Intertekst zbirke poezije Kameni spavač Maka Dizdara

Author(s): Saša D. Šmulja / Language(s): Bosnian Publication Year: 0

The results of this paper can be summarised as follows. We performed the main framework task of our study – an analysis of the intertextual aspects in the poetry collection Kameni spavač [Stone Sleeper] by Mak Dizdar – through interpretation of poetic relationships established between the said collection and those texts and textual processes that led to its final form and content. These relationships and processes make up the intertext of this work in the form of a branching tree of relations and links that are contained in it. They constitute the citational structure of this work and encompass the intertextual references that are relevant and explicit in this collection. Seen in relation to other texts that are incorporated in its structure, the poetry collection Stone Sleeper is interpreted as an abundant confluence of such citational references.

Poetički geometrizam Maka Dizdara

Author(s): Emilija Kovač / Language(s): Croatian Publication Year: 0

Syntactic (linear) constructions of Dizdar’s expression (congruency and government) basically respect normative dictates, yet discovering possibilities of entirely distinctive entries. The result of combination of isoformic and alloformic constructions is a recognisable rhythm creating syntax which in conjunction with idiomatic versification, produces visual effects (crossness and roundness) thus confirming, with this level as well, verified motivation of this poetry generating from culturological speciphicums of the middle Bosnian and Herzegovinian areal (tombstones). The choice of lexis, especially its various levels of archaisation – phonological, morphological and lexical, plays an important role in the function of the expressivity of utterance. Archaisation adds the idea of timeness to the linear geometry of space ( length – width), in two components: horizontal (embracing the present) and vertical (embracing the relation present – future), which also emphasizes crossness as one of the basic principles of this poetry. Activating mental potencial of Dizdar’s subject – the sign reader, the time also exists as a memory which embeding itself into the contemporaneity, suggests the concept of round duration. Thus the text, beheld as a fact of space, transgresses from flatness to voluminosity of multidimensional structure, and measured by viewpoint potential, from visuality to conception.

Poezija Maka Dizdara nakon Kamenog spavača

Author(s): Dijana Hadžizukić / Language(s): Bosnian Publication Year: 0

The aim of the text is to analyze Mak Dizdar’s poems first published in his last collection, that have not been treated much by critics, mostly due to their predominant infatuation by The Stone Sleeper. In our intentions to diachronically treat Mak Dizdar’s poetry and barely brush some of the most important motifs and manner of his artistic shaping, one can find an attempt to find the answer: which way would Mak’s poetry have turned in some later, unwritten collections? That is why we will select a few poems one may find different and genuinely new, and we can perceive as a possible path the poet would have taken. As more representative examples of this sort we will take the following poems: “Outwits”, “Completely literal dream amongst naked parallels”, “Raft”, “Disagreements” and “Uncertainty” in which, along side experimenting with sound the poet experiments with the language thus demanding readers’ active participation and contribution. Mak’s duality is present from the first collection, dominant in The Stone Sleeper, so it found its place in the last collection as well. But, instead of a man torn between the Heaven and Earth through history and religion, in Blue River we can more commonly find a man torn between silence and words, between his quest to find the truth and his cognition about not being able to find it, between the quest for peace and beauty of restlessness brought by wondering about. By extending his metaphorical-poetic range Dizdar also extended possibilities from lexical-syntactic variants of totally canceling the most commonly obligatory second part of the syntagm to burdening with meaning semantically dependent words. In all the analyzed poems it is possible to recognize Jacobson’s theory of the artistic meaning of grammatical forms as well as examples of semantization of formal elements of the lyrical texts.

Tema ljubavi u pjesništvu Maka Dizdara (dvojstva i odrazi zvuka i slike)

Author(s): Sanja Franković / Language(s): Croatian Publication Year: 0

The theme field of love in the poetry of Mak Dizdar is revealed as the love of lyrical subject towards girl and woman, fidelity to the life ideals, and mother’s love towards son. The poems dedicated to woman’s beauty are the most numerous. The parts of woman’s body are equated with the manifestations of nature as synecdoches and the external indications of spirit. Woman’s deceptive love is mysteriuosly represented by motifs and language of oral literature’s poem. In poem Femaleswimmer mermaid symbolizes the ideal love, and since it is not from this world, no one is worthy of it. The young day-dreamer, still pure under the sun of life, is the closest to it. The poems on mother’s love as the unity of mother and son carry the special emotional heaviness, expressed in human, but also in animal world (poetical ekphrasis of stećak perpetuates the protective love of a doe to its fawn). In formal sense, the accoustic reflection of the words one in another is important, which also confirms the amalgamation of their contents: man is equated with the nature, and body with spirit. The unity of opposites expresses the aspiration for the overcoming of dualism as a prinicple of being, but also the ancient tone of Bosnian Bogumile spirituality. Key words: the theme of love, ekphrasis, the metaphor of seasons, synecdoche, antimetabole, paradox, syntactic paralelisms, homophony

