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Teško je govoriti o jednoj Pavlovićevoj zbirci izolirano, jer je Pavlovićeva poezija u sebi toliko stamena, po vrutku iz kojega izbija toliko koherentna, homogena, tako da svaka od njih, unatoč svojim specifičnostima, podrazumijeva cjelinu njegova pjesništva. Kad to ne bismo imali u vidu i ograničavali se na samo jednu zbirku, govorili bismo o ovoj poeziji parcijalno, pa bi nam i zaključci bili takvi. Ne znam što o tome misle drugi, i jesu li do sličnih zaključaka došli, ali meni je, kažem ponovno, svaka Pavlovićeva zbirka u odnosu na cjelinu njegove poezije samo pars pro toto.
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Nasiha Kapidižić-Hadžić is a Bosnian-Herzegovinian writer who is known to the public, above all, as an author of children's literature. However, in addition to poetry, prose and drama intended for the youngest readers, Nasiha Kapidžić-Hadžić wrote texts of literary criticism and poems intended for adults. From the first collection of poetry Maskenbal u šumi, which is dominated by fairy-tale spaces and miraculousness, to Vrbaska uspavanka interwoven with ballad and love-song, her poetry has changed in content, structure and meanings that it reflects. Since the poems in the collections Poslanica tiha and Vrbaska uspavanka were not the subject of more thorough literary critical reflections, this work sought to contribute to a better understanding of her literary work. This paper confirms the initial assumption that the author intertwined her own text with oral tradition and in this way influenced the richness of her own lyrical expression. Using the comparative and method of working on the text, the sections that represent oral literature were singled out, and then their function in the poetry of Nasiha Kapidžić-Hadžić was determined. Analyzes and interpretations of selected poems have shown that the interference of oral and written literature helped the poet to express her thoughts to herself and the world, but also reveals Nasiha Kapidžić-Hadžić as a poet immersed in oral tradition.
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Četrdeset je godina od smrti hrvatskoga astralnoga pjesnika Nikole Šopa (Jajce, 19. kolovoza 1904. – Zagreb, 2. siječnja 1982.). Četrdeset je sveti biblijski broj: u poplavi Noa je toliko dana i noći proveo u korablji; Mojsije je ostao na brdu Sinaj, u Gospodinovoj prisutnosti, četrdeset dana i četrdeset noći, u postu da primi Zakon; Isus se povlači u pustinju na četrdeset dana, tijekom kojih nije ni jeo ni pio; četrdeset je dana uskrsli Isus poučavao svoje učenike, prije nego će uzići na nebo i poslati Duha Svetoga; četrdeset dana u korizmi pripremamo se za blagdan Uskrsa; četrdeset je broj godina putovanja židovskoga naroda iz Egipta u Obećanu zemlju… U ovom malom obljetničarskom izboru objavljujemo četrdeset pjesama iz pera trideset i pet autora iz Bosne i Hercegovine, Hrvatske i Italije (među njima i Nikolina posinka Antona Koštre). Trideset i pet sudrugova kao zoroklici pijetlova obasjanih skladom Šopove pjesme što izsnovljena iz dalekih zviježđa krotkim krokom dovalovi do dveri našega nagoga duha, spremna da suboluje samnost pjesnika vazda ustremljena pogleda u nebesa, pozivajući na nova iščitavanja još pročitanim nenauživana Nikole, čiji sveti imenjak je zaštitnikom putnika, odavde do vječnosti. Pet pjesnika zastupljeni su s po dvije pjesme, jedna je prevedena s talijanskoga, jedna je na kajkavici. Dvije su pjesme prvotisci (jedna u akrostihu), iako bi se i za stihove preuzete s Facebooka moglo reći da se ovdje prvi put objavljuju bojom iz klasičnoga tiska.
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The review of: Zrake Uskrsa, priredile Anja Mastilović i Viktorija Huseinčehajić, Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo, 2022.
