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Dušan Kovačević prisutan je na pozorišnoj sceni tačno trideset godina, zasluživši u tom periodu bezrezervno priznanje ne samo stalnih gledalaca "Ateljea 212" i kasnije "Zvezdara teatra", nego i publike širom bivše Jugoslavije? Kao plodan pisac tekstova i njihov strog reditelj, i kao nadahnut scenarista vrhunskih filmskih ostvarenja (među kojima su Ko to tamo peva i Underground) ovaj autor nema premca u novijoj štokavskoj književnosti.
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Exploring the visibilities and preoccupations of literary texts about mothers and daughters, Nan Bauer Maglin (1980) identifies a number of interconnected themes that appear throughout matrilineal and matrifocal narratives. The themes are generally related to women authors’ awareness of their belonging to a female genealogy and their insights into the subversive strengths of marginal traditions that need to be restored and preserved. They also focus on the immediate motherlinesby outlining the family relations and creating spaces of personalised matrilineal heritages that are at the same time affirmatory and challenging. Maglin’s ideas are contextualised and further expanded in the influential theoretical and critical studies by authors such as Davidson and Broner (1980), Hirsch (1989), and Giorgio(2002), who mostly concentrate on the Anglo-American and Western European mother-daughter narratives. Drawing on their perspectives on mother-daughter relationships, along with the theoretical groundwork established by Cixous’s and Kristeva’s definitions of the writing voice coming from the maternal and semiotic spaces, and a more recent publication on textual mothers and maternal texts by Podnieks and O’Reilly (2010), this paper has embarked on presenting two contemporary female poetic voices from Southeast Europe and their own representations of bonds between mothers and daughters in the post-war society.
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The first part of the paper presents the concept of digital humanities and thephases which some researchers note in the development of the humanities in new,digital media, as well as the role of digital humanities in the promotion of the marginalized literatures, above all, literature written by women. The core example is the digital database Knjiženstvo, certain segments of which contain not only the data on the texts, but the digitized texts, as well. In this paper, we pose the question on how databases can be involved in creating new knowledge at all educational levels. Thus we reach the necessity of expanding some segments of the database to include those publications on which they already contain information. In relation to this, it has been observed that one of the greatest problems is the part of the database dealing with the periodicals, women and feminist, and therefore, the second part of the paper is dedicated to this topic. We first analyze the terms women and feminist magazines, and afterwards, we consider the ways in which the materials from these periodicals could be gathered, classified and connected.
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In the early comedies of Branislav Nušić, we can observe the difficulties of complex actions and the theatrical renderings of plots. Different models of the plot(star-shaped, fan-shaped, spiral, vertical, staged) indicate a pursuit for the most suitable form of drama. We follow the way a story is adapted to the theatrical rendering of the plot up to the final versions of A Member of the Parliament and A Suspicious Person. From the earlier branching stories, with multiple plots, epic digressions,and carelessly motivated situations, we come to the genuine dramatic stories,accurately outlined leading characters and simpler actions, strictly subordinated to the dramatic manner of theatrical rendering.
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Уважени председниче, уважени господине Пипер, поштовани чланови Академије, драге колегинице и колеге, драги пријатељи. Веома ми је драго да као инострани члан Српске академије наука и уметности имам част да Вам се обратим. Верујем да ово обраћење сведочи о дубоком међусобном поверењу, насталом у последње две деценије у контакту са колегиницама и колегама на овим просторима – прво у Новом Саду, где сам 1989. г. студирао: са Витомиром Вулетићем, Мирославом Егерићем, Јованом Зивлаком, а онда у Београду (хронолошким редоследом): са Драгославом Михаиловићем, Весном Матовић, Душаном Иванићем, Јованом Деретићем, Златом Бојовић, Александром Јерковим, Милетом Аћимовићем Ивковим, Бојаном Јовићем, Михајлом Пантићем, Тихомиром Брајовићем, Бошком Сувајџићем, Драганом Бошковићем, Жанетом Ђукић Перишић, Недељком Перишић, Драганом Грбић и многим другим личностима које су ме подржавале и са којима сарађујем. Њима и овом приликом желим срдачно да се захвалим.
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»Na mesečini bljeskaju razbacane dečje kape tvrdih bokora planinske trave«. Tako započinje Isaković prvu pripovetku svoje prve zbirke pripovedaka Velika deca (1955). Deca su porasla, mladići su stasali, ali oni su tek u velikim iskušenjima postali zreli da bi se ukopali zauvek u zemlju, ili da bi se, gazeći po bogazima koje im drugovi otvoriše svojom krvlju i kostima, probijali ka svetlosti koja rasvetljava i razbacane »dečje kape« jedne daleke, naivne, pune himera mladosti.
