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In the relevant poems of Milan Milišić analyzed in this paper the city is not necessarily a topos. It is, first of all, a microcosm with three parameters important for identifying its metaphysical dimension – intellectualism, sensuality, and ontological sorrow. Therefore, while singing about a specific city, Dubrovnik, Milišić also sings on the universal City. What is more, singing about a city, Milišić interprets the city by placing its microcosm in a certain context and thus limiting it. However, for any empirical feature of the city to be understood, interpreted, and poetically presented to the reader, it is necessary to identify and mark its determining and descriptive codes. When it comes to Milišić’s poetry, the determinants are the notions which determine the key points of the city and thus locate the signs of life in it. These determinants are then closer defined by descriptors – words and phrases which interpret them and thus determine the city as a macro-determinant. Therefore seemingly incoherent elements – bits and pieces, unconnected and scattered – in Milišić’s verses appear to be connective tissues which on the micro-level, at least temporarily – and admittedly, sometimes only ostensibly – provide the whole picture of the urbification field. It seems that the interpretative model can also follow these formal units for in this manner, by examining the meanings of each of them, we can reach the core of the poetic image of the city. The most significant determinant of the city in Milišić’s poetry turns out to be the border. Milišić’s lyric narrative of the border moves between the traditional and personal (emotional). His poetic contemplation in all of the analyzed poems is founded on identifying the crack as a basic descriptor of the border, as a sign of instability, but also as a diversifying line between two spatially and temporarily neighboring and yet separate worlds. In cultural terms, each border is a sign of partialness and in this sense it is also a symbol of two experiences, two essences. If the constituting elements of a city are themselves cracked, separated, divided, bordering, then it is not only a city on a border (which has been a several-century-long historical, but also sociological reality of Dubrovnik), but the city itself is border-structured. Thus, quite naturally and inexorably, the “spent city” is reduced to a line. This line almost ontological cancels all the varieties and manifoldness lying in the foundations of the city as a natural and cultural area. The city is, in its pattern of existing, an assembly of differences (“a total of different lights”), in which people live “opposite each other”, in which its citizens with their different living circumstances are together in “deserted places”, rely on each other and cherish “polish of thoughts”. That city had a natural connection with its reverse side, the un-place of night, when its shapes and outlines disappeared, but it – like an animal – could still be felt in the pulse of its inhabitants. That city is gone. It still exists – but is different and other. The line has been drawn – and the city is divided by a border. The poet’s eye notices this break, this crack in stone slabs, in walls, as a “ribbon of dirt”, and in people themselves, who “come out shuddering from the hardly permeable area”. Line as a border has made it difficult to come out of cramped little rooms, old corridors and narrow, tight, claustrophobic streets into the life of the square, Placa, multitudes, touches and connections. The broken, endlessly long line has netted the whole space and the city has thus remained with a border separating it from itself.
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The paper analyzes Milan Milišić’s poetry collections published after his death. The emphasis is placed on his poetic manuscripts intended for the adult audience which were put together by Milišić himself in his lifetime: Treperenja [Flickers] (Zagreb 1994, Belgrade 1997) and Fleke [Stains] (Zagreb 2001). Although the poet didn’t intend these books to be the final component of his poetic oeuvre, which they, however, became by a twist of fate, they gather some of his main themes and practices and contain some of Milišić’s most successful and refined poems. In these texts, as in others, Milan Milišić deals with subtle sensations and feelings, as well as with everyday experiences of which he is often critical.
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The paper explores the particulars related to the creation, publication, and re-discovery of two series of texts authored by Walt Whitman. The series of newspaper articles Manly Health and Training (1858) and the serialized novel Life and Adventures of Jack Engle (1852) were Whitman’s forgotten, or rather unknown,works up until 2016. Since the texts appeared on the pages of the American press,we will consider the role of periodicals and journalism in general in Whitman’s work. As it turned out, today’s press has had a significant role in presenting these discoveries, which will be considered in a separate part of the paper. We dedicate special attention to the circumstances which enabled the discovery of the unknown Whitman texts, as well as to the changes which the digitalization has brought to the humanities.
