Pjesme - Ljerka Mikić
Poems by Ljerka Mikić ("Zalog budućnosti"; "Treptaj"; "Razlivena tinta"; "Svjetionik")
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Poems by Ljerka Mikić ("Zalog budućnosti"; "Treptaj"; "Razlivena tinta"; "Svjetionik")
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Poetry by Marko Vincetić ("Između tri vremena"; "Apokalipsa"; "Korijeni"; "Nada")
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This paper uses data from an extensive analysis of repetitions in the novels Yaprak Dökümü (When the Leaves Fall) translated from Turkish to Bosnian and in Derviš i smrt (Death and the Dervish) translated from Bosnia to Turkish. The aim of this paper is to determine the elements of valence in the translated repetitions. The corpus consists of seventy nine examples of repetitions in the translation of the novel Kad opada lišće, that is, fifteen examples that were translated as repetitions and sixty four examples that were translated in the form of repetitions, as well as thirty two examples of repetitions in the translation of the novel Derviš i smrt that is, four examples of repetitions that were translated as repetitions and twenty eight examples that are not repetitions in the Bosnian text, but were translated as repetitions. Therefore, the corpus consists of a total of one hundred and eleven examples of repetitions. Repetitions are one of the basic features of the Turkish language. This fact and the results of the contrastive analysis of Turkish repetitions with German ones, which determined that conjunctions are always used in German repetitions, were the starting point for this analysis. The analysis showed that in the structure of repetitions translated to Bosnian, conjunctions ("and", "or", "both ... and", "neither ... nor ...", "as...so") are most often used, followed by prepositions ("with", "for", "by", "from ... to", "under", "from ... to", "from ...to", "in", "next to"), a hyphen and, very rarely, a comma. Constructions with a comma and a conjunction are most often translated to Turkish via repetitions that have neither a comma nor a conjunction. Conjunctions were found to be the elements most commonly used in the translation of repetitions from Turkish to Bosnian, thus showing a similarity with the analysis of German and Turkish repetitions which demonstrated that conjunctions are dominant in German repetitions.
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There are several factors that influenced Goethe to become interested in Hasanaginica, a Muslim ballad created in Imotski region, e.g. in the Ottoman Empire. These are certainly his interest for Oriental, Islamic world to which the ballad belongs to as well as his interest for psychology and for the wife’s relationship to the loved one. Hasanaginica and Hasanaga are a couple struggling with internal conflicts and the demonic love of Hasanaga with whom Goethe could easily identify, tormented by feelings of guilt and remorse. It was thanks to Goethe that the ballad Hasanaginica had an echo in the European cultures. Goethe encouraged other poets and linguists to translate South-Slavic folk poetry. Goethe himself composed an extraordinary translation of this ballad which, due to its poetic elements that cannot be found in earlier translations of the ballad, is considered a new, genious work.
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Bosnian-Herzegovinian literature has been translated to Czech more than to any other language. However, the poetry translations are so rare that each constitutes a special cultural moment. . . .
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Semantic analysis of lexical fund, especially characteristic lexic with a specific linguocultural component, provides objective and reliable data about the history and tradition, and development of the cultural and spiritual life of some linguistic community. Accordingly, this paper deals with the presentation and analysis of semantic groups of orientalisms in the collection of stories "Thunder's Cannonball" with the goal to show the abundance of orientalisms in opposition to other words of foreign origin and the frequent semantic groups into which we have classified orientalisms. In the collection of stories "Thunder's Cannonball" Kulenović evokes a childhood in a lyrical way that makes native localities, names and origins recognizable. Therefore, we will also consider the justified use of a certain form of some lexemes, which, precisely creates the authentic verbal framework in which it placed the lyrical experience of childhood.
