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Serbian bibliography: books 1868–1944 is the source of data for the reconstruction of our written records, our life and existence, valuable and reliable stronghold for Cultural and scientific research. Serbian national bibliography is the basic starting point and guide for the preparation of native, personnel, and other special thematic bibliography. Our intention is that in this study emphasize the importance of this major work, his contribution to the discovery of social, political, literary and scientific milestones to us today signposts. Among the persons active in the field of literature who enrolled their books in the national register, a considerable number of those who were lawyers by profession. Particular attention will be devoted to writers who have been trained as lawyers, and have left an indelible mark in the literary and cultural life of the then Serbia.
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Review of: Danilo N. Basta - "Сабрана дела Слободана Јовановића", БИГЗ, Југославијапублик и Српска књижевна задруга
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The subject of this work is the image of Spain in Read Cities by Radovan Vučković. The writer, visiting Spanish cities such as Madrid, Toledo, Barcelona and Gerona, refers in the book Read Cities to other Serbian authors (Petrović, Andrić, Crnjanski, Dučić) who wrote about Spain. The structure of Vučković's book is reminiscent of the volume Cities and Chimeras by Jovan Dučić, where the historical reflection is more important than the present. Vučković infused his book with so many architectural details, descriptions of buildings, monuments, and paintings that the reader may get lost in them, like a tourist in an unknown city.
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Atanasije Dimitrijević Sekereš (1738-1794) was one of the most educated Serbs in the second half of the XVIII century. Unfortunately, this Viennese censor of Serbian books and Dositej’s long-lasting friend was one of the most hated and scorned persons amongst the Serbian population and priests in the then Austria. Although Atanasije’s friendship with Dositej Obradović (1739/1740-1811) is one of the key reasons why his name was not completely forgotten, Dositej – the famous Serbian enlightener was not responsible why Atanasije Dimitrijević Sekereš was for almost twenty years persona non grata amongst his compatriots in the Austrian empire. The very search for the reasons why the name of this gifted polyglot of delicate health became synonym for unforgivable betrayal, almost equalling the one that Vuk Branković (allegedly) did, is the topic of our research.
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The paper offers argumentation in favor of a new interpretation of the story “Holliday on the South” by Ivo Andric. The mysterious disappearance of professor Norges (spending holliday with his wife on the seaside) has been explicated by critics as a result of the hero’s elevation and spiritualization after some kind of enthusiastic experience. Opposing to those who thought that what’s happened here could be described as the hero’s pagan merging into nature or climbing into transcendence, the paper brings arguments that he vanishes into nonexistence as a result of a sudden and grandiose opening of his being to the sensual world. It has been concluded that professor Norges hasn’t died for the world to be born as a writer but rather the other way round: as a man who is committed to sensual life he is on the way to become dead as an author.
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The first part of the text describes the process of autosacralization of modern poetry. The metaphor of autosacralization represents the process by which modern poetry singles out the poetic act and poetic language from the sphere of the expressive theory and the language and space of everyday. Autosacralization is the connection between the respective poetry of Valéry and Elliot, despite the poetic differences, as well as Heidegger’s interpretations of Hölderlin and Rilke. Further on, the text demonstrates the way poetry is sacralized in Raičković (ending with the first edition of the collection Kamena uspavanka in 1963), and then desacralized in Raičković’s later poems. Our analysis of the long poem Slučajni memoari [Accidental memoirs] (1978) will determine the following elements of desacralization of poetry: 1) the transformation of the question of the sense and value of poetry into a question of the status of poetry (the question what poetry is gets supplanted by the question whether something is poetry); 2) the transformation of a poetic motif into a poetic instrument; 3) the substitution of the timeless source of the poem (the myth) with the temporal source of the poem (notes, papers, news articles); 4) the change from the argumentative quotation of a verse to the non-argumentative quotation a word; 5) resubjectivization of poetry and the return of the subject in a form of a new sociability which connects the poetic subject to other people.
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This paper refers to the category of time in Njegosh’s “The Mountain Wreath”, so as to provide insight into the Platonic distinction between Chronos and Aion. Namely, time, a statistically unmeasured magnitude, is analyzed as transient and eternal through an extraction of syntagms containing a verb or at least an adverb of time. An attempt is made to measure which of the isolated entities can be classified as transient and which as eternal. The purpose of the paper is to indicate a libertarian mentality through the category of time and, once again, confirm the universal dimension of Njegosh’s heroic poem.