Egzistencija samoprepoznavanja u poetici Kamenog spavača (Iskustvo života i nadiskustvo smrti u Slovu o čovjeku)

Author(s): Irma Marić / Language(s): Bosnian Publication Year: 0

The most complex spirituality is exposed in art. Spiritualization is a process of human analytic attitude towards one self and others. The human spirit engages in different processes which it can, but doesn’t necessarily have to grasp. Sometimes we are conscious of such situations, but sometimes we aren’t. Consciousness and self-consciousness; recognition and self-recognition are key spiritual elements on the verge of the 21st century. Mental makeup of research process is recognized in slightest oscillation, exhalations, memories, events, experiences registered or just touched on. At first glance, the unreachable is sought to be reached; to escape the imposed circle as a finished life circle, make prominent thought and think about it. That is the way of seeking for the self, meaning, happiness, love… In this way the understanding of the duality of the self is born; the duality which absorbs consciousness and sub consciousness in the aim to explore the sides of one sole in the course of one own, or, more precisely – shared way.

Ekspresivnost poetskog jezika Maka Dizdara

Author(s): Miroslav Artić / Language(s): Croatian Publication Year: 0

The text starts from a stand point of the expressiveness of the poetic language of Mak Dizdar with the intention to once again hear his poetry considering it was created in a primal language, as Dizdar himself put it, in a language that screams of “apocalyptical question marks”. And this language was precisely brought to life from “primordial”. Suddenly this primordial “silent language has become vocal”. How can readers recognize a primordial call to life in that awoken primordial language that screams with question marks? This is the reason time and time again his language is read, the language of questions, the language of the primordial wondering and a constant openness. In that targeted analysis, the starting point is the phonetic approach to the poem (Vuletić, 2005), according to which, as Vuletić suggest, the poetic meaning is not realized in the singular, individual but in a relationship with other meanings. Mak Dizdar’s poems would be heard using this approach, guided by an inner organization, with the intention to determine the function of the rhyme, in order to find out in what way the regularity in repetition and the rhythm is formed and realized. Motivation is also questioned, which is present in the relationship of the content and the frequency of return to the original text in the poem, which according to Lotman, has already fulfilled its basic information role. The main starting point in the analysis of the poem is its vocal organization, and it is especially important as even Guberina pointed out that the whole of a man speaks, not just his vocal organs. He suggests that other, non-lingual signs are also sent, apart from the lingual ones.

Комиссия эмигрантологии славян Международного комитета славистов

Author(s): Lucjan Suchanek / Language(s): Russian Issue: 1/2015

SUFIJSKA ORIJENTACIJA HASANA ZIJAIJE MOSTARCA

Author(s): Alena Ćatović / Language(s): Bosnian Publication Year: 0

There is no reliable evidence about the Sufi orientation of Hasan Zijai,Diwan poet from Mostar from the 16th century, in his real life, nor about his possible attachment to a Sufi order. We find the motifs of tasawwuf,namely the verses describing the mystic love mostly in lyric genres, that is,in ghazels which constitute more than two third of Zijai’s Diwan.

Црни пупољак

Author(s): Ninoslav Mitrović / Language(s): Serbian

A horror novel by Ninoslav Mitrović

Herbarij svete smrti

Author(s): Mihaela Šumić / Language(s): Croatian

Short stories by Mihaela Šumić

Iza vrata

Author(s): Emina Elezović / Language(s): Serbian

Collection of poems by Emina Elezović

Мандаринске патке

Author(s): Milanka Blagojević / Language(s): Serbian

Short stories by Milanka Blagojević

Mulat albino komarac

Author(s): Stevo Grabovac / Language(s): Serbian

A novel by Stevo Grabovac

Stojadin i druge priče

Author(s): Feđa Gudić / Language(s): Bosnian

Short stories by Feđa Gudić

Četiri šakaša i na male

Author(s): Adnan Šehić / Language(s): Bosnian

In Šehić's book “Football stories”, there is a story of the same name, which, among other things, evokes old childhood memories from the year when the Netherlands won the European Football Championship. It was the year when Marko van Basten sent an unforgettable volley under the Soviet bar and it was the year when the unfortunate Mujo Hadžin ran into a ball that Šehić and his football brothers filled with stones, convinced that one of the boys from rival team will end up being the naïve victim kicking the ball. Within the description of Muja's shot and the break that followed - in those few sentences, it seems to me, the magic of Šehić's football storytelling is condensed, which unobtrusively and charmingly connects the glittering world of “Princes' Park” and the street in Donja mahala, where instead of the usual tripods four "šakaša" were sunbathing.

