О издању Сабраних песама Новице Тадића
Review of: Tadić, Novica (2012), Sabrane pesme I – V, Podgorica: Izdavački centar Matice srpske – Društvo članova u Crnoj Gori.
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Review of: Tadić, Novica (2012), Sabrane pesme I – V, Podgorica: Izdavački centar Matice srpske – Društvo članova u Crnoj Gori.
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Review of: Babić, Biljana (2012), Ortografske i jezičke karakteristike u štampanim djelima Pavla Solarića, Banja Luka: Filološki fakultet.
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Although proverbially considered a writer of exceptionally tragic anthropological vision, Andrić is a prime humourist. Seemingly contradictory at first glance, this claim makes perfect sense when the notion of humour is dislodged from the realm of common language practice and examined more closely in the light of aestheticism and literary theory, by means of which a clear division emerges, which separates humour from other laughter-generating literary devices, such as irony, comedy and the grotesque. The basic feature of genuine literary humour is reflected in its extreme closeness with the tragic elements in any given text, and this is precisely what makes interpretations of Andrić in this context purposeful. The humour in his text is sometimes founded on oral traditions and a superb knowledge of local folklore, as is the case in his novel The Bridge on the Drina, and sometimes thrives on the clash of cultures and civilisations, different customs and mentality, as seen in The Days of Consuls. Regardless of whether we talk of Vuk’s humour or the Babel’s humour, it is the one element in Andrić’s novels that most successfully marks the tragic elements in terms of style, sometimes it even goes beyond and becomes a form of surpassing the absurdity of human existence in an artistic fashion.
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This paper analyses the forgotten poem of Jela Spiridonović Savić – The parchments (1923). In line with the global tendency of feminist writers’ rediscovery (who are forgotten or insufficiently studied) and analysis of their literary works, we wanted to examine and highlight different aspects of this work, written in the spirit of the religious mysticism’s dialectic, postulates of spiritual philosophy, and Rilke’s religious poetic prayer The book of hours. Having analised the mystical experiences of mediaeval monks and nuns, the writer concludes that, Rastko Nemanjić – St. Sava, represented the embodiment of mystics, because of his spiritual tendencies, asceticism and desire for a union with God. Her vision of the Serbian Orthodox Church’s founder is artistically shaped in The parchments, a poem which created a lot of attention, not only within the Serbian literary audience but also in Italy (the Italian translation was published in 1927). Evangelistic philosophy is the spiritual essence of the The parchments, and therefore, it was impossible to interpret the work beyond its theological framework. The analysis was enriched with a dictionary of biblical terms, as a roadmap for understanding the poetess’s intentions. This work primarly belongs to the religious discourse of Serbian history, from mediaeval hagiographies to Njegoš’s Luča Microcosma. We conclude that Jela Spiridonović Savić, within her spiritual icon of St. Sava, has especially illuminated the psychological process of his religious ascension – the fight with his own weaknesses, doubts and sins, and his union with God in absolute humility and raising awareness of his assignated purpose.
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The paper deals with the relationship of visual and narrative elements in two novels by Mileta Prodanović: Ultramarin and Kolekcija. The introduction presents some of the assumptions of visual culture and its impact on everyday life and work. It also endeavours to explain the concepts of “image”, “likeness” and “visual/ mental representations”. In this sense, the author shares the opinion of William Thomas Mitchell, who believes that the image should not be taken as a picture – something visible, but as a spiritual resemblance, both within the religious context, and beyond. By examining the meaning and characteristics of visual and textual symbols, the author prepares the theoretical groundwork for the first chapter in which she deals with the novel Ultramarin. Here, visual and narrative elements are viewed as perfectly supplementing one another, with the mutual aim of creating a work of art. Prodanović’s methods of overlapping symbols, images and words are interpreted in the light of modern image theories and journey motifs - both physical and mental. In the second chapter, the paper deals with the novel Kolekcija, where the visual element demonstrates its power to the limit of human comprehension and beyond, entering the domain of science fiction. In this part of the paper, the author examines Prodanović’s storytelling skills that bridge the technological gap between the two historical moments in the novel, with particular emphasis on the universality and timelessness of the story and symbols. The third part is the concluding part, where the success of Prodanović’s experiment is summarised.
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Review of: Maksimović, Desanka (2012), Celokupna dela, Beograd: Zadužbina Desanka Maksimović – JP Službeni glasnik – Zavod za udžbenike.
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Review of: Simić, Charles (2010), The Horse Has Six Legs. An Anthology of Serbian Poetry (updated and expanded). Minneapolis: Greywolf Press.
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The work gives an analysis of the monograph Dobrica Ćosić between Politics and Literature written by Zoran Avramović, PhD. The first part presents the structure of the monograph and basic theoretical frameworks from which the author starts in his study of the relation between Dobrica Ćosić’s literary work and political activities. It is followed by the consideration of the study and the arguments proving that Ćosić did not affect his literary work by his political views and engagement, and, as the author of this monograph claims, that we may speak about one Ćosić in literature and another in politics.
