Scriitori realişti sârbi

Author(s): Virđinija Popović / Language(s): Romanian Issue: 01/2015

It has not been written much about the Serbian Realism and Serbian peasant in Romanian language. In Henri Zalis’s publication of bibliographic contributions Naturalism in Romanian Literature, he emphasizes the fact that Serbian Realism was still dominated by Russian writers and that it preserved the dilatory traces of the XVIII century Romanticism, and that it was still determined by the influences of the utopian materialism and socialism. Realism is an artistic, literary concept which reflects objectivity and presents the reality truthfully. Realism writers depicted the social life, representing the man as a product of society he lives in, yet the characters are typical and they represent a whole category of individuals. The characteristics of Realism are: objectivity, sobriety, social criticism, thoughtful presentation of reality. Serbian Realism appears in the second half of the XIX century, more accurately in the last decades of the XIX century and it is connected to socio-democratic activities, of Svetozar Marković (1846-1875).

БИТИ ПТИЦА БЕЗ КРИЛА (Замишљени интервју с главним јунаком романа Церебрум Дејана Вукићевића)

Author(s): Sofija Borković / Language(s): Serbian Issue: 534/2022

МОЈА КЊИЖЕВНОСТ НИЈЕ ЗА ДЕЧЈИ ВРТИЋ

Author(s): Jasna Šamić,Nina Živančević / Language(s): Serbian Issue: 534/2022

МИ НЕ ЗНАМО КО НАС ЧИТА

Author(s): Danica Vukićević,Nina Živančević / Language(s): Serbian Issue: 534/2022

Twórczość Petara II Petrovicia Njegoša jako inspiracja dla serbskich koncepcji historiozoficznych XX wieku

Author(s): Dorota Gil / Language(s): Polish Issue: 3/2022

The idea of the bond with ancestors, along with the categories of sin, suffering and redemption (in the soteriological interpretation) is one of the crucial ones in Petar II Petrović Njegoš’s poem “The Mountain Wreath” and constitutes the fundamental point of reference for the contemporary Serbian historiosophers (among others, R. Samardžić and V. Jerotić) as well. Updated and somewhat modified in the first half of the 20th century by bishop N. Velimirović, also at the beginning of the 21th century, this idea characterises a unique collectivistic thinking about Serb’s “historical curse” which stems from the collective responsibility and “inheritance of sins”.

Немањићи: телевизијски наратив између историје и идеологије

Author(s): Bojana Vujin,Viktorija Krombholc / Language(s): Serbian Issue: 179/2023

With the rejection of grand narratives of history and nation, Postmodernism moves away from tradition into experimentation, and from factual reporting on the past into fictionalised storytelling about it. As popular culture comes into theoretical focus, these two interests coalesce and give rise to a myriad new versions of history, transposed into new forms of art and fitted to the standards of the Turn of the Millennium. This article tackles the ideas and processes whereby historical material is adapted into audio-visual narrative in contemporary television, focusing mainly on the television series The Nemanjic Dynasty: Birth of a Kingdom (RTS, 2018). During the last few decades, literature and popular culture have shown an undisputed, growing thematic interest in history, both individual (which is shown, for instance, by the prevalence of the so-called ‘biopics’ in Hollywood) and collective (as can be seen from numerous historical and pseudohistorical books, series and films, such as Philippa Gregory’s bestsellers, as well as numerous TV shows like The Tudors or Reign). By observing these trends, the authors of the article show that history, as seen through the prism of televisual storytelling, becomes a sign of the times, a reflection of contemporary society and an attempt to satisfy the demands of the current social context. In the course of this process, the idea of actual, historical facts being faithfully presented is either marginalised or completely ignored, while the notion of a new version of history – a more fun, more provocative, more educational version at that – takes centre stage. Through the processes of exotisation and ‘sexsation’ (Kohlke), history becomes both the unknowable Other and an era ‘just like our own’, which is only temporally displaced from our own notions and desires. Furthermore, during politically unstable and charged times, national history is glorified, and the lost past is seen as a more valid, heroic era – this particular form of abuse of both history and nation is more often than not a propagandist tool used to further political agendas and spread the ideology de jour. This approach to history and historiography is viewed in the article as a starting point for the analysis of the television series The Nemanjic Dynasty and its relationship with the national past. In this regard, the series is understood mostly as a reflection of the time of its creation, and as a criterion by which to measure the crisis of a nation torn between the mythologised past and a satirical view of the present.

