Doba velike umetnosti je prošlo, našu tugu proždire osećanje stida

Author(s): Milan R. Simić / Language(s): Serbian Issue: 25/2017

Stvaralaštvo Danila Kiša već godinama stavlja se pod čitalačku lupu, o njegovoj prozi pišu se književne studije, nižu polemike i kritike, sve one zajedno jesu refleksije i novootkriveni vidici na umetnikovu slutnju zagonetke samog sveta, pa opet, prati nas utisak da je sve to još tako daleko od završnog (pro)tumačenja krajnjih mogućnosti njegove proze. Jer, naravno, samo od "stepena mudrosti" pitanja nas čitalaca i tumača zavise i odgovori koje će Kišovo slojevito delo dati i do koje ćemo dubine prodreti, sve slažući se da smisao svakog dela može se otkriti jedino u neposrednom dodiru sa njim.

"Сродници" на историјским раскрсницама

Author(s): Svetozar Koljević / Language(s): Serbian Issue: 151/2013

Svetlana Velmar-Janković’s essay collection Relatives (Srodnici) draws attention to the literary modeling of the battle between good and evil in human nature, analyzing a wide range of various storytellers and poets, including Sveti Sava, Stefan Prvovenčani, Janko Veselinović, Svetolik Ranković, Ivo Andrić, Živojin Pavlović, Jovan Dučić, Laza Kostić, Stanislav Vinaver, Momčilo Nastasijević, Tin Ujević and others. While discussing prose works, the author often devotes her attention to the observer’s angle, the “storyteller” or omniscient narrator, particularly stressing the importance of the internal monologue, where the artistic imagination sometimes transgresses the borders of the writer’s original idea, with bountiful results. In relation to poetic texts, the author points out the transformation of ordinary words, moving away from their literal, standard meaning and transposing natural occurrences into spiritual and cosmic space via a metaphorically complicated coupling. As a spiritual thinker, novelist and expert for reflexive prose in European literary history, Svetlana Velmar-Janković points out – with some occasional biblical notes in her messages – the dramatic echoes of great historical crossroads in individual human destinies, often including recollections of the contemporary world’s moral crisis.

Време и судбина

Author(s): Mileta Aćimović Ivkov / Language(s): Serbian Issue: 151/2013

This paper attempts to recognize and offer a general definition and description of the manner in which historical elements are represented and brought to life in Svetlana Velmar-Janković’s fiction, as well as those tying into her biography and experience. The paper also describes how, within Velmar-Janković’s creative process,her desire to reshape history fictionally, partially overrides the attempt to offer a credible testimony of the historical truth and her personal life’s truth – to be precise,how in her fiction storytelling and the universalization of experience gain a privileged ontological status.

Ликови, процес њиховог грађења и улога у романима Светлане Велмар-Јанковић

Author(s): Žarko Trebješanin / Language(s): Serbian Issue: 151/2013

This paper analyses some of the main characters of Svetlana Velmar-Janković’s novels, those who inhabit her literary cosmos and have an important place and role within it. Those characters are diverse; some are historical figures, famous people,but there are unknown individuals as well; people of this world as well as superhuman, mythical characters. What they all have in common is that the writer builds them all carefully, using various literary devices (lucid descriptions of their behavior,voluntary and involuntary, idiosyncratic speech, confessions); they are all artistically successfully created, live and suggestive, and, finally, they have an important,even central role in the writer’s vision of the world and human nature. Her characters,while solving eternal human problems of good and evil, love and hatred, loyalty and betrayal, personal and collective identity, light up and show the road through darkness with their archetypal destinies.

