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Review of: Popov, Jovan (2020), „Pojmovi, periodi, polemike”, Beograd: Srpska književna zadruga.
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The paper deals with the complexity of growing up as a theme within the poetry of Dragomir Djordjević, whose poetic oeuvre is one of the most important poetic ones intended for children in Serbian poetry of the second half of the twentieth century. Djordjevic’s poetry shows a distinct artistic awareness of the problems of the child in the modern world, which makes it extremely modern and challenging to interpret.The author notices three thematic-motive circles in Djordjevic’s poetry, which are connected with the complexity of a child’s growing up. First, there are songs in which the lyrical subject sings about the corporal punishment of the child, then about the ‘pedagogization’ of childhood, and about the emotionally endangered child. The author analyses a series of poems in which the physical punishment of a child is sung about. Physical punishment of a child is present in many cultures, although it can also be of a ritual nature. In Djordjevic’s songs, corporal punishment is carried out by adults over children with the aim of disciplining them and obeying the norms of the elderly. Education has been turned into one of the many activities that are planned, realised and evaluated, which leads to the development and improvement of cognition, but also to the stifling of creativity, imagination and play. Education has been torn out of the context of life and turned into a separate activity. From education through life, we have come to the conclusion that education is an activity of vital importance.In this paper, we have analysed the following poetic texts in which Djordjevic expresses an artistic critique of the educational procedure of physical punishment of children: ‘Little family song’, ‘Impossible song’, ‘Dad’s song’ and ‘Now I will tell you’..Technological advances and conformist lifestyles have led to parental preoccupation, and from the desired age of child we have the age of professionals dealing with children. Dragomir Djordjevic’s songs, which register the growing appearance of a lonely child, a child who hangs out with a limited circle of friends, are ‘Anka’ and Song for enjoyment’.Separating upbringing from the life context has created numerous psychological difficulties in the upbringing of modern children. A child’s difficulties shifted from existential to psychological ones. The pedagogy of childhood is at the centre of many problems of the modern child. It implies a pronounced segregation of the world of childhood and the world of adults, as well as the placement of children in safe havens - schools. Pedagogization also means the separation of a separate ‘children’s world’, which is protected from potentially bad environment. Dragomir Djordjevic’s poetic texts in which the artistic awareness of the difficulties caused by the pedagogy of childhood are expressed are: ‘I was a happy child’, ‘The bell rang again’, ‘Hey, how could ‘“, ‘It is not easy to be a child’.Dragomir Djordjevic’s poetry can help a young reader to cope more easily with parental punishments, with the problems imposed on them by school in the form of unbalanced demands, as well as with the emotional difficulties that accompany everyprocess of growing up. Djordjevic’s verses can help the reader to see that they are not alone in these temptations, and that others are going through similar problems.
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Iskaz M. Selimovića o najvišoj vrijednosti stvaralaštva Dostojevskog, dostojnoj valjda samo Šeskpira, zadržava, od početka do kraja, stabilan vrijednosni nivo u njegovoj publicistici. Priznanje, pak, uticaja Dostojevskog na vlastito djelo, vjerovatno pod uticajem radikalne formalističke revizije ovog pojma, na kraju se svodi na nekolike ideje. Mišljenje Dostojevskog o stvaralačkoj slobodi, izraženo u polemičkom članku s Dobroljubovom, gotovo da ima pokriće u Selimovićevom zahtjevu za apsolutnom iskrenošću. U obojice pisaca uz pojam slobode idu i materijalni uslovi.
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The consideration of irony here is established through several relations in the text: the irony between the characters, the irony the narrator uses in relation to the characters, the author’s irony in relation to the narrator and the reader. Nevertheless, very rarely is it one-way irony: the interpretation of one of the stories from „Early Sorrows“ by Danilo Kiš or some paragraphs written by Krleža and Crnjanski, are used with the aim of shedding light on relations where irony is being established, as well as its function within the text. The so-called ironic deflection gains a special attention here, and so do the direct and indirect irony. Since it is impossible to provide a universal pattern for irony detection, this text serves as a guide for detecting some of the mechanisms that can be used to create on-the-spot irony, which could prove useful for teachers in terms of adopting certain tools for recognising and including irony in the interpretation of the text. Further analysis can also reveal how irony can have to do with the author’s view on life and the world, in general.