Књижевност у Kалендарима Георгија Михаљевића (1807, 1808, 1813)

Author(s): Tatjana Jovićević / Language(s): Serbian Issue: 179/2023

The paper reveals the entire obtainable literary material from Mihaljević’s Calendar for the Year 1807, known only from indirect sources: an excerpt of the prose work “The Story of Savka and Kata” (published in an annual magazine in 1963 as part of broader research) and “The Song to the Glory of Serbian Heroes” (taken from a manuscript collection of poems written in 1807 and for the first time in its entirety reprinted in Serbian). In the second segment, the entire literary material from the recently found Calendar for the Year 1808 is published. All the material is given in the original script and transcribed to modern Cyrillic. The aforementioned contributions from 1807 are culturally significant because they belong to Eustahia Arsić and Mihailo Vitković, important early 19th century authors. On the contrary, those from 1808 are insignificant in this sense, but were given as a source for the study of the phenomena and the history of popular/trivial literature.

Значај романа Претеча Љубице (Велимировић) Попадић

Author(s): Svetlana Tomić / Language(s): Serbian Issue: 179/2023

This research was produced under the influence of New Historicism with the purpose of completing the knowledge on the Serbian interwar epistolary literature and to shed light on the contribution of a lesser-known woman author to the Serbian writing culture. Despite the new, mainly feminist oriented critics, women writers from the past still remain insufficiently researched; mostly the knowledge and reception of a small group of women writers (J. Dimitrijević, M. Janković, D. Marković), who had already been presented by the official historians of Serbian literature authors, has been intensified and strengthened. In this paper I use a comparative method to analyze an early epistolary novel by Ljubica Velimirović Popadić (Preteča: Pisma jedne palančanke / Forerunner: Letters from a small-town woman, 1929) in order to present the development of other examples of interwar epistolary literature: M. Janković “Kaluđer iz Rusije“,1919; D. Pijade Strast, 1921; J. Hlapec Đorđević Jedno dopisivanje, 1932. I draw attention to the little known and neglected interpretations of these literary pieces, and more precisely define their value. The novel Strast is not only the first Serbian epistolary novel, but also the novel about friendship open to lesbian reading; its feminine eroticism is further developed by Hlapec Đorđević in Jedno dopisivanje. Contrary to Pijade, the women authors insist on the intellectual portrait of female heroes. “Kaluđer iz Rusije“ announced the intellectual capacities of a young woman, Preteča enlarged it and made it more complex, while Jedno dopisivanje transformed it into a radically superior woman. This study critically examines previous research of Preteča and differently interprets the usage of women’s autobiographical elements. Local historian Gojko Antić was the first to point out the scope, diversity and importance of the literary work of the female descendants of the Velimirović family, including Ljubica Velimirović Popadić. The novel Preteča is evaluated as valuable because of its literary and documentary elements. Although it represents an early example of the epsitolary genre, the author managed to masterfully structure its complexity as a self-reflexive and a biographical fiction, and successfully describe a new type of hero, a woman philosopher. The novel also has documentary value because it provides valuable information about the life of the author’s older sister, the famous translator Zorka Velimirović. It helps to better understand the position of women in the Serbian patriarchal society at the turn of the 20th century.