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There are three unfinished nove is written by Borisav Stanković (Pevci, Gazda Mladen, Nastup). A ll three have an autobiographical base. Nastup’s protagonist is a talented young man, who came from a small rural town to the Serbian capital to study law. A fragment from this novel shows his social career and his moral corruption. Some parallels can be found in Western European realist novels and in Serbian literature (Fielding, Thackeray, Stendhal, Balzac, Maupassant, Radičević, Ignjatović). Nastup applies two types of narrations: the novel has internal and external narrators as well.
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Ideas of Enlightement, national romanticism and transformation of geopolitical situation on the Balkans, were cultural and historical context in which bases of modern Serbian state was established. That was the time of intensive social change directed towards building institutional infrastructure as well as towards transforming traditional, “obsolete” folk customs and habits. Poor condition of Serbian Orthodox Church and domination of religious world views among people were considered to be the most serious obstacles in creating modern state. Thus, great number of intelectuals were anticlerical and promoted liberal and secularized social organization. On the other hand, the whole epoch was characterized by strong antiscientistic orientation which was expresed through developing of different mistical, alternative, neopagan cults. Specific for our region was so called “religion of the nation” which appeared as substitution for loss of eshatological perspective in life of Christian civilization. Poets of Serbian romanticism were heralds and witnesses of this civilization “turn”. Their poetry can be observed as reflex and announcement of secularization in Serbian society. In this paper, we analyzed their writings about death, love, hope, nature and nation.
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Gavril Stefanović Venclović is, in many ways, a unique figure in Serbian literature. Today, we know this travelling preacher, hieromonk and scribe as the author of a huge collection of handwritings, out of which some less than a half written in folk language. Most of them are translations of Church-Slavonic anthologies to Serbian, with valuable Venclović’s adaptations and additions to the source text. An Annunciation Day oration by John of Damascus is particularly interesting in that sense. By its dialog form, it was suitable for Venclović’s literary method, as his numerous additions and adaptations show. Conversations between Archangel Gabriel and Virgin Mary, and Virgin Mary and Joseph get distinct folklore character in Venclović’s interpretation. This paper brings an overview of Venclović’s edition of Annunciation Day oration by John of Damascus. In order to provide a broader context, we present a brief history of Annunciation Day celebration, as well as the historical development of this feast’s orations in Christian tradition, with focus on Venclović’s likely sources. To illustrate his original literal creation, segments without matches in source text are extracted. Language and colloquial tone of Venclović’s edition have their roots in the source text. However, they are also in line with his enlightenment endeavour, expressed in his effort to reach his listeners in order to pass the orations moral efficiently. For these reasons, Venclović’s insertions in John’s oration are numerous and represent a sketch of folk spirit from the first half of 18th century, as well as an alternative path along which the written language could have been developed.
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The analysis is based on a circle of variants with the topic of the unfaithful wife who betrays the husband by siding with haiduks (Disloyalty of Popović Stojan’s Lover – Nevjera ljube Popović Stojana) and a transcript of a song structured after the same pattern, noted in 2011 by Hadžera Sarač from Gradiška (born in 1937). The given summary model, very popular and present in the entire Yugoslav space, is recognized by the motive of singing through the mountain, so besides the classic heroic motivation of a clash on the basis of a conflict among the characters we can also identify the breaking of the taboo of violating silence in the mountain, more specifically combined with the taboo of singing amiss (during the night). The song is based on an extremely complex system of codes: spatial (representations of a mountain as a dangerous, chthonic, impure place), mythical (representations of chthonic beings and their correlation with space), historical (a historical and epic role of haiduks), social (codification of family relations and a heroic ethos). The variant of Hadžera Sarač differs from more traditional versions in its conciseness and the introduction of atypical details (the motive of separated lovers), which opens up a space for following genre modifications and the destruction of the epic code. The genre status of the song and the relationship of the singer and tradition are seen in precious autoreferential statements (“There used to be heroic songs, sung for a girl”, “it is an old song”, “and that is an ancient song”).
