PUTOVANJE LATINSKOM AMERIKOM
Travelogue: Vida Nenadić, PUTOVANJE LATINSKOM AMERIKOM / Vida Nenadic, TRAVELING THROUGH LATIN AMERICA
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Travelogue: Vida Nenadić, PUTOVANJE LATINSKOM AMERIKOM / Vida Nenadic, TRAVELING THROUGH LATIN AMERICA
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Literary text: Slađana Jovičić, NADA ILI RAZOČARENJE? / Slađana Jovicic, HOPE OR DISAPPOINTMENT?
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В статье рассматривается взаимосвязь Иванa В. Лаличa к Воиславy Иличy в контексте поэтических образов в поэзии двух поэтов. Отношение поэта Иванa В. Лаличa таил Воислава Илич, сербского поэта с конца девятнадцатого века, читается на всех трех его поэзии дело с: в первую очередь, в его поэзии (цитат, реминисцен- ций, консультации), вторые поэтические высказывания, в которых Лалич часто обращается к старшему поэту Иличу, как чрезвычайно важное значение для ее развития и на третьем уровне, что эссе написано Лалич об этом важном сербского поэте, который раскрывает некоторые льготную позицию, чем любой другой поэт, который считается Лалич его традиции великого наследия – Антология новый сербский лирической Богдана Поповича.
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The creativity of Aleš Debeljak, a prominent Slovenian poet, sensitive essayist and public intellectual, can be divided into three parts: deeply personal poetry, professional or scholarly work, and socio-political essays or commentaries. These three parts, although different from one another, are loosely linked together by the trigger of Debeljak's creativity: the individual's responsibility to society and fellow human beings. Debeljak's essays are especially memorable since they are mostly related to the space that defined him from his childhood, i.e. Yugoslavia, but above all to its terrible devolution. The article explores three of Debeljak's texts: Twilight of the Idols, Balkan Footpath and How to Become a Human Being and its aim is to examine the occurrence of the topic of Yugoslavia in them. The three selected texts have been written over a period of twenty years and all three reveal Debeljak's unbearable pain caused by the collapse of the multicultural, culturally rich community that offered the foundation for the creation of his own version of identity, which he proudly called cosmopolitan. Debeljak transferred his identity from the national plain to the cultural one – cultures that offered him immeasurable freedom and wealth became the existential provision that defined his essence. Twilight of the Idols is undoubtedly Debeljak's darkest essay on the new state of the world, which he called his ”own”. Originally published in 1994, when the bloody armed conflicts in the former republic of Yugoslavia were in full swing, this essay was among the very rare voices in the former homeland which lamented its collapse. Debeljak was well aware of the devastating power of nationalisms that dominated this area and thus destroyed the delicate tissue of cultures. The second book, Balkan Footpath, was published in 2010, that is a decade and a half after the end of the conflict, but still revealed Debeljak's profound sorrow. In it, Debeljak pays tribute to all those writers of the former common homeland who inspired him on the path of shaping his own identity, such as Ivo Andrić, Meša Selimović, David Albahari, Muharem Bazdulj, also Charles Simic, but his main attention goes to the two great Serbian authors, Miloš Crnjanski and Danilo Kiš. With the last of the selected books, How to Become a Human Being, Debeljak returned to his earliest years in the last decade of Yugoslavia's existence. In his comments, Debeljak follows the intimate memories from his childhood and early teens, describes events and experiences that have affected him, many of which are linked to Yugoslavia.
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In a very rich “love story” between Beckett’s work and Serbian audiences, there have been some significant cornerstones. Since the first translation of Waiting for Godot in 1953 to the present day, Beckett has been performed not only on stage (the famous clandestine performance of Godot in Belgrade in 1954) but also on Radio Belgrade (All That Fall in 1961) and Television Belgrade. It was with his radio drama Words and Music that broadcasting of the Third Programme of Radio Belgrade began in 1965. Unfortunately, there are no traces left of television programs broadcast in the sixties, so the first reliable proof of Beckett’s presence in this medium is from the seventies. Together with his books translated into Serbian (novels, stories, plays, poems, and essays), we can say that Beckett’s mostly spiritual “migrations” into other cultures (“mostly”, since he was our guest in 1958 when he spent a few weeks of his holidays during summer) were very successful in the case of the Serbian one. Since he himself was a voluntary migrant from one culture to another, and from one language to another, Beckett was familiar with the migrant experience of being poor and anonymous. In our paper, then, we will try to trace Beckett’s metamorphosis in different media in Serbia, and follow his rise in our culture during all those decades.
