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Review of: Ivo Mijo ANDRIĆ - Zdravka Mila Marijanović: CVJETNA PRIČA, Lijepa riječ, Tuzla, 2020.
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Review of: Ivo Mijo ANDRIĆ - Zdravka Mila Marijanović: CVJETNA PRIČA, Lijepa riječ, Tuzla, 2020.
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The researcher who intends to study magical realism and its hypostases in literature finds with astonishment that, over time, this concept has had many interpretations that have often proven to be contradictory. Most statements refer to the notion of magical realism as a literature of borders, overcoming them, capturing new images and presenting reality from various points of view. In this situation, reality is perceived as a game between real and imaginary, as a harmonious fusion between individual and collective consciousness, being an oscillation between believing and not believing what is presented. Undoubtedly, these inconsistencies between the interpretations of magical realism occur mainly due to the oxymoronic nature of the concept that dares to join magic with realism. Magic is perceived as something that happens beyond reality, while realism excludes magic, and the resulting sphere may have various meanings aimed at the sphere of "representation and narrative", but also specific meanings of culture, history and identity, characteristic of what is natural or, on the contrary, supernatural. It is precisely this association of the real with the unreal that has also generated the consideration of magical realism as a branch of other literary genres and, therefore, in this article, we intend to distinguish magical realism from the concepts that it has often been associated with: fantastic, realism, surrealism.
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Portugal and the religiosity of the Portuguese people. In this paper, we intend to analyze some cultural aspects that define the Portuguese people, as well as its religion and religiosity. For a better understanding of the contemporary society, we will have a closer look to some historical events that had a major impact on the daily life of the peoples living in Galicia in the 6th and 12th century. We will contextualize these events by taking into account the political situation in which the Iberian Peninsula found itself at that time. Then, we will analyze some important fragments from different versions of the Bible referring to the notion of time (days of the week). The versions were chosen in order to underline the differences between various translations and the manner in which they have been interpreted along the centuries. Finally, we will discuss some relatively more recent aspects characterizing the Portuguese society and its religiosity, such as the myth created around the figure of Dom Sebastião. From the point of view of some historians, this myth is related to the one of Divino Martle (Bendito), a brave man who defended the religion in which he truly believed, against his own emperor, with the price of his life.
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accommodates and provokes a variety of voices and discourses, evoking and dealing with India’s past, present, and future, thus highlighting its author’s dialogic vision. Although postcolonial and posthumanist approaches are worth exploring at length in this very challenging text, the current starts from the novel’s initial “conversation” with a controversial non-fiction book, Thomas Friedman’s The World Is Flat, and the theory of the ten flatteners that reshape globalization, with Bangalore as the then (2006) neoliberal hub of the world. Using the patterns of the frame narrative of the Arabian Nights and of the European epistolary novel, the text under investigation dramatizes and transfigures the dark side of neoliberalism by means of the imaginary conversation between a murderer turned successful entrepreneur and the leader of the world’s most prominent rising economic tiger.
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Smijem li započeti pretpostavkom da sam Slobodanu Šnajderu nekako srodna po svjetonazoru? Može li se takvim neprimjerenim isticanjem vlastitoga stava reći nešto primjereno, možda čak važno? Stvari svjetonazora su minsko polje, nešto kuda se ni anđeli ne žele kretati. Možda je lakše istaknuti marksističku afilijaciju kada to nije više vlastima poželjni stav, ali sadržajno je to uvijek teško i zbog toga što sam Marx, kako su nas davno naučili, izrijekom nije želio biti marksist i zbog toga što takav odabir u intelektualnom poslu može biti samo polazište (kao na primjer feminizam), a mišljenje ide kako ide.
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Pisao se svibanj 1990. kad je Slobodan Šnajder, u Berlinu, a ne u svome stanu u uskuhaloj Hrvatskoj, napisao po obujmu nevelik tekst sastavljen od crtica nastalih po sjećanju na vlastito djetinjstvo koje se postupkom lingvističko–arheološkog iskapanja zatrpanih, protjeranih, nestalih riječi i frazema, sačuvalo za trajnost. Tekst je naslovio Hruštevi. Četrnaest godina kasnije mnogi će se pojmovi i mnoge riječi iz ovog začudnog teksta, posve slučajno, nastaniti u Leksikonu YU mitologije naprosto zato što im je ondje bilo mjesto.
