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The paper deals with the nature of unfinished posthumous novel Omerpasha Latas by Ivo Andric as well with the questions concerning its main character. The theses of renegacy as the main theme is being questioned. The fictional character of Omerpasha Latas fashioned on the basis of historical facts had been constructed intentionally and unconditionally as a villain: as an embodiment of unlimited will for power and total individualism. Such total disconnection from any community doesn’t make Omer an outlaw from initial identity but the outcast from the culture itself. The absolute seclusion of the main character is being transmitted to the other characters in the novel as well: neither of them could establish a constructive relationship with the other human being. Thus, we could speak of Omerpasha Latas in terms of portraits rather than in terms of complex and developing story.
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In the first part of the text we start from the fact that aviation experience after First World War does not only appear in the thematic and poetic sphere, but as well as a surmise of a novel method of killing. The novelty becomes apparent when the aviation experience becomes supplanted by the experience of bombarding (using bombers) as a milestone of an utterly different kind of war. In this new war, the difference between the front and the rear, soldiers and civilians, is entirely lost. In the second part of the text, the research focuses on Andrić’s experience of bombardment. Firstly, we analyze his Berlin diary entries during the Allied bombardment in 1940, and secondly, two short stories – “Slučaj Stevana Karajana” and “S ljudima” – originating from the time just after Second World War, thematizing the Allied bombardment of Belgrade. The conclusion of the analysis is that Andrić sets the two stories in counterpoint by distinguishing two separate ways of relating to the act of bombardment: one that leads to fear, worry, and loneliness, i.e. metonymies of death, and a second one leading to people, the collective, in which man manages to preserve his humanity under shelling.
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In this paper we investigate the phenomenon of childhood in Andric’s short stories. It is represented as an initiation period in which the young hero introduces himself to raw, stripped-down image of the world, a period in which he begins his maturation and self-realization. Therefore, narrated from a heterodiegetic position of a subject close to the narrative perspective of a hero and from the perspective of an adult hero who directly testifies about his growing up. Young heroes are in the liminal position between the two age stages, and their experiences have characteristics of a transition ritual. They experience painful, sobering knowledge that break down their naive perception of the world (the symbol of a broken window as a symbol of growing up and accepting the bare reality). Alone in their problems and doubts, they are isolated from adults, peers and the environment that rejects and marginalize them. In this paper we dealt with a social marginalization, the first erotic cognition, moral self-determination of an young individual. Remembering the moments of crossing that serves two stages of life, existence and naive world of maturity, reconcile and unite the individual.
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Although Brother Petar known as the one who talks in Andric’s works, in the story Trup he mostly listens and especially listens to under some form of coercion, and only later that listens (partly and see) timidly and, while he was in captive on only one occasion, transmitted (retold) to other. But he never forgets the story, and when he returned home, he tells the others, and that’s saying is what he is separated from others. (Though, in fact, separated him from the others, primarily its sensitivity for others.) In this story, therefore, the narrator is more someone else. A basic issue or question of all questions in the story Trup is: Why is this talk, why to the strange man, how he deserves that? That is about the legend of Celebi-Hafiz, the abuser reduced on nothing, hull, weaves the legend of the need of talking about it (slave-Turk, Brother Peter). But without story about Karajazadži not be able to comprehend the story of Celebi-Hafiz. Both stories go side by side. Karajazidži’s presence is great, more than convincing, compensation for the absence of Hafiz! Brother Petar does not speak how Celebi Hafiz felt because he was blind, without arms and legs, with strangely disfigured face. It is the speech of silence! But from that perspective, Brother Peter’s perspective of storytelling and from the perspective of storytelling that mysterious Turk (slave) about Celebi-Hafiz it was impossible to know and tell. This is why that Brother Peter’s gather from prison in Accra. But if it is hurting the hand, wich in his thoughts were cut off, as you have just Hafiz hurt both arms and both legs and both eyes and face without a face ?! Karajazidži did not understand what was understood (felt) Brother Peter. About Celebi-Hafiz he tells story from positions of Christians, but Brother Petar from the position of man. He does not have compassion for Celebi-Hafiz, Brother Peter – has! Unlike Brother Peter, Karajazidži in Celebi-Hafiz sees only a Turk; Do not fall occurred to him that it was unfortunate Turk and makes permanent deflection of him, convinced that in Brother Peter, a man of his faith, has unquestioning support. After all, he did not have direct access to the Celebi-Hafiz look, the look of his accident; he also was the way it is, as it was by the testimony of Brother Peter, was a Turk who resisted! If then Brother Peter was even close to his understanding of this, later, or much later, in the subsequent memory of Celebi-Hafiz, it certainly changed. Compassion for the unfortunate fate of a man won a preponderance even despite his overall evil.