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The text analyzes Serbian periodicals popularizing spiritualist ideas in the late 19th and early 20th century. The first part gives an overview of prominent spiritualist journals in the US and the most important European cultures (English, French,Italian, Spanish and Russian), in order to move on to the description of relevant serials in our community (Dositiy, Two Worlds, Voice of Truth, Spiritual World, Spiritual Life). The final part of the paper analyzes the presence of spiritualistic themes in non-specialized periodicals (Belgrade Daily, Time, Evening Time).
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In this paper we will attempt a thorough interpretation of Milorad Pavić's essay“Novels Without Words“, which is one of the first attempts at a ludo-narrative interpretation of video games in Serbian literary theory. In this essay, Pavić provided a unique testimony on the contemporary hypermedia and hyper-textual literature,the central point of this work being his description of four adventure games: Myst,Myst 2: Riven, Zork: Nemesis and Timelapse. By analyzing the historical development of the adventure game genre, their hyper-textual architecture, technological characteristics, and certain elements that link them to the general poetics of postmodern fiction, we will attempt to explain the mechanisms of Pavić's ludo-narrative commentary, i.e. the reasons behind his choice of these particular titles for the purpose of demonstrating the literary and artistic value of video games in general.
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On the basis of the notional, thematic, artistic and stylistic similarities observed in the literary works of several Belgrade authors (Mitra Mitrović, Milka Žicina, Nadežda Ilić Tutunović, Frida Filipović), in this paper their literary corpus is designated with the terminological phrase engaged women’s prose writing and viewed as a separate and integral phenomenon. The aim of the paper has been to abstract the basic characteristics of this literary-historical occurrence, which had an uninterrupted continuity from the 1930s till the 1950s, and to set a possible notional-theoretical framework for further readings, interpretations, and comparative research of the given and similar literary corpora. The methodological frame for describing the engaged women’s prose writing has been formed by combining three methodological disciplinary directions: a) Sartre’s definition of engaged literature,b) earlier literary-historiographic and theoretical examination of the Yugoslav social literature movement, and c) the feminist research of the history of women, feminist movements, and women’s literature. Sartre’s concept of engaged literature articulated after World War Two is set as the connective thread of argumentation: it is applied to the given women’s prose writing and vice versa, the interpretations of this prose enrich the given concept, adding to it a diachronically deeper and potentially feminist aspect. Finally, the results of the research are related to the activist studies,which in our context in the past few years gain the shape of a socio-humanistic subfield. A concise conclusion from the research thus organized is the following:viewed as a distinct occurrence, to an extent, the given prose corpus is most simply described with the proposed terminological phrase engaged literary prose; as part or companion of the social literature movement, this prose expands and enriches the notion itself; as an occurrence that must be considered in terms of Sartre’s ideas,it offers a supplement and expansion of the notion of engaged literature, extending its use and giving it new topicality; as a historical phenomenon, this prose is part of the process of global and “local” Yugoslav emancipation and has a place in the revolutionary transformation of the Yugoslav society; as a literary-historical phenomenon, engaged women’s prose writing reveals both the strengthening of female authorship and the rise of the new layers of (female) reading audience.
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The relation between fathers and children is one of the ideological points of the play chosen by E. Janković, according to the parameters of a bourgeois and mercantile society looking at a useful and modern education and instruction, organic to the needs of the community.The pedagogical commitment of the author from Novi Sad could not ignore some considerations on the key role played by women in the organization of society as a girl, wife and mother, that was to be redefined on the basis of new demands during the 18th century. Goldoni tried to deal with the debate on female education thanks to the lively confrontation between Giannina and Beatrice, being he first model of educated and learned woman, and the latter, prototype of domestic virtue modeled on ancient customs. Behind the comparison between the two figures, Goldoni couldn’t neglect a burning issue of the Enlightenment between progressive openness and conservative positions concerning the female question.The work aims at analyzing the two characters in a dialogic interaction that seems to reveal, in the Italian text, a dialectic of opposing models, shaped by Janković in ambivalent and complementary forms. The choice made by Janković, to translate a comedy where the woman is revaluated, by presenting her as main character and by focusing on the problem of her education and instruction, is one of the values of his enlightened program.