Даљ

Author(s): Goran Dakić / Language(s): Serbian

With this book, the author gives back to his (and thus every other) childhood the depth, richness and all the complexity of a life that flourishes, 'in spite of everything'. Yes, in his novel somewhere far away reader can hear sounds of cannonade, alarm sirens, rifle shots, military uniforms are carried and rifles are carried on the shoulders, but that does not stop one childhood from flourishing and living enthusiastically, searching for islands of joy and enjoyment, bending under the onslaught of divine secrets: growing up, friendship, love ... “Blue waters of the murky Danube” is the formula on which this prose works, which pulsates with the power of its vitality, both precision and conciseness of expression, and picturesque scenery and exciting associations.

Poetski diskurs u bošnjačkom romanu

Author(s): Dijana Hadžizukić / Language(s): Bosnian

It has been noted, in the critical literature of the Bosniac novel, that with all the common traits that it shares with the novel of European and South Slavic region, its poetics has some specific characteristics of its own, which are of differential value and are an unavoidable poetic fact Upon recognizing the accentuated poetisation in certain number of novels, the need forits further highlighting and detailed analyses has imposed itself—the analyses which would point to the features of the structure of the Bosniac novel that make it different and that affect its poetisation, producing one of the aspects of its interior history The study analytically encompasses the following novels: Grozdana’s Giggle by Hamza Humo; Konak and the Czar’s Army by Ćamil Sijarić; Dervish and the Death and The Fortress by Meša Selimović; Ugursuz and Karabeg by Nedžad Ibrišimović, The Bridge by Jasmina Musabegović, Larva by Bisera Alikadić, Groundwater by Skender Kulenović; Man’s Family by Tvrtko Kulenović; and The Imotski Kadija by Irfan Horozović Furthermore, the poetisation of the narrative discourse has been found on different structural levels of the texts, each novel having different level of poetisation, in terms of quantity and quality Observed in the broader context, poetisation is achieved through the connection of figurative with cognitive and emotional tendencies, defamiliarized chronotope,process of characterization of characters, and interior monologueas one of the key forms of narration, as well as through the emphasized rhytmisation of the prose discourse, which was all enabled with the emergence of the modern novel The novel Grozdana’s Giggle by Hamza Humois the first modern Bosniac novel, and the first one to be written in the poetized form in our literature It appeared in 1927, during the period of European avangard and lyricism revolution; so, the influence of the modern techniques of novel writing as well as of the prevailing lyricism in the literary trends of the period in question, greatly affected its structure On the other hand, Humo’s background which was one of extremely rich mixture of cultural and civilizational heritage that he assimilated and creatively upgraded,would, even after the retreat of the avangard poetics from the literary scene, continue to affect our novels, written in the second half of the twentieth century.

Dramski opus Derviša Sušića

Author(s): Amra KOZLICA / Language(s): Bosnian

Dervis Susic begins with his literary work in the post-war and ideologically burdened period, which was completely characterized by cultural formal-ism and accurately defined horizon of expectations of the ruling communist system.Thus, everything that is literary produced, but was outside of the imposed and firmly set patterns, was not considered as “a successful” literature, because it did not meet the horizon of expectations and was considered as a sporadic literary phenomenon. Because of this, all the literature outside the solid and firmly set standards was at the level of outsider’s at-tempts of rebellion against the imperatives of sociorealistic poetics.With the establishment of the new communist country, the internal need for a completely new kind of arts and cultural life has occurred, which will not be reserved only for the social elite, but will be ideological opiate of the broad masses. Because of these basic settings of the new literary poetics, apparently it was necessary for the complete simplification of literature to the level of entirely realistic, narrative simplified literature whose basic structural principle was based on the chronological succession of images.Literature had only one, and explicitly clear goal, and that is the agitation through utilitarian-didactically simple and easy acceptable literary forms. In this period of cultural imperatives at the level of an ideological worldview emerges also a writer, Dervis Susic, who since his partisan days has the need to act “positively and socially useful” through the overwhelming desire of the collective consciousness that people have to be taught, to have literacy knowledge and as well for the people to be guided at the ideological right path. Thus, his first literary works were created by desire that his art, above all would be socially useful and used in educational purpose.By this (the partisan favorite genre) memoirs were created, which are not by anything aesthetically different from the same mass literature in time they occur. But what must be pointed out is the fact that after these first‘socially’ useful literary attempts, the process of Susic’s literary adulthood has completed, when he breaks the shackles of firmly set aesthetic but also ethical patterns and transcends the stereotype of sociorealistic utopian ideology in literature and his work and certainly brings his greatest romanesque weapon, and that is satirical introspection which has primarily given birth to his famous hero – Danilo Liscic.