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The central place of Danilo Kiš’s novel Hourglass, which is a kind of an illness/disease narrative (écriture patografique), is occupied by the human condition as an animal rationale. It was one of the subjects raised by many intellectuals, including Edmund Husserl, whose name does not appear here accidentally. Phenomenology was a strong intellectual impetus for the authors of the new French novel. Although in his statements Kiš resolutely distanced himself from any connections with him, emphasizing the documentary, auto/biographical character of his work, in this article I point to the existent (albeit unintended) connections between Kiš’s novel and the literary views of his French colleagues.
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Glavno inspirativno vrelo Alekse Mikića je njegovo seosko djetinjstvo koje je bilo vrlo teško, sumorno, oskudno u svemu osim u nadi da će budućnost biti vedrija i ljepša! Pripovjedač se vrlo rano suočio sa velikim siromaštvom u porodici i to ga je na jedan način tištalo cijelog života! Upravo o tome on je napisao svoje najljepše priče!
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Book review: Поздрав Милици Стојадиновић Српкињи / Светлана Матић. – 1. издање. – Нови Сад : Прометеј, 2019 (Нови Сад : Прометеј). – 108 стр. ; 21 cm. – ISBN 9788651514923Поздрав Милици Стојадиновић Српкињи / Светлана Матић. – 1. издање. – Нови Сад : Прометеј, 2019 (Нови Сад : Прометеј). – 108 стр. ; 21 cm. – ISBN 9788651514923Поздрав Милици Стојадиновић Српкињи / Светлана Матић. – 1. издање. – Нови Сад : Прометеј, 2019 (Нови Сад : Прометеј). – 108 стр. ; 21 cm. – ISBN 9788651514923
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Short stories and prose written by Vladimir Milojković: Nepostojeća pretraga; Traumatologija; losing game; Mesečnica; Či(s)tač(ica).
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This paper attempts to analyze how the elements of the commodity loops enter the genre of the novel. The change which occurred in last decades of the 19th century required a particular space and new “types” of people with an embedded concept of consumption as an extraordinary sensual experience. At the same time, there also appeared the transgressive social types: the first department stores “created” kleptomaniacs, the growing possibility of traveling produced a new illness of “crazy travelers”, and the figures of the dandy and flaneur described new types of bourgeois subjectivity that would soon become widespread. The aim of the paper is not to demonstrate a mere application of the economy on literature, but to show how the looping effects of commodities enter the network of novels and how the novel tries to re-shape that same loop. This approach involves an analysis of the well-known novelistic thematizations of the turbulent world of goods, formal innovations related to the treatment of commodity values, as well as the different types of people created by the commodity loop. The political economy of the novel, interested in mixing points, moments of collapsing or demolishing pure categories, shows that the logic of the art of novel should not be characterized by a strict separation between the pathos of material life and the purity of artistic signifying practices. It aims to erase a solid line that separates the autonomous and heteronomous art. Therefore, at best, we remain at Lukács’ idea of aesthetic forms as structured reactions to social contradictions. The sharp division between economy and literature misses both economy and literature because it hides behind the belief in the easy separation of art from social hierarchies. Literature can strive to prove “the separation of economic behavior from the social context”, but then it must take into account that its own separation cannot be founded without that same context. However, observed from the perspective of economic literary criticism, it seems that the modern novel gradually and self-consciously abandons prejudices about the different surfaces of inscriptions of human activity and contemplates how to examine the boundaries of the commodity and to conceive the space that goes beyond the workings of the commodity loop.
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Building on the previous research, where we edited the text of the Czech (auto)biography of Gavrilo Princip and reconstructed the context of its origin and publication in Czechoslovakia and the Kingdom of Serbs, Croats and Slovenes (Andonovska, Jevremović 2019), in this paper, we are dealing with a comparative critical analysis of this document and early postwar writings about Princip. Special attention is given to the comparison with the stenographically recorded conversations that the Viennese neurologist and psychiatrist Dr. Martin Pappenheim had with G. Princip in 1916 in Theresienstadt, which were not published in their entirety until 1926.The Czech autobiography and Pappenheim’s document form a kind of diptych and correspond in several genetic aspects. They were written in German in the same place and at almost the same time, in the first half of 1916 in Terezin, and their first presentation to the public was synchronized: in the middle of the summer of 1919, in the socialist media in Prague and Vienna. This is followed by a series of specific textual similarities, including highly singular ones, such as errors and omissions. Above all, these two texts were published in the Kingdom of Serbs, Croats and Slovenes under almost identical titles: Pappenheim’s document in 1926, entitled Princip on Himself, and the first translations of Princip’s Czech autobiography in 1919 as Gavrilo Princip on Himself. With all these coincidences – time, place, language, genre, title – it is obvious that the enigma of the origin of Princip’s autobiography can best be understood through a comparative analysis with Pappenheim’s document.
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