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Zovu biografije pisci teško mogu odoljeti. Slobodan Šnajder je, pak, jedan od pisaca koji se u svojim najvažnijim dramama bavio biografijama, ili nekim ključnim detaljem iz biografija povijesnih ličnosti koje su vezane uz kazalište. Njegove drame Hrvatski Faust, Gamllet, Kamov, smrtopis, Držićev san jasno svjedoče o toj biografskoj preokupaciji. Šnajder svoje likove i njihove biografske činjenice smješta u konkretan povijesni trenutak i tako stalno uspostavlja taj dinamični odnos pojedinca i povijesti. Pa kao što pojedinca povijest oblikuje i stavlja pred različite kušnje, tako i pojedinac oblikuje povijest, barem u jednom njenom segmentu. Bijeg Vjekoslava Afrića u partizane je zanimljiva povijesna činjenica, dijagnoza vremena i jednog demonskog režima, ali i simbolički komentar onih koji su spremno prodali đavlu svoje sitne duše. Odnos povijesti i pojedinca za Šnajdera je plodno značenjsko polje iz kojega je crpio velik dio svojih dramskih napetosti. Stoga nije čudno što se u svom proznom opusu ponovno okrenuo odnosu biografije i povijesti. U slučaju romana Doba mjedi, radi se o njegovoj vlastitoj romansiranoj povijesti, biografiji njegovih roditelja koje je nazvao George i Vera Kempf.
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Roman Doba mjedi, pisan u punoj zrelosti stvaralaštva Slobodana Šnajdera, tumačimo sa aspekta ideologija i njihovog uticaja na sudbinu pojedinca. Sam naslov sadrži biblijsku referencu i metaforički sugeriše na noseću ideju romana, što uzimamo za polazište istraživanja. U uvodnom delu posmatramo istorijski kontekst dela, te način uticaja i manifestovanja ideologija u životima pojedinaca. Postižući epsku širinu, tematizujući migracije Folksdojčera, Šnajder ukazuje na cikličnost i permanentnu vladavinu ideologija i vođa koji idejama upravljaju. Kao opozitnog društveno–političkoj stvarnosti Šnajder oblikuje glavnog junaka romana, Georga Kempfa. Služeći se analitičko–komparativnom metodom dolazimo do zaključka da je Kempf ontološki stranac, što implicira da ga tumačimo u korespondenciji sa određenim delima iz Šnajderovog dramskog opusa, prevashodno po tipološkoj srodnosti sa tragičnim junacima dve drame, Jankom Polićem Kamovom i Gemom Boić. Lik ontološkog stranca tipski je u Šnajderovoj poetici. Kao antipoda Georgu Kempfu, Šnajder oblikuje lik Vere Kempf, njegove supruge, levičarke i društvene aktivistkinje. Za razliku od Vere Kempf, pozitivne junakinje svoga doba, Georg Kempf, oblikovan romantičarski i lirski, kao svojevrstan antijunak rata u kome se mimo svoje volje obreo, ostaje trajni stranac i opozit epskom vremenu koje tematizuje roman. Zbog toga je njegova pozicija u odnosu prema ideologijama gubitnička, a roman samo prividno veliki ep.
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Pročitavši Šnajderovo Doba mjedi, zapitao sam se — saznavši što je zapisao o očevoj, Đurinoj (1993.), i majčinoj, Verinoj smrti (nezapisano kada točno 1990–ih, nakon očeve) — bi li ovaj odličan roman uopće nastao da nije bilo ratnog raspada socijalističke Jugoslavije. Odmah sam samom sebi odgovorio da najvjerojatnije ne bi. Oboje su — iako na vrlo različite načine — dugo umirali kao što je dugo umiralo u biti sve što je činilo i održavalo Jugoslaviju kao ljudsku zajednicu, sa svim njezinim različitostima i sličnostima, da bi na kraju umrli potpuno obezličeni u svojem društvu. Ovim romanom njegovi Otac i Majka počinju drugi, vječni život.
