, which are certainly not the only ones, but they encompass a certain range of meanings that can be found in the novels in question.
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This paper aims to give the recipient detailed and comprehensive analysis of Đilas’ novels Land Without Justice and Montenegro, using the latest theoretical and critical methods in the field of narratology, phenomenology and semiology. The analytical sublimate of Đilas’ novelistic prose is based on the incorporation of the structural elements such as: the narrative situation, the organizational norms of the temporal and spatial categories, the compositional determinants and pattern system for creating characters in Đilas’ novels, but as well as on their interaction and interference on the meta-textual plane which is established between these novels. The chronological order of the narrative structure of these novels is subsequently established, hence the narrator, the dismissal of the time categories (past, present and future tense), interprets through the different stories in the temporal paradigm which present alternatively dismissal of time anachronism (analepsi, prolepsis, ellipses) that at the level of the narrative text establishes the complex temporal pattern.
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This paper deals with the poetics of the book series “Krivice 1–2” and “Krivice 3” by Husein Bašić. “Krivice” are new-history novel-chronicles about World War II, revolution, implementing a new authority and the Informbiro Resolution in Sandžak. The title comes from an ideological stereotype “Turkish blame” used to, in an epic culture of hatred and revenge, grant amnesty to persecutions and crimes committed against Bosniaks who, after the Ottoman Empire receded, found themselves in a position of an unwanted Other, suffering in every Balkan war. The narrator is a distanced analytic and chronicler of events, who documents by citing archival material, literary, newspaper and diary texts, proclamations, letters etc., as well as introducing living people and historical figures in a role of political and cultural witnessing. The modus of narration is subordinate to the objective of truthfulness of witnessing through dialog, direct and indirect speeches from the characters and free indirect speech which includes the author’s attitude with an ironical deflection. Showing and reporting connects intertwined scenic displays of national-politic and social happenings, imprinting via method of montage into a mosaic map of a complex historical situation. Episodic sequences of psychological dramas and traumas are told with a lyrical expression and a dramatic charge. A nice humoristic and relaxing irony permeates the entire narrative, in which the discourse of power of the Party is strongly ironized, as well as the discourse of every ideological practice.
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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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Reviews of: 1. Fajko Kadrić “Šta su meni ptice: Kazivanja Ekrema Redžića”, Tešanj: Planjaxkomerc, 2022. 2. Haverić Džavid, “Historija islama i muslimana u Australiji: Rane interakcije, naseljavanja i zajednice prije sredine 1940-ih” Haveric, Dzavid, History of Islam and Muslims in Australia: Early Encounters, Settlements and Communities Prior to the Mid-1940s, Lambert Academic Publishing, Germany, 2019. (263 pp.) ISBN 978-0-9580103-6-8. 3. Enes Karić, “Boje višnje”, Tugra, Sarajevo, 2023. treće izdanje. 4. Ulvija Mušović, “Vatan”, Almanah, Podgorica, 2023. 5. Dino Burdžović, “Memoari Besima Jusufovića”, Centar za očuvanje i razvoj kulture manjina Crne Gore, Podgorica, 2023. 6. Fatmir Bači, “Zalog svjetlosti”, Matica Bošnjaka, Novi Pazar, 2020. 7. Sve što je Dino napisao bilo je z(l)ato: Dve decenije od prerane smrti pesnika Aladina Lukača 8. Safet Hadrović Vrbički, “DIVAN - antologija vlastite lirike (tom I)”, Rožaje 2023. Izdavač: Udruženje bošnjačkih pisaca Crne Gore) 9. Zehnija Bulić: „Čekajući Turke“, Izdavač: BUKS, Novi Pazar, 2019. Faruk Dizdarević, “Druga obala: Ogledi i razgovori”, Grafičar, Užice, 2022. 10. Esad Kočan, “Naša Rijeka”, Almanah, Podgorica 2023.
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War literature for children and young adults, especially books which thematizes the World War II, has been an important part of the Yugoslav literary canon for half a century. In my paper, I will try to shed light on its specifics, the wider social context in which it appears, its role in the process of politicization and its particular appearance within Montenegrin youth literature, using the examples of two war novels by the famous Montenegrin writer Dušan Kostić. The theme and overall concept of the war novel for children and young adults fits into the existing context of war prose, but due to its numerous specificities, it forms a separate entity. As it is intended for a special type of readership, it is understood that this type of prose satisfies its horizon of expectations, which is why there are numerous compromises in which the categories of realism and objectivity are most often problematized, while children as the main characters are often clothed in a veil of omnipotence. Most of the writers of this topic for children and young people retain the traditional-realist concept, the step-by-step plot, the omnipresent narrator and the chronological composition in terms of the structure and procedure of the novel. In this context, complexity emerges as a key distinguishing feature between prose for children and prose for adults - while more complex literary procedures have become "domesticated" in literature for adults, literature for children and young adults generally does not abound with examples of more modern literary treatment. Although novels for children with the theme of the National War of Liberation belong to the subgenre of action novels, they nevertheless have some specificities that set them apart from that group to some extent - action and psychological elements are largely interwoven here, which contributes to a more complex novel weaving. The National War of Liberation proved to be a rich source of literary inspiration in Yugoslav literature, which could not be avoided since the topic was imposed based on psychological, but also pragmatic-political, ideological motives. Since the young reader identifies with the main character, for psycho-emotional reasons his death was often unacceptable, which led to many "violent" artistic compromises between what would suit the reader and what was probable. A large number of writers followed the line of overemphasized action, overexposed children's heroism, or black-and-white techniques in character modeling, thus creating literature that painted the war first of all as one big adventure, completely losing sight of its inhuman condition and the dimension of destiny for the sensitive children's psyche. Therefore, most of the works of that period were characterized by an extraordinary similarity, almost a uniformity - they were built according to more or less the same model, with many elements that would mark that type of prose. In works of lower literary quality, children completely obscure the world of adults, as if only they are fighting a war, and any actors from that world are reduced to the role of extras. In the higher quality works on this topic, more trust is shown in young readers and in their ability to understand war as a complex phenomenon. Instead of an idealized hero with a crystal clear moral and ideological profile, a hero with all the attributes of his human mediocrity and imperfection appears more and more often - a being who is beset by doubts and temptations. The discrepancy between quantity and quality is the key feature of the period in which war prose dominated, simply because a large number of works repeated the "already seen" - they did not enhance the novelistic technique, nor the conceptual reflection of war as a phenomenon. One of the purposes of this prose was to establish the young socialist citizen. Kostić's war novels (Gluva pećina, 1956, and Sutjeska, 1958) are distinguished by their quality, and by their atmosphere, subject matter, and how the subject is treated, they belong to young adults’, and not children's literature. Dušan Kostić does not spare his readers, nor does he pander to them, simplify the complex matter by leading them down the path of naive spheres, or write tendentially for them; instead, he uses numerous psychological elements, which is why he can be read equally by various age groups. Kostić most often shows children caught in the whirlwind of war, powerless to resist the storm, but with a strong drive for self-preservation. The author managed to skillfully avoid the manufacture of heroism by focusing on psychological aspects, atypical for this type of children's prose. The epilogues of Kostić's war novels are artistically defined, because even though they do not have happy endings, an ontological optimism shines through them, without which literature for children and young people is unimaginable.
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