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Poem „Molitva za njezino tijelo“ by Nikola Šop (1904 – 1982).
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Collection of poems "Toplina metafore" by Nikolina Todorović ("Voljela bih učiniti sa tobom ono što vjetar čini stablima", "Pljuskovi", "Dodiri", "Tatino veliko pijanstvo", "Porodična anamneza (ženska)", "Mama priča o ratu", "Prvi dani izolacije", "Svadba", "Pozorište u kuhinji", "Vanredno stanje").
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Rad je posvećen proučavanju recepcije bosanskohercegovačke književnosti u savremenoj Ukrajini (2012.–2022.), čiju specifičnost vidimo u ratnoj temi kao fokusu interesovanja čitalaca. To nije vezano samo za mesto koje zauzima tema rata u savremenoj književnosti Bosne i Hercegovine, već pre svega za rusko ukrajinski rat koji je počeo 2014. i pretvorio se u rat punih razmera 24. 2. 2022. U radu razmatramo prevodilačku i književno kritičku recepciju, a u analizu takođe uključujemo razgovore sa piscima i prevodiocima kao neposredna autopoetička svedočanstva. Rat u Ukrajini i pogled na druge književnosti kroz njegovu prizmu rodio je posebno interesovanje za književnost Bosne i Hercegovine, koje je počelo prepoznavanjem slične istorije, traume, ratnog iskustva i zajedničkih humanističkih vrednosti. U radu razmatramo osobenosti recepcije dela Miljenka Jergovića, Ozrena Kebe, Meline Kamerić, Faruka Šehića i niza drugih savremenih pisaca, kao i nova, smeštena u nacionalni kontekst, čitanja romana Meše Selimovića Derviš i smrt. Posebno mesto posvećujemo ulozi ukrajinske književnice i prevoditeljice Katerine Kalitko u promociji bosanskohercegovačke književnosti u Ukrajini.
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Mustafa Maglajlija, son of Abdulah (an imam from Rudo) donated to us the Bosnevian manuscript ”Insansko stanje u času smrtnog nastupanja” (eng. The state of the Human when Death Strikes). Abdulah Maglajlija is known for his service in Foča and Rudo. He was also a correspondent for the Gazette of the Islamic Community and Preporod. Mid-twentieth century, during his service in Foča, Abdulah Maglajlija donated a diwan manuscript by Abdurrahman Džami to the Library of the Gazi Husrev Bey Madrasah in Sarajevo (1953). Moreover, he was one of the first amongst the more contemporary ulema (Muslim scholar) who had written an article on the Prophet Muhammed (in the 1957 Gazette issue). The Bosnevian manuscript ”Insansko stanje u času smrtnog nastupanja” is a 15-page long text in verse form, in approximately A5 format, written in hendecasyllabic verse, in reformed Arebica (use of Arabic script for writing in Bosnian), available as a copy from unknown origin. It also contains subheadings, such as: ”Dušini povici nakon izlaska iz tijela” (Eng. The soul’s cries after leaving the body) (page 5), ”Stanje zemlje đe će se insan ukopati govori” (Eng. The state of the soil where the human is buried speaks) (page 13), or ”Stanje kabura govori” (Eng. The state of the grave speaks) (page 15). The manuscript contains even miniature illustrations before each subheading (1: the place where the corpse is prepared, with a pronounced ewer, page 5; 2: the corpse wrapped in plain cloth (the Kafan), page 12; 3: grave with headstone, page 14). The manuscript’s authorship/localization may be determined more precisely based on its characteristic linguistic features: najdoh (nađoh, Eng. found), izajde (izađe, Eng. went out), izide (iziđe, Eng. went out), unide (uniđe, Eng. went in), postavit (postavljen, Eng. placed), vaske (vas, Eng. plural form of ”you”), etc. The final verses ”zato uv’jek viči la ilahe illallah” (Eng. So always shout La Ilaha Illa Allah) Abdulah compiled trigger further reflections about the possible authorship of the poem, its composition (compilation, success in translation and the like), and/or transcript of a larger integral textual form of which ”Insansko stanje” is just one possible part.