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Matko (Mate) Cippico rodio se na otoku Žaknju 1923. g. u imućnijoj seljačkoj obitelji, od oca Šimuna (Šime) i majke Magdalene (Mande) Barboto (iz ugledne posjedničke obitelji, rodom iz Lukovca). Po završetku ranog intelektualnog i emocionalnog zrenja na rodnome otoku, odlazi (po očevu i župnikovu nagovoru) na školovanje u franjevačku preparandiju i bogoslovni institut u Mraovici, gdje po dovršetku prvog stupnja ostaje kao tutorski namjesnik sve do travnja 1938. Ohrabren blagonaklonim stavom ujaka, bojnika Nike Barbutovića, u jeku Drugog svjetskog rata završava tečaj topničke priprave, te je odaslan na bojište kod Maloncze.
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Sva interpretacija je jednostrana. Ona cilja na gledište koje ne može zahtijevati da bude jedino. Sve u svemu, tko interpretira pjesništvo, može to činiti s različitih gledišta. Može postupati rodno–povijesno tako da zadanu pjesmu uvrsti u tradiciju uzora istog književnog roda, može postupati motivski–povijesno tako da prati prihvaćanje i mijenu različitih tradiranih motiva, može izdvojiti umjetnička sredstva retoričko–poetičke vrste i njihovu povezanost u cjelinu ‘strukture’ itd. — Ali, on može preuzeti i izvoran hermeneutički zadatak objašnjavanja nerazumljivog. Pritom, opet, može postupati okazionalno (kao što su to činile protestantska hermeneutika Novog zavjeta i filologija do konca 18. stoljeća) i nastojati analizom konteksta, posezanjem za paralelama itd. ukloniti pojedinačne poteškoće koje stvaraju nerazumljiva mjesta ili će poći od jedinstva izrečenog i nastojati izložiti što pjesma želi reći, posljednje posebice kod pjesništva koje posjeduje visok refleksivni nivo i stoga u cjelini slovi kao tamno i teško razumljivo.
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The article discusses three novels written by the Finnish-Kosovar author Pajtim Statovci:My Cat Yugoslavia (2014), Crossings (2016) and Bolla (2019). All three novels describe circle migration of young Kosovars and/or Albanians to and from Finland and challenge categories of nation and gender. Statovci is blending queerness and Albanianness as cultural metaphors to describe gender transgressions as utopian anti-identities leaving behind generational family conflicts. Nevertheless, the protagonists are conditioned and “earthed”by the fantastic world of Albanian mythology. This way, Statovci is able to interpret Albanianness as a perfect stage for his queer heroes and breaks down deeply rooted stereotypes of Balkan backwardness.
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The article represents an essay dedicated to the life and work of Belarusian poet Yanka Kupala written by Ivan A. Charota.
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An essay written by Cvijetin Ristanović: ПРЕДГОВОР САБРАНИМ ДЕЛИМА БОШКА ЛОМОВИЋА (2)
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An essay written by Ivan Cvetanović: СТИЛСКО ПОНИРАЊЕ У ЧАРОБНУ КЊИГУ ИЛИ КАКО ОСЛОБОДИТИ КЊИЖЕВНОСТ
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The paper confronts two dominant scholarly readings of Dostoevsky in order to re-examine the role that textual analysis plays in contemporary literary studies. In Bakhtin’s reading of Dostoevsky, the main focus is on confronting different voices, perspectives, and valuation accents. The incoherence and polyphony of different discourses are considered as the author’s main literary innovation. In more recent studies, the focus has shifted to the author’s philosophical and religious views, conveyed in a complex literary verbal icon. Instead of choosing one of the two approaches in analysing the role of literary text in Dostoevsky’s works, the paper highlights the interdependence of both aspects as the main feature of his literary writing. The paper shows how crucial this duality is for constitution of Dostoevsky’s literary heroes and for the author himself, and points out this duality as the objective invariant of Dostoevsky’s literary oeuvre. Such an analysis can also shed light on the issues contemporary literary studies encounter in their attempt to make sense of the category of literary text and answer the question of the extent to which literary text can still be the subject of scientific (subject-object) cognition.
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Simon Jenko, primarily known as a poet, published five short stories between 1857 and 1858. One (Predpustnica/The Carnival) was published in 1857 in Venec and four of them in 1858: one of those in Vaje (Kaznovana tercijalka/A Punished Bigoted Woman) and three, the most prominent ones, in Janežič’s Slovenski glasnik (Spomini/Memories, Tilka, and Jeprški učitelj/The Teacher from Jeprca). Jenko’s prose is analysed in greater detail by Matjaž Kmecl (1973) and France Bernik (1956). The critics interpret one of the stories, Spomini (Memories), from a completely different standpoint: Kmecl interprets it as the product of Jenko’s romantic bourgeois ideology influenced by European Romantic movements, and Bernik as the culmination of Jenko’s loyalty to realism or even as “counter-Romanticism”. Since the critics’ understanding of what romantic and realist implies is epistemologically so different, it seems unproductive to simply oppose their views. Hence, this paper contextualises the critics’ implicit conceptions of romantic and realist with two distinct literary historical traditions and narratives from the second half of the 19th century.