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The mystery of the human mind of Van Zivadinovic Bor is an example of a multicultural, multimedia and collage surrealist work in which the original engravings, scientific knowledge of psychoanalysis, spiritualistic and documentary photography connect in an original way. In the end, the whole amazing work gets the outlines of modern optics and the structure of moving images. Iconography ofthe text-image structure constructed by the photograph from the book Albert von Schrenck-Notzing, Phenomena of materialisation (1923) and quotation from Thomas De Quincey, The Confessions of an English Opium-Eater (1821) and illustration from the book Robert Fludd, Utriusque Cosmi Maioris scilicet et Minoris Metaphysica, Physica atqve Technica Historia (1617–1621) is analyzed as part of a broader thematic unit dedicated to dreams and was published in the almanac Nemoguce – L᾽impossible (1930) in Belgrade.
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Borges’s texts on literature, which include not only essays but also lectures and prefaces, have begun entering into the horizon of expectations of our reading audience during the early 1980s, almost at the same time as the poetic creations of this Hispano-American author, and much later in relation to the initial reception (1963)of his narrative prose. In the period of almost three decades, that is from 1983 to 2013, eleven special editions were published, which were entirely dedicated to Borges’s texts on literature and three mixed-matter anthologies in which such texts were represented along with Borges’s selected poems and stories.
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Considering three novels written by David Albahari, one of the Serbian most popular and widely recognized novelists, the author will attempt to discuss in this paper the issues of subjectivity and identity creation, represented at various literary levels: narrative techniques and voice, chronotope of the road, the setting and the language. Specific focus will also be placed on the question of the (self) exile and nomadic subjectivity because one of the main hypotheses is that David Albahari affirms postmodern models of fragmented and dispersed Subject but manages to establish an important sense of diasporic home – the home that does not have particular sociopolitical, geographical or cultural roots.
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Tomislav Žigman is an author who belongs to the mainland, northern and Pannonian sections of the literary corpus, according to many world-philosophical, traditional-cultural and linguistic determinants of his work. Bunjevački blues is a collection of lyric songs / letters, which was released in two editions. This article deals with the second, extended edition from 2003. (Subotica). The collection is based on Bunjevci traditionalcultural stock such as linguistic heritage, traditional life, worldview and mentality characteristics, a clash of traditional and modern etc. First of all, these stocks are implied and visible in the motif-themed layer, which is absolutely rooted in the ikavian dialect of Bunjevci. Therefore, the article partly focuses on the stylistic stigmatization of the Bunjevci ikavian and and lexical forms in the rhythmic, melodic and semantic fabric of the poetic text. In addition, the traditional stimuli in the philosophical consciousness of the poem and the motif-thematic fabric of the poem are questioned, which give it quite characteristic features and make it a representative work of the Pannonian literary circle. An attempt is made to detect the inspirational and affective springs that lead the text to regional colourfulness and to establish a process of nuance of traditional and mentality specificities. Particularly noteworthy is the title entry, which is woven into poetic texts as a thought leitmotif and atmosphere omen, thus stimulating the recipient’s horizon of expectation, inaugurating the text as a melancholy cantilena and referring to a commonly known musical jeremiad.
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The article analyzes David Albahari's editorial activities in literary magazines and focuses on his work in the journal Književna reč (The Literary Word), which has been published in Belgrade since 1972 as an organ of the Književna omladina Srbije (Literary Youth of Serbia). David Albahari was a member of the editorial board from the winter of 1977 to the summer of 1984. This is a time when the dominance of so-called reality prose in Serbian literature is coming to an end and a new generation of authors appear whose literature would later be called postmodern. Albahari was involved in the process as both a writer and an editor. In the Književna reč, in addition to the prose of young local authors, he also published translations of contemporary international prose and also devoted himself to rock'n'roll culture. The article outlines the context in which he pursued this activity and tries to reconstruct the poetic and cultural ideological picture of the epoch.
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The paper examines the novel Dorotej considering the relationship between the novel and the philosophical-religious dominants of the depicted epoch, as well as the relationship between the Middle Ages and Renaissance in the European culture. The narrative structure of the novel has attracted researchers’ attention from the very beginning, considering the fact that the main character does not speak. Therefore, the paper mainly deals with the analysis of Dorotej’s silence as a leitmotif and a narrative principle, and laughter as his only way of expression, with regard to the depicted epoch. Literary critics and researchers have analyzed different aspects of the novel; however, the stylistic devices used for describing the spiritual characteristics of the time have been left unexplored.
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