"Oni nemaju od čega umrijeti jer nemaju ni dostojanstva ni srama"
Prose by Zdenka Čorkalo ("Oni nemaju od čega umrijeti jer nemaju ni dostojanstva ni srama")
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Prose by Zdenka Čorkalo ("Oni nemaju od čega umrijeti jer nemaju ni dostojanstva ni srama")
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На оном дијелу моста који се зове капија, ту, на средњем стубу који се при врху проширује, са испуста озиданих са обје стране, л ијево и десно од коловоза, проширују се по једна тераса, око пет корака дуга и широка, ограђена каменом оградом; ту, на десној тераси, идући од вароши, на софи, уздигнутој за два басамака, опточеној сједиштима којима ограда служи као наслон... ту, дакле, на капији, на којој су застајале и свадбе и сахране, на мјесту чији су величанствени опис сви учили наизуст као Свету Књигу, на педесету годишњицу њеног исписивања, овјенчаног славом, доводили су их са свих страна, из чаршије и околних села, и бацали их, тој љепоти у част, ритуално у Дрину,
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Taking the study of Copic’s oeuvre into consideration, his reception in German-speaking countries is relatively unknown. This paper deals with one segment of that cultural exchange – translatological and contrastive analysis of comparative phrasemes in a collection of short stories entitled The Adventures of Nikoletina Bursac. Phrasemes (phraseologisms, phraseological units) serve as a reflection of a people’s spirit and culture, they emerge on the basis of certain images – sometimes in common with other languages and cultures, but to a large extent so specific that phraseology as a discipline regards them as untranslatable. Given the fact that every translator’s task is to turn the untranslatable into the translatable, thus revealing their own understanding and evaluation of the foreign culture in question, this analysis seems to coroborate the claim that Ms Ina Jun-Broda managed to maintain the subtle balance with regard to the (un)translatibility of Copic’s protagonists’ sparkling language.
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Tog je dana Tanatos, bog smrti, pratitelj mrtvih duša u podzemlje, k tome zgođušan momak s bradom i mačem u ruci, pred ogledalom vježbao strog izraz lica. To mu je dio imidža, kao i crna krila na leđima koja je bio dao raščešljati i namazati voskom prije odrađivanja još jednog posla. Nedavno je Tanatos izbacio leptira, jednog od svojih zaštitnih znakova, iz svog autfita. Umjesto toga radije je nosio baklju. Jednostavno je izgledalo muževnije. Tanatos je bio po naravi pesimist, njemu je baklja bila uvijek napola ugašena. Ipak, tog dana pred ogledalom odlučio je malo se opustiti, ne biti uvijek tako krut. Pokušao se čak i nasmiješiti. Tako, i bi dobro. [...]
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Short stories written by Nada Crnogorac: Zove se gugutka; Za sve su krive bajke.
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Кад се свијет разиђе, од три непрепозната леша остадоше у мртвачници два. - Дјевојка нека остане у мртвачници још један дан, није ce још добро ни охладила, a дјечака закуј, већ заудара, и ноћас га покопај - заповиједи мртвозорник гласом који се у муклом мраку мукло одбијао по зидовима голе мрачне просторије, те уписа нешто у свој смртопис, и сам потписа.
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Po njegovu vremenu u ovom stanu zadnji put bio je prekjučer na nedjeljnom ručku iako su se stan u kojem je bio i ovaj u koji je zakoračio potpuno razlikovali. Razlika između te dvije verzije bila je razlika između odraslog Nedima i Nedima djeteta. Već na ulasku obuzele su ga emocije i izgleda da je unutrašnjost stana imala veću snagu da ga katapultira u prošlost nego sve što je do tada vidio. Zakoračio je oprezno, kao da bi mu se pod mogao izmaknuti pod nogama, a onda se osvrnuo oko sebe.
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Na satu male železničke stanice videh da je negde iza jedanaest noću, Krenuh peške u hotel. Kao i obično, osećao sam zadovoljstvo i olakšanje koje nam uliva dobro poznata okolina. Velika kapija stajala je otvorena, posed je počivao u tami. Ušao sam u trem čija su bleda ogledala udvostručavala cveće u salonu. Vlasnik hotela me, začudo, nije prepoznao i pruži mi knjigu gostiju. Uzeh pero pričvršćeno na pultu, umočih ga u bronzanu mastionicu, i kada se nagnuh nad otvorenom knjigom, doživeh prvo iznenađenje od mnogih koja su mi se spremala ove noći.
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Dok je Gospodin Iks ručao u svom omiljenom restoranu, priđe mu neki čovek sa pištoljem prislonjenim uz slepoočnicu. – Molim vas, dajte mi pet dinara ili ću se ubiti – reče čovek.
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In the short stories of Mulk Raj Anand, the character’s psyche is revealed to the readers. Anand focuses on the psyche of a character and relatively develops the character’s outer world. Mulk Raj Anand was born and brought up in and around the British Camps in India as his father was an administrator in the Indian Army, which was a transferable job. These experiences of his childhood, of moving around, of meeting new people, of adjusting, etc, gave him an introduction of the varied behavior of human and an insight in the human mind. This paper discusses role and contribution of minor characters in the select short stories of Mulk Raj Anand.
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Folk erotic poetry, as ‘a song of lovers not yet tied by the knot’, is a genre of text that relates the notion of love and the image of intimate body parts, the roles assigned to woman and to man, as well as social and moral norms in the traditional community. At the base of this genre lie such values as: happiness in love, physical contact, lovers’ openness to the love game, youth and beauty, success and favour, the light-heartedness of the lovers, fun and laughter, freedom, faithfulness and stability; marriage is a relative value, important for the girl, and wealth. Another value that is important in the light of folk erotic poetry, is an able body, sexual performance; the anti-value is a body that is diabled, sick, deprived of its functionality. Deficiency in the art of love, the man’s incompetence or inability to perform a sexual act is for the poetic lover a kind of disability that devalues and disqualifies him as a man and the partner of love act in the eyes of a woman awaiting sexual fulfillment. From the point of view of the heroine, it is justified to describe such a lover (love-cripple) as a disabled or even defunct person. The reason for this unambiguous and stigmatizing categorization is not only the inability to provide the girl (also a young wife by an old man) with erotic pleasure (kochanie ‘touching, moving’), but also to perform the love act which the folk culture understands as a participation in the creative action of the entire cosmos.
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