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Review of: 1) Jasmina Hasanspahić-Šijak, “U zagrljaju sjećanja” 2) “WHY, AS A MUSLIM, I DEFEND LIBERTY”, MUSTAFA AKYOL (Cato Institute, Washington; 2021; ISBN: 978-1-95223-17-4; broj stranica 184; engleski jezik)
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Whether the members of the Anglophone culture have the same experience of Nikola Šop’s poetry as the source readers is the question that this paper aims to answer. Specifically, this paper deals with the analysis of translation strategies in the translation of certain poems by Nikola Šop, focusing on Šop’s religious and culture specific elements. Through a contrastive analysis of existing translations into English, the author shows the difficulties in transferring certain poetic elements (the spirit of the poem, tone, style, religious and cultural elements, spirit of Franciscanism) to the Anglophone culture, as well as the cultural differences between the source and the target language. The specificity of Šop’s poetics, the socio-cultural context and the religious Franciscan spirit of the poems are elements that represent a challenge for translation, and by analyzing the translations we gain an insight into how members of the Anglophone culture perceive Šop’s poems.
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A writer whose golden age of creative work was between the two wars, Hamza Humo, with his speciic style, bursting with emotionalexpressive means, ofers thrive opportunities for linguostylistic, lexicalsemantic and other analyzes. his paper deals with emotional-expressive means on a corpus of four narratives: Sevdalijina ljubav from 1925, Ašikovanje and Priča o Jasiki from 1927. and Krnata from 1932, in which Humo has woven orientalisms, words with exceptional stylistic potential, and which we have divided into orientalisms in the function of localizing the action, orientalisms in the function of describing the action and events, orientalisms in the function of characterizing and describing characters, and orientalism in the function of expressing emotions. The inluence of expressionism in Humo’s artistic work is seen in selected narratives, which as a characteristic have speciic word formations and sentence constructions. hrough metonymies, personiications, comparisons and other means of expression, along with expressive vocabulary, Humo ampliies the emotionality and semantics of his expression. He marked the mental states and moods of his characters with numerous exclamations as a category of expressiveness. he paper, therefore, provides insight into the analysis from the aspect of language, which is relected in the presentation of linguistic and expressive resources, characteristic vocabulary and expressive resources with which Humo „painted“ his characters, described amorousness, longing and urge, if we take into account the fact that selected stories are love themed.
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In this paper, poetic methods of Vladana Perlić’s (a poetess from Bosnia and Herzegovina) and Radmila Petrović’s (a poetes from Serbia) work are being researched through the approach of comparative literature studies. The two poetesses represent authentic voices of the younger generation of contemporary authors. Particular attention of this research was paid to the poem collection Isus među dojkama (Jesus Among the Breasts) by Vladana Perlić and the collection Moja mama zna šta se dešava u gradovima (My Mom Knows What’s Happening in Cities) by Radmila Petrović, which were published in 2020 and have been recognized as an extremely important part of the regional literary scene. The similarity in their age as well as their poetics offer the possibility of comparison between the two which is based on the research of the elements that they share in terms of their style, themes and motifs. The research will show that young poetesses have a similar distinctive lyrical subject who most often takes the position of a rebellious daughter, which opens opportunities for speaking about patriarchy, parenthood, but also, predominantly in Radmila Petrović’s poetry, about lesbianism. Also, the poetesses undermine other great narratives such as history and religion, and nurture the characteristic subversive speech about the city. The paper concludes with focus on poems in which Vladana Perlić is having an explicit poetic dialogue with Radmila Petrović’s poetry. At the very end, authors of paper offer suggestions for further scientific study of the poetry of the younger generation of 21st century poetesses.