Popularna/zabavna/trivijalna/žanrovska/masovna ili samo književnost

Author(s): Dejan D. Milutinović / Language(s): Serbian Issue: 151/2013

This paper by Dejan Milutinović examines whether the designations of popular,entertaining, trivial, genre and mass literature are justified and consistent. They were created in order to designate literary genres such as horror, detective, crime,SF, fantasy fiction etc., usually considered to have originated in the second half of the 18th century. The author’s starting point is the fact that contemporary genre (genealogical) research has transcended the framework of literary theory and become an important part of the survey of communication and culturological phenomena. Such a relationship with genre was formulated in the hypotheses of Stefania Skwarczyńska,who distinguished three important genealogical elements: genealogical concept, genealogical object and genealogical term. Thus, the designations popular, entertaining,trivial, genre and mass literature are considered in relation to the supposedly related phenomena, concepts and terms. Milutinović demonstrates that those designation scan not be accepted as group labels on the level of phenomena, since the genres under discussion are not a product of the late 18th century – they are part of literature’s (i.e. art’s) continuity. Particular attention is devoted to the fact that these genres contain almost no similarities. On the concept level, the author points out the relativity of designations popular and entertaining, since each epoch has a different definition of those concepts. Besides, he emphasizes that the often-mentioned schematization of those genres is, in fact, a reflection of archetypes and mythical patterns that form the basis of entire art. As Lotman has demonstrated with his theory of “the aesthetics of identity”, schematization is not an a priory anti-artistic category. Since the designations popular, entertaining, trivial, genre and mass literature have no consistent referents either on the concept level or on the phenomenal level, their continuous use is very problematic. The author demonstrates that by analysing their use in Serbian, German, English and Russian theoretical discourse. In the paper’s conclusion, DejanMilutinović advocates the abandoning of those group designations and the introduction of particular, recently prohibited designations – detective fiction, crime, horror,western, war, SF, fantasy, etc.

Проблеми приређивања "Ерлангенског рукописа"

Author(s): Mirjana Detelić,Lidija D. Delić / Language(s): Serbian Issue: 151/2013

This paper examines the problems of editing one of the most important collections of Serbian oral (and urban) poetry, written in early 18th century in the Military Frontier. Discovered in early 20th century in an Erlangen library, the manuscript is extremely uneven and heterogeneous orthographically, which produced a highly differentiated spectrum of interventions: from corrections of Gesemann's transcriptions, to the corrections of the scribe’s obvious mistakes (lack of differentiation between voiced and voiceless consonants and similar), to details that tested the knowledge of the wider poetics of oral poetry. A particular problem was the reading of yat, the letter containing three legitimate reflexes (Ekavian, Ikavian and Ijekavian).

Рукописни лист Наши дани у фонду Народне библиотеке Србије

Author(s): Nataša Jovanović / Language(s): Serbian Issue: 151/2013

This paper describes the hand-written prisoner’s journal “Naši dani”, preserved in the fundus of the National Library of Serbia. The journal was published from March 1942 to December 1944 in the German prisoner’s camp Stalag 17B (Krems,present-day Austria). It was started by the imprisoned members of the Yugoslav Kingdom’s Army, led by Mata Milošević as the editor

Душа смртникa, дом божанства. Интериоризација епифанијског искуства у Есхиловом Агамемнону и Еурипидовим Баханткињама

Author(s): Jelena N. Pilipović / Language(s): Serbian Issue: 150/2013

This paper aims at giving an account of the models for featuring the epiphany experienced in the soul. The new, internal epiphany is a big turning point in imagining and presenting deities in the ancient Greek poetry. Proto-dramatic tension marks the early, Homeric and Hesiodic, epiphany presentations. The Attic tragedy, however, essentially develops and structures the internal epiphany, establishing a new relationship between the immanent world of mortals and the transcendent world of the immortals. Aeschylus’ Agamemnon and Euripides’ Bacchae, especially the characters of Cassandra and Pentheus, incorporate this new relationship: the deity enters into a human being and does not act on it from the outside, but, on the contrary, acts on the outside from the interior of the human being. The new idea of an internal, intra-psychical, deeply subjective and inter-personally imperceptible divine presence is a crossing point in the presentation and figuration of the gods in the ancient Hellenic culture. With this basic similarity, there is, however, a key difference between the Aeschylus’ and the Euripides’ tragedy: in Agamemnon, Apollo is located in the interior of Cassandra, but she differs from the god who occupies her inner being and she recognizes him as an ambiguous internal strangeness. The Bacchae, in turn, leads to such a form of internalized epiphany in which the mortal does not recognize the divine presence as a strangeness, but as a part of his own self – thus leading to a decomposition of the soul, with consequences both on the individual and on the anthropological level.