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Prenošenje legendarnog, epski završenog junaka u jedan drugi rod, u drugi oblik kazivanja i drugi vremenski kontekst, povlači za sobom bitne promene u ponašanju i osećanju glavnog junaka, u stvari u strukturi radnje. Proces razaranja mita prošlosti i neprikosnovenog epskog junaka u njemu razvija se u pripoveci lve Andrića Put Alije Đerzeleza u dramatičnim etapama. Žanr priče teorijski i u neposrednom ostvarenju nametnuo je drugačije principe tretiranja ličnosti od onih koje zahtevaju strogi zakoni epske pesme. Proza je omogućila istraživanje “psihološke istine” glavnog junaka, što je u epskoj pesmi svedeno na detalj. lza Andrićevog Đerzeleza više ne stoji “narod”, on ne govori u ime “mnoštva” već u svoje ime. On dolazi medu ljude sam i sam ostaje do kraja. Njega ne štiti viša sila niti mu u nevolji pritiče u pomoć vila. Njega ne vodi ideja oslobođenja ili osvajanja. On ne teži nekom višem i po svom značaju opštem cilju.
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Il paper analizza la complessa relazione di Vladan Desnica con Dante, lo scrittore più rappresentativo del patrimonio culturale romanico. Lavorando sulla base del metodo comparativo-analitico seguiremo la costruzione del personaggio principale della novella Dalla mattina fino al buio Ivo Čavra chi nel Dante trova la sua stessa natura ambivalente discussa in detaglio nel saggio Dante oggi. Lo scopo del paper è di indicare una serie di elementi presenti nel personaggio e nell’opera di Dante che hanno vissuto fortemente nella coscienza creativa di Desnica: lo spirito italiano così vicino a Desnica, la “dualità” del poeta fiorentino, drammaticità della sua vita. In questo scritto cercheremo i punti dell’identificazione dei due scrittori e troveremo: attento uso del linguaggio, forte riflessività, una filosofia personale di solitudine e di sofferenza, taglienti osservazioni nella sfera morale..
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El tema de este trabajo es la imagen de mujer en las novelas realistas La Regenta (1884–1885) de Leopoldo Alas Clarín y La maestra del pueblo (1899) de Svetolik Ranković. El objetivo de este trabajo es demostrar que los personajes feme- ninos del realismo español y serbio son presentados de manera similar, a pesar de las diferencias en los contextos socio-históricos y culturales de España y Serbia de la segunda mitad del siglo XIX. Ana Ozores y Ljubica Petrović difieren parcialmente de los ambientes patriarcales en los que viven, pero a la vez quieren ajustarse a ellos. Vetusta y Orlovica se presentan como lugares entumecidos y obsesionados con lo tradicional, en los que ningún tipo de especificidad, sobre todo femenina, no puede estar bien vista. Utilizando el método comparativo, comprobaremos cuáles son las similitudes y las diferencias entre ambos personajes femeninos en varias categorías: origen, infancia y adolescencia, estatus social, relación con los hombres, relación con las mujeres, relación con los niños, actitud sobre matrimonio y familia y opinión sobre sí mismas. Encontraremos las similitudes entre grupos de personajes en ambas novelas y así concluiremos cómo es la imagen de mujer en realismo español y serbio.
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This paper presents an analysis of nominal lexemes of one of the versions of The Story of the Battle of Kosovo – The Manuscript of the University Library. The manuscript originated in the first quarter of 18th century, and it was written in Old Serbian language, with only few lexical items from the Serbian Church Slavonic. The analysis of the corpus includes the analysis of the origin of the lexemes, derivational analysis, semantic classification, and paradigmatic analysis. Lastly, we examined the presence and positions of the analyzed lexemes and their meanings in the contemporary Serbian language by using lexicographical sources. The aim of the research was to portray the lexical complexity of the Manuscript, as it represents a part of the Serbian lexicon from the beginning of the 18th century, as well as to draw comparison between this area of synchronic structure of the Serbian language and the contemporary language. In the appendix at the end of the paper is the dictionary of the analyzed lexemes, including verifications from the Manuscript.
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Although psychoanalytic learning as a scientific paradigm has become increasingly undervalued in recent decades, it still has a very important place in the science of literature. Borisav Stankovic‘s most famous novel Nečista krv is based on Zola‘s theory of family degeneration and the naturalistic account of the demise of the Hadži-Trifun lineage, as well as Freud‘s teaching on the conception of personality, hence the inevitable starting point for the analysis of this work. The paper will not question whether Stanković read Freud, but will highlight the benefits of Freud‘s psychoanalytic paradigm in interpreting the novel over other approaches to interpretation and look at those authors who based the analysis of Nečista krv on psychoanalytic learning. The aim of the work is to isolate parts of the novel that will be interpreted in the key of psychoanalytic phenomena such as: the problem of the boundary between erotic and pornographic, the struggle of eros and tanatos, the phenomenon of incest, which is brought about in connection with the custom of “snobbery” in the Pčina region of Serbia, as well as autoeroticism, the most complex erotic phenomenon in the novel.