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In this paper we will deal with the formal and conceptual characteristics of Muharem Kurtagić’s manuscript collection, Book I. We will analyze the material from the collection from the aspect of the relationship between the mythological and the real in oral poetry, comparing it with traditional elements of oral heritage and culture in general. We will present some artistic innovations that characterize the songs of this collection – hybrid forms of songs that have not been recorded so far because we do not find them in the existing classifications of oral creativity.
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In the research we consider that the chronotope is the optimal term for describing the time and space relation as it enables to draw attention to the intrinsic connection between the movements in space within the text and the time. The large scale of internationality in the Nowhere Man allowed the author to picture the country without wistfulness that is typical for the emigrant prose. Idealization of a hometown image is not due to the nostalgy for place but time. The novel is intended for the foreign reader and it represents Sarajevo as a point in space and time that was ideal to spend the adolescence and understand that life has no limits. The chapters dedicated to Sarajevo lack the emotional descriptions, exact details and names of places that the reader cannot relate to because of different experience. The fact that concept of home as one of the mythologems is missing also supports the reasoning behind the title of the novel. Conversely, in his columns for the Dani magazine Aleksandar Hemon treats the chronotope differently. The chronotope of Sarajevo almost does not have the time marks and at the same time the exact places in space are meticulously defined as they are supposed to be meaningful for the audience. This allows the author to show it as timeless and support the mythology connected to the image of the city.
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Literary criticism used to divide poetic opus of Mile Stojić, which consists of twelve collections, into two parts, while using war cataclysm that hit Sarajevo, Bosnia and Herzegovina and Croatia in the nineties as a dividing line. Indeed the changes in his poetry are obvious and profound. They concern the thematic repertoire, the nature of the lyrical writing, positions from which the subject speaks, intonations of the poem, etc. The author built his poetic world on the crossroad of an individual biography and a historical tale. By thematizing his own experience and destiny, his lyrical subject sketches out the experience and destiny of the collective to which he belongs. He tackles eternal themes such as life, love, peace, joy, or dreams. He usually deals with them in a way to confront them with their opposites – death, hatred, war, sadness, reality. By creating series of contrasts, this poet underlines the gap between the desired and the real state of the world and forms the key figures of his poetry: paradox and oxymoron. The paper describes the essential characteristics of Stojić’s poetic writing and its evolution.
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The notion of Uncanny in European literature develops as a sort of a substitution for the effect of tragedy as an horror organic form. Sigmund Freud associates this phenomenon with fears of castration, with the cleavage of Ego in the image of the Double, with fear of that which is repressed, nearness of death, etc. The Uncanny may be understood as it is defined by Ernst Jentsch, who writes that the impression horror of can be related to the lack of orientation, and that among all the psychic insecurities which may become the cause of horror, there exists one particularly capable of developing a strong, even and a very general effect – skepticism whether or not a being is alive or dead. Having this in mind, it seems that the notion of horror can be considered with regards to war fiction, in this case – prose written by Zilhad Ključanin, Irfan Horozović and Karim Zaimović. In his novel Šehid Zilhad Ključanin develops his central line on the “liveliness” of a figure that deserves his ontological state by dying in a war (which is the meaning of the word “Šehid”). In the novel Berlinski nepoznati prolaznik Irfan Horozović connects the war with the lack of orientation and psychological insecurity by treating recent historical events through “magical realism”, a perspective typical for his narrative technique. In his book Tajna džema od malina Karim Zaimović utilizes literary devices that would produce horror under regular circumstances, but Sarajevo’s reality during the war is terrifying to the extent that these devices produce only a comic effect. The question posed by Ernst Jentsch – is a certain thing alive or dead – cannot function as a metaphor in the besieged Sarajevo, therefore Zaimović makes a parody out of Freud’s rationalism and fear of castration, which are both during this period in Sarajevo present as a tangible fear of being bombarded. In that sense it is possible to state that stories written by Zaimović are marked by a sensibility that can be named − nostalgia for a normal fear.