Женски ликови у Горском вијенцу Петра II Петровића Његоша

Author(s): Goran M. Maksimović / Language(s): Serbian Issue: 150/2013

The introductory part of the essay reflects on the prevailing positions of Serbian literary studies with regard to the interpretation of female characters in Njegoš’sThe Mountain Wreath (Simo Matavulj, Krsto Pižurica, Dimitrije Kalezić, MiodragPopović, Milovan Đilas, Miloš Kovačević, etc.). Following this, in the analytical part, the position of the artist and the conceptual world of seven female characters are interpreted. First, an interpretation is given of the only two females who directly appear on the scene as protagonists of The Mountain Wreath: the sister of Batrić and the old woman – witch from Bar; in addition, the female characters presented in the narratives of other protagonists are presented – the wife of Mandušić’s brotherAnđelija, the wife of Ban Milonjić’s brother, Radun’s wife Ljubica, pretty Fatima and Kasan’s wife Ruža.

Бекет у Београду

Author(s): Predrag Todorović / Language(s): Serbian Issue: 150/2013

This paper deals with the two episodes of the incredible relation between Belgrade and Samuel Beckett. The first is the complicated history of how Beckett was introduced into the Belgrade theater stages. When young writer Borislav Mihajlović Mihiz found himself in Paris, and accidently saw Beckett’s Waiting for Godot inThéâtre de Babylone, where the world premiere was held on January 5th 1953, he was so strongly impressed by the art of then completely unknown author that, when he came back, together with Dušan Matić, who saw the same play in Geneva, they introduced it to Vasilije Popović, the director of Belgrade Dramatic Theater. That was the beginning of the real odyssey of this Beckett’s play: forbidden in the home theater, but still played in a kind of dress rehearsal, it was clandestinely performed in the atelier of the painter Mića Popović on Staro sajmište (Old Fairground) under the unbelievable circumstances. Finally it was officially played in a new opened the waterhouse Atelier 212 on December 17th 1956. The first Godot in a socialist country.The second episode is the story of Beckett’s arrival in Belgrade in July 1958, and his friendship with Radomir Konstantinović and Kaća Samardžić, who published his novel Molloy. Belgrade was, once again, the first to recognize in the former Yugoslavia the greatness of yet unknown writer Samuel Beckett, and that was just another sparkle of the spirit of this town.

Приповедање у роману и филму Лимени добош

Author(s): Nikolina N. Zobenica / Language(s): Serbian Issue: 150/2013

Милорад Павић у стваралаштву Милорада Павића

Author(s): Julija Dragojlović / Language(s): Serbian Issue: 150/2013

Проблем односа истине и фикције у роману Падач Дона Делила

Author(s): Milica D. Matić / Language(s): Serbian Issue: 150/2013

This text is a part of a doctoral dissertation: “Don DeLillo’s inversion of the myth of the American West: history, fiction and myth in the novels White Noise, Libra,Underworld, Cosmopolis, Falling Man and Point Omega. It examines the problem of truth and fiction from critical perspectives of postmodern theoreticians. One of their standpoints argues that writing of historical texts is based on the same principles as writing of fiction. The paper analyses opinions of Roland Barthes, Michael Riffaterre, Paul De Man, and Hans-Georg Gadamer. It also presents the connections between ancient and postmodern theoretical perspectives. Furthermore, these theoretical questions are examined in Don DeLillo’s Falling Man. We focus on what the author frames as the question of subject within the historical and national contexts and how he blends historically accurate and fictional characters. More particularly,the novel frames the question of subject within the national and historical contexts of September 11th attacks. We also show the interconnection between the themes in Don DeLillo’s prose: history and myth, paranoia, powerlessness and alienation. It can be said with certainty that Falling Man brings together and extends the themes that DeLillo has explored throughout his fiction: the contrast between history conceived as totality and history conceived as multiple, fragmented, accidental. It is important to note that the personal component of history is what is at the centre of DeLillo’s writing. His main concern is the intermingling of one’s personal past on the one hand and society’s collective memory on the other. For Falling Man the historical era and political conditions provide the background for the story of the human subject.