У трагању за „савршеним“ приповедачем: Проклета авлија као Андрићев наратолошки бедекер

Author(s): Branko Ilić / Language(s): Serbian Issue: 179/2023

Prokleta avlija should be considered both as one of the most successful Ivo Andrić`s texts and also as his testamentary and lifework. This paper analyses a possibility of interpretation of Prokleta avlija from the perspective of its implied metanarrative configuration. The novel is interpreted, beyond its thematic and semantic levels, as a “catalogue” of different narrative models that are coordinated within themselves. The position of the central narrative part of the novel - “Ćamil`s story” - is considered not only as thematic and compositional heart of the text but also as the culmination and resolving point of the reader`s search for a very specific narrative technique. During spontaneous reader`s “journey” through the various narrative voices to the central story of Prokleta avlija, the reader is the one that becomes a metanarrative character of the novel. Giving the homodiegetical narration the most prominent position among different narrative models, Andrić suggests his own deep insights about this issue. The final segment of Prokleta avlija implies a symbolic entrance of “the perfect” narrator in the story, the one for whom the narration is more important than himself. Only for him, and not for any other narrator in the novel, storytelling is a matter of life - or death. Gradually lining up different narrative techniques, Andrić puts homodiegetic narration on the very top of the list as the most demanding and, in context of his own story, the most uncompromising mode of telling. The paper indicates that the destiny of the writers of the famous Serbian homodiegetic novels, Vladan Desnica, Meša Selimović, Danilo Kiš, Dragoslav Mihailović, Borislav Pekić, somehow repeats the pattern of destiny of “the perfect” narrator of Andrić`s novel. That fact confirms his surprising and timeless artistic vision.

Историјска фирмонаутика Његована – мотив трговине у Златном руну Борислава Пекића

Author(s): Violeta Mitrović / Language(s): Serbian Issue: 179/2023

Diachronically considering the historical duration of the Njago/Njegovan family, especially the relations between fathers and sons, that is, grandfathers and grandsons, the paper aims to illuminate how Pekić’s Golden Fleece shapes the trade motif and its immanent phenomena – origin and basic principles of trade practice, nature and characteristics of money, the notion of desire as an exchange source/accelerator, the genesis of the motif of economic cannibalism, as well as the relationship between the Firm and the family, that is, trade and art. By outlining the economic evolutionary thread of the family – from the gurbet/peddler trade measure to the corporate form of private property – the paper equally examines the relevant causes of family’s downfall from the ideological and economic point of view. They concern changes in terms of understanding the concept of ownership, manifestations of trade ability and developing a blind, perverted dependence on profit relations. It is precisely this dependence that points to the reversibility of the Simeon’s materialistic nature, to the fact that Njago/Njegovani lived from the property and for it, but that they were destroyed by it and by the phantasmagoric enchantment of earning. Research attention also examines the writer’s treatment of the computational/rationalist worldview whose radicalization and its disastrously reductive and dehumanizing effects are manifested in the examples of Leonid’s abnormal rationality and Gazda Simeon’s vision of economic totalitarianism and the hegemony of the Njegovanʼs Firm (firmocracy).

Izmeštena intelektualka – Daša Drndić

Author(s): Sabina Giergiel / Language(s): Serbian Issue: 179/2023

The article deals with the ways the Croatian author attempted to retain the memory of innocent victims. The starting point is the conviction that the author is an exilic intellectual. Her oeuvre can be divided into two phases, showing the transition from the autobiographic form to the writing on the suffering of the others (the excluded, the marginalized, the repressed). It is also worth mentioning that in the case of Drndić, her own experience of exclusion became the impulse to write about those who are situated on the margins of the society. And although Drndić graphically pinpoints that the mechanisms of stigmatizing and excluding are always the same, it is the Jews who become her main point of reference in the stories of faultless suffering and innocent victims. Following the common thesis of the inability to represent the Holocaust, the present author wonders why Drndić chose such a literary form, and then endeavors to demonstrate the correlation between the novelist’s writing strategies, the subject matter, as well as her understanding of the human being and the world. Here, the category of liminality appears vital as applied to the analyzed prose, which is then investigated using a number of different approaches (thematic, generic [fiction versus autobiography], ontological, and as a direct result of the author’s “total projects”).