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The paper analyses the so-called “zar” sentences in Ivo Andrić’s oeuvre. The sample of 133 sentences is divided into those which appear in dialogues, those which appear in monologues and those which appear close to each other in the same paragraph. This method has enabled analysing the usage of the particle “zar” and the function of “zar” sentences in descriptions of narrated events. Accordingly, the paper argues that Andrić rarely uses the particle “zar” in a standard interrogative sentence which is followed by a response; instead, he tends to use it in the form of a rhetorical question following which there is usually no dialogical response or commentary, which can be found in monologues.
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In this paper, we sought to analyse non-fictional prose about the Serbo-Turkish War – The Diary of a Volunteer by Pera Todorović and Vladan Đorđević’s Memories from the Serbo-Turkish War – from the point of view of different literary characteristics in the type of text that pleads for objectivity and authenticity. The genres of diaries and memoirs, despite their documentary background, are also subject to literarisation. Subsequent stylisations, pronounced literarisation and subjectivity of the narrator show the positioning of documentary prose between historiographical and literary. In this paper, we sought to illustrate the openness of documentary genres to various types of discourse, the dominant one being polemical. Pera Todorović, an oppositionist, is very critical of the ruling regime in his diary, to which Đorđević belongs to, but political discourse is present in the works of both authors. Both in the memoirs and the diary the confrontation between the public and the private is often themed, as is the complete disintegration of the human being in war in general. The works of Pera Todorović and Vladan Đorđević show us this. Pera Todorović’s diary gives us an inside look from the point of view of participant, while Vladan Đorđević’s memoirs gives us the point of view of a witness. As a result, the depiction of war differs in the works of these two authors depending on roles they had during the war.
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Review of: Arsić, Irena (2019), Srbi u Dubrovniku, Beograd: Ars Libri.
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Review of: Đurić, Vladimir (2019), Francuska veza. Stvaralaštvo srpskih spisateljica prve polovine XX veka u kontekstu francuske književnosti i kulture, Novi Sad: Akademska knjiga.
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Review of: Macura, Sanja (2018), Narativni lavirint – U središtu, Banja Luka: JU Narodna i univerzitetska biblioteka Republike Srpske.
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Most attempts to integrate “small,” or “minor,” or “third-world” literatures into a larger whole tend to be inadequate, deductive, and reductionist. Small literatures and their writers may crave recognition and attention, but they are not exactly helped if approached with a set of newly created stereotypes and dubious generalizations, which equate them with the geopolitical situation of their respective nations. This article focuses on Casanova’s The World Republic of Letters as an instance of this attitude towards small literatures. The article uses the example of Danilo Kiš, who figures prominently in Casanova’s book, and argues that his position within his native literary space and the place occupied by this space within world literature are misrepresented in The World Republic of Letters. This misrepresentation is not accidental: It necessarily follows from Casanova’s double mapping of this space, which is strongly influenced by geopolitical imagination and popular cultural geography. As long as the international literary space is imagined as overlapping with the space of great consecrating nations, comprising both their national as well as international writers, with the addition of international writers from the periphery “annexed” to them, the world literary map will only reproduce the (geo)political map of the world. The task of constructing a conceptual framework that will do justice to small or third-world literatures and their writers cannot be achieved so long as it is influenced by geopolitical imagination and popular cultural geography, and divides the world literature into the “first-world” and the rest.