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This paper deals with expressives as a unit of the lexical-semantic analysis. In fact, the lexemes marked as the expressive layer form a separate layer of units of second level nominations. Even though they are placed on the margin of the lexical system, it does not diminish their importance in language. The analysis of the novel Eagles Fly Early (Orlovi rano lete) written by Branko Ćopić has pointed to a variety of expressive phenomena, but the notice is focused on nominal and verbal expressives, such as ispičutura (alcoholic) and smrsiti (do something unprecisely). It has also been noticed that emotionality, as an inseparable part of expressiveness, is located among the selected expressives, such as djevojčurak (a sweet, young girl). A particular part of the expressives is made up by the ones with hypocoristic, diminutive, augmentative and pejorative meaning. Thus, the aim of this paper was to draw attention to expressiveness as a universal category, which is very important concerning the lexical-semantic aspect of the analysis. At the same time, the excerpted material has confirmed its role in the linguistic work of the writer and the literary work.
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Bosnian literature attains its highest achievements precisely through the context of constant changes in permanent forms and poetic models despite the emphasized complexity in diversity of literary development phenomena, which includes not only poetics and poetic processes but also accompanying burden of boundaries, non-/belonging, acceptance, marginalization, stereotypes, identity, tragedy and trauma. On the other hand, we must perceive the perspective of contemporary situation which includes ongoing disputes and conflicts related to different literary and cultural as well as to political and ideological goals. Bosnian literary and cultural realm are over and over again attempted to be redesigned whilst simultaneously marginalizing Bosniak literary and cultural element. One must also bear in mind the key assumptions for understanding current local conditions – appreciation for composite integrality and coexistence of national individualities in respect to both literature and to the culture. Such stance, which is a starting point for understanding, was created by Midhat Begić and Muhsin Rizvić, affirmed by Enes Duraković and followed on and continued by younger historians of Bosniak and Bosnian literature Sanjin Kodrić, Muris Bajramović, etc.
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Meša Selimović is one of the defining Bosnian novelists of the 20th century whose 1966 novel Death and the Dervish, in formal innovation and narrative structure, heralds postmodernist developments in later years, not only in Bosnia, but Yugoslavia as a whole. In most general terms, Selimović’s novel seems to belong to the tradition of Bosnian historical novels most often associated with the likes of Ivo Andrić. And yet, Death and the Dervish is in many ways neither a properly historical novel, nor a modernist text akin to Andrić’s novels. Most often it has been read as one that uses the Ottoman era as a setting for a political allegory aimed at (Yugoslav) totalitarianism. Or, alternately, as a psychological portrait of the timeless corrupting nature of power. An existentialist novel, as Kasim Prohić has said, it defines Selimović as “a moralizing author, akin to Camus”.
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Although of little aesthetic significance, the song ˝Ostante se tutuna˝ šejh Hasan Kaimija has been the subject of various controversies in the Bosnian scientific community for a whole century. This paper aims to show how the poem, from its first publication until modern times, has been used as an “ally” to deny or support certain narratives. As the central theme of all the texts in the dispute throughout the 20th and the beginning of the 21st century, the “thesis of Bogumilism” was imposed, apropos whether Kaimija could have known about Bogumils in the 17th century. The text is mostly used as an “ally” in historiography, identity theory, economics, religion, and only to some extent in literary history. Also, the aim was to show how the poem figured in these discourses, and especially the “controversial verses”, but also what kind of interpretation and valorization poem had in different historical contexts.
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U radu se analiziraju leksičke karakteristike književnog opusa Fadile Nure Haver. Istraživanje obuhvata identificiranje i opis leksike u odabranom korpusu. Posebna pažnja bit će posvećena leksici izravnog i neizravnog imenovanja sa primjerima iz romana i pripovijedaka spomenute autorice, zatim će biti analizirana upotreba arhaizama i neologizama. Cilj rada jeste da se uvidi upotreba određenog sloja leksike za koju mnogi lingvisti smatraju da je svjesno zanemarena i društveno neprihvatljiva samim tim što ne pripada standardnom jeziku. Leksika ograničene upotrebe je zanemarena jer mnogi žargonizmi egzistiraju veoma kratko i onda potpuno nestanu, te ne podliježu jezičkim analizama i klasifikaciji i samim tim se ne zabilježe.