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Trying not to overemphasize traditional principles of a comparative interpretation (with influence as the main category of the reflection of two literary texts) the paper primarily stresses the importance of poetic similarity of Danilo Kiš and Miroslav Krleža – the one which is not a consequence of only a chronological phenomena in the Yugoslav cultural space, but also the setting of the Central European literary orientation and its cosmopolitan intellectualism. This actually turned out to be characteristic of an entire poetic paradigm of modernism in the 20th century. In relation to that, the choice of totality of childhood as a primary topic of research of prose segments of Childhood in Agram 19021903 and Garden, ashes contributed to a more detailed insight into the possibilities of a strict intertextual connection of the two authors in addition to all other factors of their complementary extratextual – ideological and other – attitudes.
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By analyzing carnival understanding of the world the paper will attempt to show connections between the play The Mask by Crnjanski and the novel The Great Gatsby by Fitzgerald. By the comparative analysis of The Mask and The Great Gatsby focusing on carnival reality we discover numerous elements that connect those two works, which will be dealt with in detail in this paper. Observing reality through the prism of carnival in these works we can undoubtedly recognize the testimony of liberation from official ties, making the other world and life, and the acceptance of world only in its carnival spirit. The interpretation of the functions of carnival will shed light on the life shaped by mask in these works. Special attention will be paid to the ways and forms of liberation in carnival, masks as instruments for metamorphosis, distorton of disguise, ambivalent game of throning, dethroning and carnival sacrifice. By deeper analysis of, at first, literary characters and other structural parts, at first glance obvious topic of shallowness shown by taking life lightly, we conclude that what actually links these two works is that eve rything is a delusion, a pretense, a trick, an illusion and nothingness.
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Main goal of the study is to enlighten the “realism before realism” of Jakov Ignjatovič according to his biography. In the beginning of his career he wrote romantic novels, but in his ripe ages he felt obliged to summarise his life and assess his perspectives. In addition he had just been over an unsuccessful marriage which ended up with a sudden devorse. These were the circumstances which determined the birth of the novel “Milan Narandžić”, which contains autobiographic elements both in direct and indirect forms. This work is an important moment of Ignjatović’s life-work and also in the history of the Serbian novel.
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Problem književne vrijednosti je u dvadesetom vijeku bilo pitanje kojim se primarno bavila anglo-saksonska Nova kritika; svi drugi pristupi književnosti, naročito oni formalističko-strukturalistički, koji su najviše traga ostavili na našoj, regionalnoj, nauci o književnosti, zastupali su gledište da je pitanje vrijednosti književnog djela pitanje koje svaka epoha, književni pokret ili interpretativna zajednica rješava za sebe, često iz razloga ne u potpunosti književne prirode,1 i da, kako je rekao Svetozar Petrović, problem “nije samo u tome što ne postoji objektivan kriterij kojim bismo vrednovali razlike u ukusu; problem je najviše u tome što ne možemo zamisliti egzaktan postupak kojim bismo objektivno i pouzdano dokazali makar vrijednost onih sudova koji nam se čine toliko nesumnjivima da smo svaki ukus koji ih ne prihvaća pripravni otkloniti kao loš.”2 Petrović u svojoj knjizi Priroda kritike, čiji se prvi dio “Kritika i djelo” uglavnom bavi kritikom unutrašnjeg pri-stupa i raščlanjivanjem ideje da je moguće objektivno utemeljiti književno-vrijednosne sudove, kao svoju definiciju književne kritike nudi sljedeću misao: Književna je kritika kreativna literarna djelatnost kojoj je unutrašnji zadatak da obogati naš smisao za književnost i da olakša naš dodir s njom, izazivajući nas na uspoređivanje vlastitog iskustva u književnosti s iskustvom kritičara.
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Začudno je koju množinu asocijativnih polja otvara jedna opsegom nevelika knji-ga, roman-esej Bore Ćosića Vražji nakot, napisana kao hommage prijatelju, Radomiru Konstantinoviću. Dakako, asocijacije nisu stvar te knjige, jer one su uvijek “samo” krajnje osobni emocionalni i intelektualni prostor onoga tko ih “živi” i one kao i ona stara mudrost “ljepota je u oku promatrača” otkrivaju više čitatelja, recipijenta nego djelo u povodu kojega su isplivale na površinu. Sa sviješću o tome i čitao sam i još više asocirao cijeli jedan intelektualni prostor što je, čini mi se posve nepravedno, ostao nevidljiv široj književnoj recepciji.
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