Studije iz kulturalne bosnistike: (književnoteorijske i književnohistorijske teme)

Author(s): Sanjin Kodrić / Language(s): Bosnian

This book has been the result of my two central, concurrent and continuous interests – the interest for concrete literary-historical issues from the history of the Bosniak literature, as well as the literature(s) of Bosnia and Herzegovina, on one hand, whereas, on the other one, the interest related to issues of literary and cultural theories, primarily the issues about the theory of the history of literature It deals, therefore, with the issues I find inextricably connected in the approach I happen to propose, promote and practice Even when I am dealing with the research of literary-historical nature, I am inclined to treat them with that kind of literary theoretical awareness, particularly in the context of examining the possibilities of applying diverse literary theoretical concepts in the process of studying the Bosniak and the literature(s) of Bosnia and Herzegovina At the same time,these two interests of mine and the related issues I have duly considered and deliberated upon in this book merge somehow in the question: What is Bosnistics? and, especially, in the question: What is Cultural Bosnistics? or, rather, what that cultural Bosnistics ought to be? As it seems in the case of Bosnia and Herzegovina itself, the literary production in Bosnia and Herzegovina is a rather complex and complicated phenomenon Having been observed as a whole and in its historical continuation, it has not come, above all, into existence within a single people or nation, or one ethno-national community, for that matter, especially if such a phenomenon is to be perceived with the awareness about the realistic nature of complex processes of ethnic and nation-state identifications which had been taking place with such an intensity in Bosnia and Herzegovina from mid-19th century until nowadays Thanks to them, the former relatively homogeneous existence of Bosnian people developed, in the course of time, into three distinctly separate, yet intertwined, ethno-national communities, primarily alongside their previous religious or confessional identifications and ties of a kind in a wider South Slavic context. This distinctive ethno-national situation in Bosnia and Herzegovina in the period between the emergence of the New Age and our contemporary times, one should add, as the given fact, involves also the existence of other ethnicities in Bosnia and Herzegovina Some of them have also managed to develop their own literary traditions, and alongside other minority communities in the country, one of the best known among them has included the Jews in Bosnia and Herzegovina and their own literary tradition(s) .In this way, one must take, in this sense, as the reality of having a number of parallel literary practices of, at least, three, or mainly four clearly recognisable and comprehensive ethno-national communities in Bosnia and Herzegovina All this must be considered with the full awareness about the wider framework of Bosnia and Herzegovina, and, consequently, when taken all together, it can be of help in order to understand the literature in Bosnia and Herzegovina in its overall complexity, primarily in the cultural sense.

Multivocality in Neo-Victorian Fiction

Author(s): Adisa Ahmetspahić / Language(s): English Publication Year: 0

The late twentieth-century Britain has shown great degrees of emulation of the Victorian era with the aim of regaining the past glory and stirring the national pride. Fictional works produced at the time were categorized as neo-Victorian fiction. These works critically asses and talk/write back to the Victorian values, thereby countering Victorian metanarratives and allowing the emergence of petit récits. The aim of this paper is to broaden current knowledge of multivocality through the lens of historiographic metafiction in neo-Victorian fiction. The paper discusses two neo-Victorian novels: A. S. Byatt’s Possession and Graham Swift’s Waterland. The principal concern of this paper is the degree to which neo-Victorian fiction relies on historiographic metafiction and how historiographic metafiction engenders multivocality that had been suppressed in the Victorian age. Discussions of both novels greatly revolve around the historical representation of the past, the role of history and its narrativization, and the plurality of history, whereas the discussion of Byatt’s Possession takes into consideration the position of women and women artist’s autonomy in the Victorian era.