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The text presents an analysis of the first and only poetry collection of Borislav Mihajlović Mihiz, published in 1947 under the title Poems. Starting from the detection of the Romantic elements of Mihajlović‘s inspiration, to the echoes of the occasional poetry on the World War II, we reach the satiric lyric poetry as Mihajlović‘s first critical stepping forward against the post-war poetic uniformity. Ÿ e immanent interpretation of the representative poems such as “Zdravica” [“A Toast”], “Mirno” [“Steady”], “Trag u snegu” [“A Mark in the Snow”], “Krstine”, “Suša” [“Drought”], “Kakva da bude” [“What Should She Be Like”], “Kojim smerom” [“Which Way”] has been done with the aim of the axiological study of Mihajlović‘s collection. A certain degree of incompleteness of some poems reveals an openness towards the form of a poetic journal, later an increasingly present manner of expression in the Serbian poetry. Mihajlović‘s Poems are positioned within the tradition of the Romantic lyric poetry of Branko Radičević and connected to the upholders of this tradition in the Serbian literature (Desanka Maksimović, Stevan Raičković), and also viewed in the context of certain phenomena in the Serbian poetry of the first half of the 20th century, such as Milan Ćurčin.
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The text begins with an insight on Mihiz‘s endeavours to modernize Banović‘s character in his play Banović Strahinja, so as to express his integral character in a new manner and in new situations. We reach the conclusion that the three female characters (the Jugovićs‘ mother, Banović Strahinja‘s mother and his wife) represent three borderline points encompassing philosophical space within which the male characters of the play move. beese three points are Power, Tradition, and (a radical) Individuality. bee text specifically focuses on the character of the Woman, demonstrating that she represents a radical individuality in which, under the impact of a consciousness of the absurd, a desire for self-destruction develops. bee pivotal place in our text is devoted to the character of Banović Strahinja, the only character taking the central stage and the philosophical space shaped by Power, Tradition and Individuality. bee symbol of this central position is his Little Story, which is counterpoised to the Great Story of Power, the character of the Woman without a story, and Tradition, but in the sense that it contains the elements of all three stances, so it can never be drawn to a single one and be overpowered by it. beerefore, the character of Banović Strahinja is in this play equally representative of individuality, history and the collective, by which, in the modernized view, the integral character of the original poem‘s hero, Starac Milija gets re-played.
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The paper presents an outline of a possible examination of a narrative emotional žfield, which includes the feelings of the real/implied author, the narrative instance, characters, the real/implied reader, empathy and distance as aœ ective responses in the story reception, the sensitive environment of chronotopes, the overall atmosphere, the tone, the ž ctional creations as such, as well as the socio-cultural contexts of the creation and reception of a work. We consider the role of the narrative flow distance, crucial for the whole observed emotional horizon. We conclude that the emotional layer of the story not only can be studied as an equal segment in the constitution of the text, but should be considered as such if the analysis strives to be complete. A sentiment of a prose work is not a mere object of observation, but a constitutional factor stepping out of the story’s frame and expanding to the “real” life, which was and remains the most valuable feature of literature. Berefore the emotional landscape of the narrated material is outlined in the way which corresponds to the narratological analysis based more or less on the cognitive principles of reading.
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This paper deals with the laments of princess Milica as very important rhetorical subgenres present in the orations honouring prince Lazar and the Battle of Kosovo by the unknown monk from the Ravanica monastery, Danilo of Banya and Andonius Raphail. It aims at explaining the rhetorical strategies used by the princess in order to celebrate prince Lazar as the new Christian martyr. œ ese strategies consist of the use of diž erent common places (topoi) and ancient rhetorical arguments, which, via Byzantine literary models, made a strong impact on the medieval Serbian literature.
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The analyzed works have been adapted to the hagiographic canon in diž erent ways. Adjusting to the implicitly prescribed scheme is the fundamental manner in which a prose text becomes acceptable to the prevailing discourse. e characters are shaped aŸ er the heroes of hagiographies. In the Hagiography of Barlaam and Joasaph the basic plot is dramatized following the form of martyrology and the worthiness of the anchorite life is re-emphasized. e relation between the secular and spiritual spheres of being is resolved in line with the Indian and Christian traditions. Serbian Alexander Romance retains a “seed” of historicity, which is indicated by the fact that Alexander can never become a saint, he is not entirely allowed to cross over into the Christian paradigm.
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Given that the contemporary literary criticism emerged as an imperative of the time, at the level of the ideology of the time, and that is polemical and theoretical levels proved to be valid critical models do not correspond to the totality of the achieved knowledge of the epoch, in this paper we discuss the importance of accepting the theory of reception and changing the value matrix in the contemporary critical circles. By reviewing the methodological procedures and critical texts in connection with the old literature Pavle Popović, Djordje Trifunović, Dimitrije Bogdanović and Milan Kašanin, we have established an image revalorization of the medieval structure through the change of perspective.