Уметност херменеутичког трансцендирања аутентичности

Author(s): Jana М. Aleksić / Language(s): Serbian Issue: 179/2023

Значај манифеста и програмских текстова у српској модерни и (нео)авангарди

Author(s): Marija S. Terzić / Language(s): Serbian Issue: 179/2023

КАЛОРИЈЕ ИЗ СРПСКОГ КУВАРА НА ТРПЕЗИ ПОП ЋИРЕ И ПОП СПИРЕ

Author(s): Ivana T. Ikonić / Language(s): Serbian Issue: 3/2013

The cuisine of Sremac’s hero es in Priest Cira and Priest Spira is a place of revelation. By means of dishes cooked in “fictional” kitchen, Serbian realist, apparently very naively, but basically correctly, by means of gastronomic metaphors and comparisons, describes authentic emotional states and situations in which he confronts his heroes, using the humour to speak about the human nature, which trips anew over its faults. Refined gastronomic delicacies are illustrated in the paper by the recipes from Serbian Cook book by Jerotej Draganovic, mentioned in the novel. In the third part of the paper, “fact quotations” (quotations from the life of Serbian realist) are used to reconstruct Sremac’s culinary habits.

Ратови, трауме и идентитети у српском роману 1991–2021. (I)

Author(s): Tihomir Brajović / Language(s): Serbian Issue: 4/2023

This paper briefly introduces the general attitudes that some of the most prominent Serbian writers formulated about war and trauma, as well as national and supranational self-understanding. In the second part of the paper, on the examples of contemporary novels, the author deals with the “circular-evocative” paradigm as one of the magistral choices in the literary treatment of personal and/or collective war traumas. It is based on repetitive recognition of past events and their meanings in the present situations as a kind of collectively understandable, circular identity pattern.

Транспозиција библијске легенде у делу „Жертва Аврамова” Викентија Ракића

Author(s): Emilija A. Popović / Language(s): Serbian Issue: 4/2023

The focus of the paper is on the analysis of the dramatic elements in the religious epic “Žertva Avramova” (“Abraham's Sacrifice”) by Vikentije Rakić. By interpreting the thematic-motif preoccupations of Rakić’s religious epics—the cult of family and sentimental friendship—we conclude that “Žеrtva Avramova”, which in literary studies has different genre designations, contains dramatic elements reflected in the ambivalence when conceptualizing fictional characters who, as much as they are embedded in the family microcosm, are also devoted to Divine providence. Mother Sarah, whose role in the biblical template is non-existent in relation to the religious epic, is portrayed alongside her son Isaac, the representative of an activist concern for his own existence. In the end, we have Father Abraham who experiences a strong internal conflict, the origin of dramatic literature. Dramatic elements, therefore, can be seen in the family theme from which the dramatic situation arises, shaping the characters, and less so in the formal features—such as the sporadic didaskalia found in “Žertva Avramova” (“Abraham's Sacrifice”) and the structure of the work itself. The latter can be divided into dramatic phases: prologue, plot, culmination, peripetia, and dramatic outcome. The paper will specifically explore the relationship between the “Old Testament” model, inheriting the cosmic vertical God-Man dynamic, and the religious epic introducing the horizontal human plane—Man-Man. According to initial premises, this relationship implies the presence of (pre)romantic irony or romantic irony at its inception, which, within the studied epic, reflects an ambivalent attitude towards the biblical moral-didactic teaching.

Жена и Ерос у приповеткама Григорија Божовића

Author(s): Jelena G. Jevtić / Language(s): Serbian Issue: 4/2023

The heroines of Grigorije Božović’s narrative prose are typified to maintain order within both the collective and the family. Their honorable and dignified needs and emotions are often subordinated to the collective good. Regardless of the dominant archetype of the mother and the housekeeper, the number of the female characters in which the archetype of a woman inspired by eros, a polyvalent and complex one, is recognized, is not negligible. This work aims to illustrate how Božović’s heroines emerge unscathed, returning to canonized frameworks after navigating the struggles of Eros and Thanatos, how they are subject to the power of instinct, and how Eros is transformed into a religious archetype.