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The paper investigates the spatiotemporal elements in the construction of the plot which establishes the starting point, a general overview of the allegorical representation of the world. In relation to reality as a mirror, and a parabolic game as the reflection, profiling of the characters and their interrelationships occupy an important part of the analysis. Phenomena of the lower constructive rank: circle, word, whiteness, exterior – interior but equally important in building the sense, analysed from the point of view of the parabola as a global metaphor.
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The paper analyzes the relationship between the document and the oral stories, a list of assets and figure of nameless young man through which Andrić’s “The Damned Yard” expressed foreboding which testifies an uncertain fate literature after modernism. Andrić’s novel shows the poetic vision of postmodern poetics of the novel, while the incompleteness list and silence of the young man recognizes the outstanding issue of destiny of literature in the time ahead of us. It has been concluded that Andric had spotted cutting off the literature from the discourse of writing as one of the ultimate consequences of this fate, while at the same time he had preserved the faith in the possibility of its immortality.
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Die Erzählsammlung Zemaljski dugovi (zu Dt. etwa: Verschuldungen zu Lebzeiten) herausgegeben von Milovan Marčetić, umfasst dreissig Beiträge, die Ivo Andrić zur Hauptfigur haben, von hauptsächlich zeitgenössischen serbischen Autoren. In einigen von ihnen wird er sporadisch als ehemaliger Gesandter in Berlin (1939–1941) erwähnt, drei von ihnen thematisieren diese zwei Jahre des schreibenden Diplomaten in der Hauptstadt des Großdeutschen Reiches. Die Erzählsammlung Zemaljski dugovi (zu Dt. etwa: Verschuldungen zu Lebzeiten) herausgegeben von Milovan Marčetić, umfasst dreissig Beiträge, die Ivo Andrić zur Hauptfigur haben, von hauptsächlich zeitgenössischen serbischen Autoren. In einigen von ihnen wird er sporadisch als ehemaliger Gesandter in Berlin (1939–1941) erwähnt, drei von ihnen thematisieren diese zwei Jahre des schreibenden Diplomaten in der Hauptstadt des Großdeutschen Reiches. Mirko Demić beschreibt in den Sackgleisen des Wartens die Genesis der Liebesbeziehung Andrićs zur Frau seines Freundes und Arbeitskollegen Nenad Jovanović. Die vorerst unterdrückten Sympathien füreinander münden nach unverhofften Begebenheiten und dem Tode ihres Mannes, zu dem der Aufenthalt im KZ Dachau wesentlich beigetragen hat, in einer gemeinsamen Ehe. Diskrete Schilderungen und eine feinfühlige Erzählweise sind dem sensiblen Liebesthema angepaßt. Dejan Stojiljković eiferte in den Toten Gegenständen den Thrillern billigster Art nach und legte einen konspirativ agierenden Andrić an den Tag. Er beauftragt einen im Hotel „Adlon“ residierenden Gehilfen seines Militärattachés, gefälschte Papiere für die Ausreise in die Schweiz für einen polnisch-jüdischen Berliner Professor zu besorgen. Um nach getaner Arbeit der Verhaftung zu entgehen, erwürgt der Gehilfe einen Gestapo-Mann mitten in Berlin. Die Erzählsammlung zeugt von einem regen Interesse der Autoren und der Leserschaft in Serbien für das Leben und Werk des Schriftstellers Ivo Andrić.
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