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This paper focuses on the collection of Matic’s essays, One aspect of French literature (1952), his first published, and overlooked, book that can serve as an indicator of Matic’s thought in this period of its quietness on the Yugoslav literary scene in 1950s. In addition to reviewing the literary-historical context of the essays, the writer’s thought contained in them will be looked at from a poetic and aesthetic standpoint, since the authentic voice of the thinker and poet Dusan Matic, though somewhat programmatic, can be discerned in the margins. In this regard, the aim of this paper is to present the paths of Matic’s literary thought in the 1950s, that is, to mark the key determinants of his poetics in the example of these texts, with special attention on the questions of aesthetic regarding the relation between literature and social reality, as well as on the questions of truth and beauty.
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The paper focuses on the research of folklore in the collection of poems Levi kraljevi by Miodrag Stanisavljević. The research encompasses the noticing and identifying of folklore elements on selected examples of poems as opposed to the genres of the literary models used to create them, their understanding and study with regard to Serbian literature of the 20th century. In addition to the analysis of the content of the poems and the models, the paper also compares the language and style of the poems to the model. The following three poems were analyzed, in addition to the Foreword: Princeza i drvodelja, Kosovski boj and Kako poziraju životinje.
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The choice for the title of our research suggests thematic and interpretative directions for the novel Lepa Petra. We have decided on a phenomenological analysis of space in the novel and an appreciation of its potential cultural meanings, different psychological connections, as well as the archetypes associated with them. From the geography and the chronotope of the road, we direct the reading of these parts of the text to those which reveal gender marking, thus the novel can be read, through the character of the protagonist Petra, as an example of the permeation of different ways of presenting a woman.
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Les éléments gastronomiques d'interpolation et de la bohème dans une œuvre littéraire contribuent à la découverte de l'expérience, ce qui est important non seulement dans le contexte de la poétique de l'écrivain, mais aussi à découvrir le contexte historique. Dans cet article, nous analysons le travail de Danilo Kiš Sablier, La Mansarde, Encyclopédie des morts, Jardin,cendre du point de vue des rélations entre la gastronomie et la littérature.
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After publishing A Tomb for Boris Davidovich (1976), the book which was marked by: death, destruction of the human body, conceptual eradication of people and abuse of human liberty by the “Stalin inquisition,”Danilo Kis found himself in the spotlight of Yugoslav critical public. He was subjected to a media lynch and public denunciation which developed into court proceedings which Kis won. In response to serious accusations and attacks that he was a plagiarist, Kis wrote, an auto-poetic book The Anatomy Lesson(1978), which manages to be at once an essay stating the highest literary principles, and a savage personal attack on his critical enemies. The result, of course, was that he then faced a trial for libel. He won that, too. Historic example of a public anatomy lesson is illustrated in Rembrandt’s paintings The Anatomy Lesson of Dr Tulp. As a visual metaphor, it contributed to the process of reconstructing social events at the time “when Kis’s Anatomy Lesson was taught. The scandals and furores convinced him that he could no longer live in Belgrade. In 1979, he moved to Paris, where he lived for the rest of his life. Our analysis relates to the genre experiments and effects of reading Kiš’s Anatomy Lesson in a dramatic key. In a new multi-perspective space of ideas broken down into semantic units defined in a different way, we enter the new artistic contexts. This is to underline the three times intertextual connections of painting, literature and theatre.
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The map of Danilo Kiš’s literary concept of Central Europe has offered in his understanding the involvement of the magical realism. Although it does not belong to the universal body of the many critical representations of Central Europe which often varies, Kiš’s latent „sliding“ in the discourse of the magical realism offers another possible orientation and knowledge of this phenomenon. Below the mystification of the literary image of Central Europe are mismatched concepts that could open the view of the irrational, within which occurs a transition to the unconscious territories of Kiš’s work.
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Miloš Crnjanski is a Serbian writer who approaches the theme of war between individuality and collectivity. The uniqueness of his novels can be seen in the professions he chooses for his characters, most of them being soldiers, officers, warriors, military men. The literature of the Austro-Hungarian Empire brought to life, like no other literature, the military aristocracy. In this paper we submit to analysis the imagological aspects of the soldier in the author’s vision in three poetic novels: The journal of Čarnojević, Migrations and Novel about London. Through the means of ironical discourse, Crnjansky refused to integrate the war and the sufference in a logical, coherent context, to give cosncience, judgement and reason to characters, reason that would make out of chaos a construction determined by the cause-effect relationship.
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