Поетика смрти у песништву Бранка Радичевића

Author(s): Jasmina P. Knežević / Language(s): Serbian Issue: 4/2023

The poetry of Branko Radičević is filled with both lyrics honoring the joy of life and contemplations on death. Contrary to Jovan Skerlić’s belief, the notion of death will not only serve as a marker in the early works of Radičević but will persist throughout many of his different phases. In addition to its constant presence, the idea of transience and death will undergo changes in characteristics and tone. Simultaneously, the implication with which it is expressed will evolve. The concept of death in his work matures from the glorification of a heroic death in battle, which, in the eyes of romanticists, was more respected than a shameful death in a hospital bed. This evolution continues with the demolition of the same idea, a result of contemplating the true meaning of heroic death. Ultimately, it leads to lamenting the innocence of transience and death that awaits us all.According to Dušan Ivanić, one of the most recurring themes in Serbian Romanticism is the topos of heroic death, commonly noted in the poetry of Branko Radičević. This concept of the ideal ‘beautiful death’ dates back to the Middle Ages when the idea of death served in favor of ideologies and the elite. Igor Borozan notes that a subsequent interpretation of death emerged during Romanticism (Borozan, 2006, p. 895). Research shows that the topos of heroic death will not only be deconstructed in the poetry of Branko Radičević, but also the mere meaning and expediency of war will be dismantled. This confirms Igor Borozan’s thesis on the ‘beautiful death’ as an ideological construct of the country and the family (Borozan, 2006, p. 897). Apart from the idealistic heroic death, Radičević also presents death as an eternal human trauma in his poetry. This is related to ‘Cemetery Poetry’, which was popular among Serbian poets, including Branko Radičević, in the first half of the 19th century. The trauma of dying manifests most intensely through the poetics of space, as dying in foreignness is equally as mournful as dying in a hospital bed. Furthermore, Slobodan Vladušić studied in detail the topos of the dead loved one in the poetry of Branko Radičević.As Dušan Ivanić notes in his research, Radičević connects death in his poetry with elements such as water. Similarly, it is often hinted at, induced by, or followed by sound and auditory sensations.

ОТУЂЕНИ У ВЕЛИКОМ ГРАДУ: (РЕ) КОНСТИТУИСАЊЕ ИДЕНТИТЕТА ЈУНАКА-ШЕТАЧА У РОМАНИМА ОТВОРЕНИ ГРАД ТЕЏУА КОЛА И ЉУДИ ЗА СТОЛОМ СРЂАНА ВАЉАРЕВИЋА

Author(s): Aleksandra Z. Stojanović,Aleksandra V. Čebašek / Language(s): Serbian Issue: 28/2023

The goal of this paper is to establish a connection between the ways identity is formed in the novels Open City by Nigerian-American author Teju Cole and People at the Table by Serbian author Srđan Valjarević. The protagonists of the aforementioned novels are immigrants who have found themselves in the isolated and urban space of the metropolis and are now trying to establish their place within it. We shall explore Charles Baudelaire’s notion of the flȃneur in an urban environment that greatly differs from the narrators’ previous homes. A reconfiguration of identity is necessary and this is accomplished through walking – an unconscious search for identity and its roots. We may ask ourselves: Is the city a constitutive element of the subject, or is the subject a social product of the city? The streets of New York and Amsterdam present the protagonists with opportunities to think about not only their current positions but their pasts. Confused and dissatisfied, they move within the big city searching for ways to accept their fates. A common element of both novels is the continual reflection of the past and social positions. The city forms the protagonists’ identities to the point that it creates a sense of disorientation and helplessness, thus destroying them. Walking is the most significant aspect of both novels, as only in movement can the identity of these flȃneurs come to light.

NENAD GLIŠIĆ

Author(s): Nenad Glišić / Language(s): Serbian Issue: 14/2006

Poetry by Nenad Glišić: "Ulica"; "Na tavanu"; "Reke ljudi iz fabrike".