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The review of: Midhat Ajanović Ajan, Time lapse; Sarajevo, Art rabic
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The review of: Almir Imširević, Najljepši od svih svjetova; NOMAD, Sarajevo, 2020.
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The review of: Goran Pavlić, Glembajevi: dvojno čitanje; Akademija dramske umjetnosti Sveučilišta u Zagrebu, 2019.
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The review of: Feđa Štukan, Blank; Centar za informativnu dekontaminaciju mladih, Banja Luka, 2019.
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The review of: Dimitri Verhulst, Nažalosnost stvari/ The Misfortunates; sa nizozemskog preveo Radovan Lučić, Buybook, Sarajevo, 2020.
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Review of: Borislav Arapović „Božić jedan davni“, Udruga HUM, Mostar, 2020.
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Review of: Melida TRAVANČIĆ - Emina Žuna, Linija života, Tešanj: Planjax, 2016
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In the article, Konstantin A. Barsht’s publications devoted to the study of Fyodor Dostoevsky’s creativity are subjected to a critical analysis: 1) works on the drawings and calligraphy of the writer; 2) a commented edition of Dostoevsky’s novel “Poor Folk” for “Literary Monuments” series; 3) publications about the manuscripts of the novel “Demons”, including the publication of Dostoevsky’s workbooks with draft notes for this novel (2021); 4) Barsht’s articles from the collection “Dostoevsky: Еtymology of Narration” (2019). The analysis of these publications reveals Barsht’s unprofessionalism as a researcher, as well as his violation of scientific ethics. The authors of the article proceed from the idea that this kind of imitation of research is unacceptable, publications should undergo a qualified examination and receive expert evaluation.
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The development of Catalan crime fiction was interrupted several times due to some unfavourable socio-political conditions of the Franco dictatorship regime. However, the end of the dictatorship allowed complete immersion into popular literary genres and one of the most notable authors of this period is Jaume Fuster. Thanks to his literary project, he introduced certain narrative elements derived from the dominant systems to normalise the Catalan language and culture and, at the same time, he referred to the genre tradition in other artistic manifestations such as cinema. This article presents an analysis of Tarda, sessió contínua, 3.45 (1976) where one can find three types of relationships indicated by the same author. As a consequence, it turns out that the intertextual aspect of the novel facilitated the process of consolidating crime fiction in Catalonia.El desenvolupament de la tradició catalana de la narrativa negra i policíaca va ser interromput diverses vegades per les condicions sociopolítiques desfavorables del règim franquista. No obstant això, el final de la dictadura va permetre una incursió completa als gèneres populars i un dels escriptors més destacables d’aquest període és Jaume Fuster. Gràcies al seu projecte literari, va ser capaç d’introduir certs elements narratius derivats dels sistemes dominants per a la normalització de la llengua i cultura catalanes, referint-se al mateix temps a la tradició del gènere en altres manifestacions artístiques com el cinema. Aquest article presenta una anàlisi de Tarda, sessió contínua, 3.45 (1976) en què s’estudia tres tipus de relacions indicades pel mateix autor. En conseqüència, resulta que l’aspecte intertextual de la novel·la va facilitar el procés de la consolidació del gènere negre i policíac als Països Catalans.
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"Silence", a characteristic theme in Russian literature, also plays a significant role in contemporary Russian fiction. Yevgeny Vodolazkin’s Laurus, Lyudmila Ulitskaya’s "The Kukotsky Enigma" and Guzel Yakhina’s "Deti moi" [‘My Children’] share several features in their representation of the phenomenon of silence, despite the manifold differences in the plots, the periods in which they are set and in the characters. The first part of the paper explores the components of the three works that establish connections between silence and the conflict, the chronotope and the issue of communication. In each case the plot focuses on the story of a deep but doomed love. It is the protagonist that is responsible for the love’s tragic end and will later try to redeem his or her sin and thereby preserve love in themselves. In all the three works, the reason for the silence of the protagonist – Arseniy, a mediaeval healer, Yelena Kukotskaya, the wife of a gynaecologist from Moscow, and the teacher Bach, a Volga German – is the violence they have had to endure. The spatial attribute of silence is a place on the periphery, which assumes a certain symbolic meaning. In each of the plots, water becomes a very significant spatial element, and it assumes a distinctive mythopoetic function. All three protagonists partake in some mystical experience in which linear time, which plays a dominant role in the depiction of their progression through life, is eliminated. The silent characters also stand out from their environment because of their special connection with language and culture. They replace speech with gestures and writing, and their connection with culture becomes a starting point for certain parallels with the literary tradition. In the second part of the study the common features of the three plots are examined from the point of view of the anthropology of silence and in the perspective of postmodernism. On the basis of this, the author of the paper concludes that none of the three writers are postmodern in the way they describe silence, in terms of either anthropology or aesthetics. Firstly, the image of the human which they revive is characteristic of the Christian and the Cartesian tradition, and alien to the postmodern. Secondly, contrary to the way the function of a literary author is conceptualised in postmodernism, in all the three novels the writers adopt an omniscient position, that is, they embrace the role and responsibility of a centre of sense-making and language.
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The paper is devoted to the category of time in the novel "The Aviator" (2016) by Yevgeny Vodolazkin, the category being the key to comprehending the conceptual universe of this text. The main aim of the study is to identify the temporal layers in the novel and to indicate the dominant attributes that define each of the described periods. In the paper time is considered as a phenomenon, and attribute (determinant) as its distinctive feature. Such an approach allows the author to identify not two, as in previous scholarly literature, but three layers of time: the period of pre- -revolutionary Russia, the period of the “Bolshevik hell”, and the period of Russia at the end of the second millennium. The interpretation of the nature of time in the novel has also been facilitated by a general consideration of the work’s genre affiliation. Basing on the conviction that the elements imperceptible in the historical process create a real picture of a certain period, thus encouraging the study of the minutiae of life in different times, the author describes various details, as well as classifies them. The representative groups of indicators are distinguished as follows: smells inherent to certain attributes, sounds emitted by attributes, elements of the characters’ everyday life as well as festive time, means of transport, and the arrangement of space. The concept of chronotope, developed by Mikhail Bakhtin, has also been important for the study. The author notices that the change of a historical reference point is accompanied by a new characterisation of the indicators. In the discussed novel it is precisely the attributes that make it possible to separate the temporal layers, and this, indeed, is their main function.
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