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Attraverso un’attenta analisi degli scritti di alcuni dei più grandi autori serbi, Ivo Andrić, Miloš Crnjanski, Jovan Dučić e Isidora Sekulić, si svela la vera importanza di San Francesco d’Assissi per la poetica di ognuno di loro. Si parte dagli articoli pubblicati nel 1926, l’anno in cui si sono compiuti sette secoli dopo la morte del santo, per passare poi ai pensieri sparsi in altri saggi. Così si inquadra chiaramente un’influenza capillare che San Francesco d’Assisi esercitava sugli scrittori. Ivo Andrić nelle sue riflessioni fu guidato dal bisogno di ascetismo in mezzo alla gente, da parte sua mai raggiunto e tanto desiderato per potersi sentire un creatore puro e dedicato alla propria opera in ogni momento a prescindere dalle circostanze quotidiane. Miloš Crnjanski non si distacca dal tipico procedimento adoperato in seguito nell’Amore in Toscana (Ljubav u Toskani), secondo cui l’autore, pur conoscendo benissimo la storia u¯ ciale e le leggende che parlano della vita e dei miracoli del mistico, esprime le sue prime e crude impressioni, quelle più spontanee basate sull’immagine liberata dall’eredità culturale e guidate dallo sguardo che ci racconta quello che vede realmente, un monaco deriso che suscita la compassione ed è il punto da cui si snoda una poetica del tutto particolare e nuova. Jovan Dučić si sofierma sul ruolo che San Francesco d’Assisi ebbe nella storia e nella religione, traendone delle conclusioni nette e chiare che mettono in rilievo la dolcezza rivoluzionaria apportata dal santo alla concezione della fede. Isidora Sekulić è forse la più esplicita e nelle sue parole si nota chiaramente quanto abbia interiorizzato la gura di San Francesco d’Assisi riconoscendo in lui alcuni degli ideali che voleva raggiungere, sia per quanto riguarda la creazione artistica, sia nel rapporto con la vita e con le paure che la invadevano. E alla ne non bisogna dimenticare un altro grande che fu attratto dal santo francescano e il quale con i versi dedicati a lui attrasse a sua volta i quattro autori – Dante Alighieri e il canto XI del Paradiso.
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O poeziji, filozofiji i životu Branka Miljkovića do danas mnogo je napisano. Međutim, ono što i danas manjka su interpretacije njegovih pjesama. To naročito dolazi do izražaja kada je riječ o podučavanju poezije gdje se poezija Branka Miljkovića koristi tek kao primjer za simbolističke ili nadrealističke težnje u srpskoj književnosti. interpretacija ili izostaje pod izgovorom da su njegove pjesme hermetične ili se one tretiraju kao Roršahova mrlja u kojoj svako vidi nešto legitimno drugačije. Tumačenje poezije tako postaje brainstorming na kraju kojeg nikome zapravo nije jasno o čemu pjesma govori. Neznanje potom postaje potvrda prvoj tezi: poezija Branka Miljkovića je hermetična i nerazumljiva. Bilo da se radi o učeniku koji sluša predavanje ili o čitaocu kritike rezultat je isti – poezija Branka Miljkovića ostaje nerazumljiva kakva je bila i prije predavanja/kritike. Žalosno je da ni danas nismo puno odmakli od osude koju je Miljković iznio prema kritici koja polazi od temeljnog nerazumijevanja nerazumljivosti i konfuznosti: Savremeni čitalac često je sklon da optuži modernu poeziju za nerazumljivost. S druge strane, kritičari kod nas već duže vremena smatraju za svoj najvažniji zadatak da okrive poeziju za svoj hermetizam i povlačenje u sebe, u čemu oni vide glavni i jedini razlog njene jako umanjene moći komunikacije.
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After decades of silence, the life, creative and artistic portrayal of the Croatian and Serbian poet Josip Miličić once again attracts the attention of researchers. In recent years several papers in paper collections and journals and a few books on the aspects of his life and creative endeavors have been published. However, despite numerous attempts, there are still no reliable data on his death. This paper summarizes the information and assumptions of the previous researchers and provides new data obtained by Jovan Vujošević, a Montenegrin historian from Danilovgrad, who lived and worked in Belgrade and who collected material and other documentation on Yugoslav prisoners in Italian internment in 1941–1945. Jovan Vujošević was the president of a provisional commission for the establishment of a list of names of Yugoslav citizens who disappeared on the Italian soil and a member of the Yugoslav delegation in Italy working on the exhumations of the remains of the fallen and dead warriors of the liberation war 1941–1945. In his legacy, preserved in the State Archives in Podgorica, the name of Josip Miličić is mentioned several times. In some registers in this legacy, Miličić appears on the list of missing persons, while some lists clearly state that he died on August 20, 1944. It is peculiar, however, that the lists containing the information about Miličić’s death were written before the publication of a brochure on the commemorative ossuary in Barletta (1970), also part of Vujošević’s material, in which Miličić’s name appears on the list of missing persons. This information points to the conclusion that Vujošević doubted the veracity of the information about Miličić’s death that he had received from the Federal Census Commission.
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