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Although written in two different historical, social and cultural contexts that had undoubtedly left their mark on the literary texts, the two novels, The Case of Rab, the Painter by Hamza Humo and A Portrait of the Artist as a Young Man by James Joyce belong to modern literary heritage and to the great archive of the twentieth century literature. What enables their comparative reading is the closeness in characters, motifs and themes, narrative techniques, and furthermore the use of diary form and essayistic discourse in their modernist prose. The narrative role of diary in the prose of these authors is determined by the philosophy of modernism. Diary excerpts appear as an integral part of their modernist prose with the aim of directly illuminating the artists, and so that they, as a kind of metaphysically shaped biography, witness the birth of artists on the horizons of modern culture.
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This paper analyzes the use of conceptual metaphorization in the poetic discourse of Skender Kulenović, primarily from a cognitive linguistic perspective but also from a literary interpretive one. Kulenović uses metaphorical linguistic expressions to depersonalize the feminine andmasculine gender by representing men and women as flora and fauna. The metaphorical linguistic expressions, being exceptionally innovative and riddled with meaning, successfully evoke the character and social status of the patriarchal man in relation to the patriarchal woman of Bosnian society in the first half of the 20th century. Therefore, Kulenović’s recognizable vitalistic and pantheistic perception of everything in existence is not absent even in his socially engaged poetry
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Review of: Svetozar Ćorović, U mraku (Drama u tri čina), SKPD Prosvjeta, Sarajevo, 2015.
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The establishment and development of Arabic studies in our region can in some sense be traced back to the arrival of the Ottoman Turks in the 15th century. Initially, efforts to master the Arabic language as one of the official languages of the Ottoman state were made for practical reasons. In the scientific sense, Arabic first gained momentum in the period when the Arab world began experiencing national awareness and cultural revival. This momentum was especially strong in the second half of the 20th century, the active period of the Non-Aligned Movement (NAM), when Orientalists in this area started paying special attention to the Arabic language and its cultural and civilizational framework. As one of the modern actors of Arabic studies in this region, Dr. Mehmed Kico certainly attracted the attention of the scientific public with his work.
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Deseti broj «Gračaničkog glasnika», pročelje svoje rubrike „Riječ“, ustupa do sada neobjavljenim sonetima Nijaza Alispahića, koji obilježava 60 godina života i 30 godina književnog rada.
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Reviews: Dr. Amir Baraković, Geologija, Rudarskogeološko-građevinski fakultet, Tuzla 2000. ‒ Omer Hamzić; Atif Kujundžić, Priče o dječacima i psima, "Monos", Gračanica, 2000. ‒ Munib Milinkić; Mehmed lmširović, Kameleoni (zbirka karikatura), Feniks, Gračanica, 2000. ‒ Omer Hamzić; Sajiba Šabić Skelić, Stradanja i nadanja (pjesme), BZK "Preporod" Gračanica, 2000. ‒ Omer Hamzić; lbrahim Mujić, Učešće mjesne zajednice Gornja Orahovica u odbrambenooslohodilačkom ratu od 1992.-1996. godine i prijem i zbrinjavanje prognanika iz Podrinja '93. i '95. godine, Gornja Orahovica, 2000. godine ‒ Mirzet Hamzić; Kikićevi susreti 2000, Književni godišnjak br. 10, Forum građana, Gradačac 2000. ‒ Omer Hamzić; Ahmed Hadžiaganović, Zbirka riješenih zadataka iz matematike, Odabrana poglavlja za nadarene učenike srednjih škola, geometrija, trigonometrija, analitička geometrija, D.D. "Grin", Gračanica, 2000. ‒ Omer Hamzić.
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