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Quantitative approaches in studying literature already have a long tradition, reaching back to the period before digital humanities became an established field in the humanities. An important impetus for the establishment of quantitative methods in the humanities was provided by increasing computer power and increasingly extensive corpuses of machine-readable words. Theoretical concepts refer to the new methodological paradigms as distant reading. Even though it is supposed to replace close reading, it has repeatedly been shown that traditional research forms the necessary basis for relevant quantitative research and new relevant findings. Stylometry, or quantitative analysis of style, applies statistical methods to literary texts. The analysis entails text comparison in terms of similarities and differences in measurable text characteristics, such as the most frequent words. This is a well-proven method, which, however, has certain limitations. Stylometry is a text-immanent method that does not provide absolutely valid answers or general findings about style. In addition, the definition of measurable characteristics and the comparison method used remain in the domain of the researchers and their familiarity with the material. However, it allows a simultaneous overview of a large collection of texts and hence reaches beyond the established canon incorporating trivial literature and translated literature as an important segment of national literature, especially in its early periods. Stylometric analysis identifies text patterns, which can either be confirmed by qualitative research or can indicate the necessity for a new approach to traditional research. The visualization of results of the stylometric analysis of Slovenian narrative literature from the first half of the seventeenth century to the first original Slovenian narrative in 1836 shows the development of Slovenian narrative literature by period, with identifiable hallmarks of certain authors, and within individual periods and genres. Certain links indicate a need for further research.
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The analysis of the author’s own past research has shown that digital tools do not have a significant role in contributing to new interpretations of the Slovene literary canon. However, when shifting the subject of interpretation from a single work to authorial opera, genre corpora, literary period or the entire national literature, it becomes clear how quantitative methods, stimulated by digitalisation of the cultural past, literary databases and digital tools play a vital role. Interpretations that consider the richness of data, generated by digital culture, are more trustworthy than the former ones. The price we pay for that is the refusal of clear encyclopaedic definitions and descriptions. Literary past, observed through the digital humanities’ perspective has a fuzzy development because the central phaenomena gradually fade in the multitude of rival or peripheral phenomena. Slovene literature is not represented by prominent authors and their famous works any more, it does not comply with dictation of the great national myth, i.e., the construction of the nation from the spirit of literature. Rather, it is considered as a random fact, a matter of serendipity. It is represented as the entire literary production on the Slovene territory, in Slovene as well as other languages. Due to special circumstances, it is different from the neighbouring literatures and it triggers new, nation-specific definitions of literary phenomena. New interpretations of Slovene literature are not only indebted to the use of digital tools, but also to the consequence of changes within the literary system itself. In its beginnings, Slovene literature was dedicated to the constitution and emancipation of the nation, while now it also legitimately fulfils other human needs and functions: cultural recreation, women and social minorities’ emancipation and mobilisation, escapism, self-reflection, self-therapy, testing of the alternative models of social behaviour, etc.
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The paper focuses on the micro-structural analysis, i.e., close-reading, of the selected literary texts. Close-reading is the opposite of distant reading that generally connotes analysis of a much larger corpus. Close-reading is an acceptable strategy for textual interpretation. This strategy includes, at first glance, some banal issues, such as the relationship between historically documented events and their literary (fictional) presentations, spatial data (in this case Maribor and its topography), and temporal data (linear or recursive). Furthermore, this procedure enables identification of a given genre, for example a cycle or some kind of a supra-text (in this case a novelistic trilogy). The analysis will show how the fundamental paradox embedded in Maribor, its Slovene-German past, is reflected in Jančar’s novels. Special emphasis is placed on processes, motifs, images, characters, events and even micro-texts present in Jančar’s short prose that later reappear in his novels in a new context. Jančar’s text that are studied are Severni sij (Northern Lights, 1984), To noč sem jo videl (I Saw Her That Night, 2010) and In ljubezen tudi (And Love Itself, 2017).
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