Култура и страх

Author(s): Sofija M. Košničar / Language(s): Serbian Issue: 150/2013

This paper focuses on fear as an elementary emotion which plays a role in the way a culture is moulded, as well as fear as a recurrent element in culture within the framework of the theory of semiosphere. If culture is created in fear, as Róheimclaims, culture can surely produce fear by itself. This fear is then a consequence of either harnessing human nature through the rules of the self-description, or of the application of the mechanisms of violence due to a lack of respect for the self-description of the semiosphere core in question. This is a reversible effect. A man is moulded by his culture, and fear is an important part of this. These are mostly fears which are created by a type of culture which forces a natural way of life into appropriate cultural moulds. The process of cultivation, as an inevitable taming of human nature by use of the norms of self-descriptions of the cultural core, during which an individual is ‘introduced’ into the identity of the culture in question also manipulates original emotions, even that of natural existential fear. It reshapes it into new forms of fear, such as a fear of punishment and other phenomena which are used to frustrate authentic human nature, natural needs and behaviour. Cultured fears,therefore, begin with the culture that shaped them. Culture develops them through the mechanisms of self-descriptions which are based on the causality of the negative consequences of disregard for the established norms of self-description. These very mechanisms are a breeding ground for cultured fears. This is the framework in which some current types of fear–cultured existential fear and interaction of existential fear with religion and sexual orientation (homosexuality)–are critically analysed in a corpus consisting of Daniel Defoe’s Robinson Crusoe, Michel Tournier’s Vendredi ou les limbes du Pacifique, George Orwell’s novel Nineteen Eighty Four,Annie Proulx’s short story Brokeback Mountain and Arthur Miller’s play The Crucible. All these fears testify that cultured fear is an important and traumatic moulding mechanism of cultivating natural human nature into human nature withthe identity of the culture in question.

Два догађаја из наставничке каријере Десанке Максимовић

Author(s): Bojan Đorđević / Language(s): Serbian Issue: 150/2013

Desanka Maksimović holds a distinguished place among Serbian writers who earned their bread by teaching. After several years spent working in the Private Gymnasium in Obrenovac, the Third Female Gymnasium in Belgrade and the Coeducational Teacher’s Training College in Dubrovnik, she spent her entire working life (until 1953) as a professor of the First Female Gymnasium in Belgrade. Just before the occupation of Yugoslavia, in the spring of 1940, her pupils, members of a school literary society, were accused of taking part in communist agitation. The reason for that was a scandal concerning the journal “Zora”, published by pupils of the Seventh Male Gymnasium in Belgrade. The pupils of the First Female Gymnasium in Belgrade supported their persecuted colleagues and collected petition signatures.In her statement at a meeting of the Teacher’s Board, Desanka Maksimović, then the supervisor of the pupils’ literary society, defended her students, although her colleagues accused her of softness and lenience. After World War Two, when the new communist government arrested two pupils of the First Female Gymnasium in Belgrade, Desanka Maksimović, led by the ethics of her teacher vocation, again defended her students.

A Japanese Version of Njegoš’s The Light of Microcosmos

Author(s): Junichi Toyota / Language(s): English Issue: 150/2013

Увод у проучавање хумора код Кафке

Author(s): Vuk M. Petrović / Language(s): Serbian Issue: 149/2013

Систем пројекције и програми писања у роману Малон умире Самјуела Бекета

Author(s): Biljana Tešanović / Language(s): Serbian Issue: 149/2013

У трагању за изгубљеним руном: концепција времена у Златном руну Борислава Пекића

Author(s): Jasmina Ahmetagić / Language(s): Serbian Issue: 149/2013

The concept of time in Pekić’s Golden Fleece was crucial for the novel’s structure. The author also dedicated plenty of attention to the consideration of time in his book of comments known as: In Search for the Golden Fleece. The sharp timeframes set in this book having seven volumes, create an image of the distinct division and categorization of time in the eternity of the myth, causal and chronological times in history and timelessness of Arcadia. However, it has turned out that this clearness and precision in the definition of time are not characteristics of the novel which reconsiders the basic categories. The said categories serve as the foundations not only for the lives of the protagonist, but also for the whole west European civilization, which is depicted through the six centuries of the Serbian history presented in the novel. The exploitation of the archetypes in the compaction of the narrative time enables the deepening of the temporality in The Golden Fleece, which is also considered on the basis of the Augustine, Nietzsche and Heidegger’s philosophies of time. Ambivalence of the Pekić’s opinion lies between the postmodern conception of the end of time, i.e. narration and modern insisting on the humanistic orientation, which among the other, is confirmed by the structuring of the central narrative consciousness.

Интердисциплинарност у проучавању путописног дискурса

Author(s): Jadranka Božić / Language(s): Serbian Issue: 149/2013

The travelogue is one of the most fertile areas of comparatist research in the last decades. The problem of travelogues has been examined by literary studies, but also by historiography, geography, anthropology and culture studies. Thanks to the methodology of intertextual interpretation, this liminal genre becomes important and interesting in our period of postmodern humanist science. The travelogue, with its openness and transformation, favoured avant-garde experiments and distancing from canonical literary forms.