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Book-Reviews: Ivo Mijo ANDRIĆ, RIJEČ U KORIST DJELA. Vasil TOCINOVSKI: SUŠAČKO POPODNE, Akademski pečat, Skopje - HKD Rijeka, 2015. Ivo Mijo ANDRIĆ, NEVELIKA KNJIGA VELIKIH MISLI. Tomislav SUPEK: AFORIZMI O ŽENAMA I BRAKU, Studio Moderna d.o.o, Zagreb, 2018. Ivo Mijo ANDRIĆ, PUT OD DANAS DO SUTRA. Minela MORANJKIĆ ĆOSIĆ: CESTA ZA NIGDJE, Grafit, Lukavac, 2018. Јованка СТОЈЧИНОВИЋ НИКОЛИЋ, ИСКУШЕЊЕ ПОЧЕТКА. Мелида ТРАВАНЧИЋ: СМРТ У ОГЛЕДАЛУ, IK Lijepa riječ, Тузла, 2019. Srdjan Vukadinović, NOVI KARAKTERNI OBRIS JUNAKA. Žarko MILENIĆ: LIR, BIVŠI KRALJ, Umetnička akademija Istok, Knjaževac, 2018. Милијан ДЕСПОТОВИЋ, ДОБРИ ПУТЕВИ ПРОМИСЛИ. Јованка СТОЈЧИНОВИЋ НИКОЛИЋ: УПОРЕДНИ ПУТЕВИ, Артпринт, Бања Лука - ЈУ Народна библиотека Добој, 2018. Žarko MILENIĆ, SLOJEVITI ROMAN Božidar STANIŠIĆ: ŽIRAFA U ČEKAONICI, Ultimatum, Beograd, 2018. Nikola ŠIMIĆ TONIN, SRCE JE DOMOVINA LJUBAVI, UM JE NJENO UTOČIŠTE. Muniam ALFAKER: ODIJELO BEZ TIJELA, prevela sa danskog Milena Rudež, Književni klub P. N. Brčko Distrikt BiH, 2019. Anto ZIRDUM, Nikola ŠIMIĆ TONIN: POZDRAV IZ VITEZA. Viteški ambijentalni teatar Vitez - Hrvatsko književno društvo, Rijeka, 2019. Leontin ČAPO MILENIĆ, ŽAR-PTICA I SIMBOLIKA ELEMENATA Ema K. BOTICA: NOSITELJ ELEMENATA, Naklada Bošković, Split, 2019. Мелида ТРАВАНЧИЋ, ИЗГУБЉЕНИ ОБЛИК ЖИВОТА. Ранко ПАВЛОВИЋ: МАЈСТОРИ И МАЈСТОРИЈЕ И ДРУГЕ КРАТКЕ ПРИЧЕ, Албатрос плус, Београд, 2019. Dušan JEVTIĆ, VELIKA ERUDICIJA I PRIPOVEDAČKI TALENAT. Eric JOHANSSON: KRALJEVSTVO NADE, Hangar 7, Zagreb 2020. Suada M. KOVAČEVIĆ, CRNI I BIJELI POETSKI BISERI. Danica VLAŠIĆ: TIŠINA U BIJEGU, Vlada Brčko Distrikta BiH, 2019. Suada M. KOVAČEVIĆ, CRNO-BIJELO U BOJI. Mirjana ĐAPO: MOŽDA I NIJE SVE TAKO CRNO, Vlada Brčko Distrikta BiH – Književni klub P. N. Brčko distrikt BiH, 2020.
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The paper starts by tracing the shifts in the status of Anđelko Krstić in the framework of Serbian and Macedonian literature. We interpret the possibility of Krstić being unconditionally accepted as an author with more than one homeland as a non-ideological principle of literary history that could be involved in a de-traumatization of the past and the creation of a conflict-free future. The similarities in the depiction of migrant workers in the novels Trajan by Anđelko Krstić and Infidelity by Dejan Trajkoski are marginal when compared to the involvement of contemporary novelistic protagonists in the modernization processes which open the affected individuals to the experiences of the Other. However, we conclude with the observation that the discrete historical context of Infidelity reproduces memory narratives that perceive their subject solely as a victim of collective trauma in the past. Although Infidelity contains elements of an invigorating relativization of memory, it is influenced by dominant discourses that abandoned multi-perspectives of the Balkan past and the inclusion of the Other. Such multifaceted perspectives which include the Other represent a prerequisite for a conflict-free future of the Balkan peoples and cultures.
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Радојко Побратимовић, Ми, Човек, П. Босанац. Да ли знате шта повезује ове особе? Или је то само једна особа? Да се не бисмо изгубили у енциклопедијама, решићемо загонетку на почетку. То су све псеудоними Народног учитеља, Васе Пелагића. Васа Пелагић рођен је 1833. у Босни, село Жабари, недалеко од варошице Брчко. Уз родитеље је веома рано научио да ради, па су управо тежачки послови главни узрок што је он у зрелим годинама био јак, неустрашив и праведан, поштовао рад и стварање корисних вредности у заједници.
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The topic of the article is the national discourse in the literary texts and feminist thought of the Serbian philosopher, feminist, and writer Julka Chlapec-Đorđević (1882–1969) regarding her Serbian and Czech identity, in the context of her cosmopolitan ideas and in the context of her “Prague period” of writing (1922–1945). She was of Serbian origin, but nevertheless for most of her writing career she lived in democratic Prague and participated in open Czech society before the Second World War. In that time and place, she – already in her forties – became an outspoken feminist and a writer. In Prague she also became a mediator between different cultures: “ex-Austrian”, Czech, and Serbian. This study examines her interactions with the social, political, and literary movements of the two different countries. In her remarks I emphasize how she was very familiar with Czech and Serbian culture, history, and literature – and also that of Europe and America.
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Rad ima za cilj da odgovori na dva pitanja. Prvo se tiče uticaja Milorada Pavića na srpsku kinematografiju, a drugo na uticaj svetske kinematografije na delo ovog pisca. Rad je otuda dvodelno koncipiran i komparatistički, interdisciplinarno i hermeneutički orijentisan. U fokusu prvog dela jeste film Vizantijsko plavo, inspirisan Pavićevom prozom, a u drugom se njegova proza osvetljava kadrovima iz filmova Treći čovek Karola Rida, Ulica Federika Felinija i Boja nara Sergeja Paradžanova. Rezultati istraživanja pokazali su da je zajednička komponenta između Pavićeve proze i navedenih filmova sadržana u pitanju antropološkog smisla umetnosti, umetnika i ljudskog života.
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