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Review of: ROMANESKNI DIJALOG SA HISTORIJOM U PROSTORU TRAUME [Lejla Žujo-Marić, Na rubovima vijeka: Svjedočenje kao poetički okvir bošnjačkog romana s tematikom iz rata (1992 – 1995), Univerzitet ″Džemal Bijedić″, Fakultet humanističkih nauka, Mostar, 2021]
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The study of Bosniak literature in the period of the Independent State of Croatia has been marginalized in previous literary-historical studies, and the reasons for this were ideological and political in nature, and not scientific. This work deals with the status of Bosniak literature in the literary-critical horizons of Vladimir Jurčić, the bellwether of the Ustasha national ideology in Bosnia and Sarajevo, in the period from 1941st to 1945th. As a professor, editor of daily and periodical publications, he wrote about Bosniak literature and its canonical writers in the light of the ideological and political worldviews. He propagated theses about socio-political function of literature that extends „people's spirit”, „racial-biological” and „national” features. Jurčić attributed to literature a mediating role in transmitting the deep identity of the Croatian people, and developing a thesis on the Croatian national identity of Bosnian Muslims (Bosniaks) he treated Bosniak writers as the most representative reflectors of Croatian national consciousness in Bosnia. In addition to individual studies on Bosniak writers, Jurčić stated that they were separate units of the unpublished book Muslims in Croatian Literature. Jurčić's literary critical habitus is a product of socio-political and intellectual circumstances in Croatia - in the narrower sense and in the SHS - in the broader sense, which were used as a starting point for the production of certain ideological, political and cultural values in the NDH. As a follower of the ideological platform of Radić's HSS (peasant movement) and its reflections on discursive practices, especially in the social - humanities sciences (Dvorniković, Radić, Tomašić, Lukas), he interpreted literature in accordance with these practices, reducing its meaning only to ruling ideologues. He valorized Bosniak literature as a component of Croatian literature, applying several criteria: collective, linguistic, territorial and religious, which he sought to include the widest possible range of identity features and thus support the thesis of Croatianness Bosnian Muslims (Bosniaks). In literary criticism, he promoted theses on racial, ethical and eugenic superiority, then on the national spirit, linguistic and stylistic specifics of Bosnian Muslims (Bosniaks) as an „organic“ part of the Croatian people. He emphasized the „poljodjelski“ character of Bosniak writers between the two world wars, while in older literature, especially in the oral literary tradition- and all that for need of ideological manipulation in the time of the Independent State of Croatia - war, he emphasized the highland (tribal) character that manifested itself in the epic-agonal consciousness. All these theses arose from the idea of unity and continuity of the „organic nation“, but did not find a stronghold in Bosnia because it was cultural and historical terms different from the native Croatian space, which was in principle a fundamental obstacle to its realization. Aware of the insurmountability of the cultural, literary and historical uniqueness of Bosnia, Jurčić constructed and established the literary-historical construct „literary Bosnia“ which was based on the theory of the history of regional / provincial literature. By „literary Bosnia“ he meant everything that was its „provincial features“: folk history, genealogy, specific speech (dialect - ikavica), lifestyle (Muslims), and the canonical line consisted of Bosniak writers from Safvet-bega Bašagić, Musa Ćazim Ćatić, Edhem Mulabdić, Ahmed Muradbegović, to Alija Nametk, Enver Čolaković, Murat Šuvalić etc. Since in this period the pretensions towards Bosnia and Bosnian Muslims (Bosniaks) were also part of the Serbian national ideology, Jurčić's „literary Bosnia“ can be understood as a counterbalance to the then established Kršić's literary-historical construct „narrative Bosnia“. Unlike Kršić's „narrative Bosnia“, whose canonical line was mostly made up of Bosnian Serb writers (Ćorović, Kočić, Andrić, Ćopić, etc.), Jurčić's „literary Bosnia“ was made up of Bosniak writers as „the purest element of the Croatian people“.
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