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Screensaver, Heavy Words; Fractal (Rust of a De-centered Subject); Statehood Day; Northeastern; The Promised Land; Undercurrent; Sick Leave; Class Poem; Traffic-Light Poem; Shadow Poem.
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Blame the Chickens for God’s Existence; The Beach Next to the Hospital; Bird, a Plum Fruit; The Rhythm of Sparrows; Surreal Girl; Five Bloody Poppies; A Girl Looking for Problems or a Job; Olive Picker:
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I.; XVII.; XVIII.; 13; The Club of Disoriented Leftists; Some Things; All Over Again; Plural; Halfness; White.
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The Tundra Skin; Blue; Blue; Ambedo; Describing the Ordinary; Describing the Ordinary; Do Not Object; Corn Starch; 23; This Morning; The Almond; Tiredness.
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Thorough Preparations; Invocation of the Elderberry; The Hunt; The Last Mowing; We Stood and Used the Past Tense; I’ve Got Some Unresolved Issues with the City; The Botanical Garden; Much, Much Later; The Reapers; I Instruct You: Walk Along the Edge.
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*; deaf cats; silence; birds’ deaths; amnesia; escape; grandma’s eye; Hunt; A Short Break before Entering the Yard; A Short Break for Resurrection.
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To Heal a Horse; The Ethics of Bread and Horses; The Invisible Bow; To Double the Profit; In the Exercise Room; The Zoo; The Table; The Flood; The One You Fell in Love With; White Rabbits.
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The three poems written by Himzo Polovina in 1984, according to Melća Pivčić from Livno, represent a significant contribution to the collection of our oral literature, in addition to his enormous contribution to the musical and performance shaping and interpreting of the already collected sevdalinka material. His three poems, by thematic and formal characteristics, can be classified as sevdalinka and ballads. The first poem written by Himzo Polovina belongs to the hybrid forms of sevdalinka, which include the fusion of two or more poetic patterns - in this case, a sevdalinka with a local characteristic motif and a sevdalinka with the motif of describing a maiden’s beauty. The other two written poems are oral ballads, in which the classical oral pattern of poetic creation is more present, on the basis of which we analyzed the thematic and formal characteristics of the oral ballad model, the syncretism of Illyrian and Islamic elements, and emphasized its importance in the analyzes of Bosnian and Bosniak identity. Oral poems can be conceptualized differently, when it comes to motive material, we have seen that motives are used differently varying from song to song, but certain structures of the sevdalinka and the ballad do not change - they always have a recognizable structural and thematic framework.
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Poetry by Zbigniew Herbert: Quattro poesie (Bottoni; Lupi; La gita dei Dinosauri; A Henryk Elzenberg nel centenario della Sua nascita).
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poem written by Lucian Perța, as a reply to the poem which opens the issue, belonging to Emilian Galaicu-Păun.
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Poetry written by Adam Wazyk: Poesia agli adulti" (translation: Cristina Fuhrman, Franco Fortini).
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