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Review of: Sanjin Kodrić, Bošnjačka i bosanskohercegovačka književnost (Književnoteorijski i književnohistorijski aspekti određenja književne prakse u Bosni i Hercegovini), Dobra knjiga, Sarajevo, 2018.
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Review of: Sanjin Kodrić, Bošnjačka i bosanskohercegovačka književnost (Književnoteorijski i književnohistorijski aspekti određenja književne prakse u Bosni i Hercegovini), Dobra knjiga, Sarajevo, 2018.
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Review of: Dženan Kos: Od Đerzeleza do Levenfelda: Eseji o književnom djelu Ive Andrića, Centar za kulturu, Travnik, 2019.)
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This paper deals with the comparison based on Turcisms in the Italian translation of the novel Derviš i smrt by Meša Selimović. The novel was published in 1966 and Lionello Costantini did the translation from the thenSerbo-Croatian to Italian (Il derviscio e la morte) in 1983. This paper focuses on the issue of translation equivalents, as some of the most important elements in the translation process, and on the process of translation itself, as well. A comparative analysis of the culturally specific elements in the original text and their translation in the target language was made, primarily of the examples of comparison based on Turcisms. We attempted to explain the motives behind these translation choices, and then tried to establish how close these choices are to Italian readers and whether they affect the process of understanding the translated text as much as the original text affects the readers of Serbo-Croatian. This paper aims to show which of the two processes suggested by the German theologist and philosopher Friedrich Schleiermacher (and then adopted by Venuti, Berman, and others) prevails between the original and the translated text. In other words, this paper is aimed at establishing whether the Italian translation of the novel Death and the Dervish enables the reader to fully grasp the linguistic and cultural universe of the period in which Selimović placed his work, or whether the translator had to reshape the original text so to fit the scope of understanding and cultural peculiarities of Italian readers.
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Review of: Nehrudin Rebihić, Biti izvan kanona: Književno djelo Rasima Filipovića, Dobra knjiga, Sarajevo, 2018.
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The world in which we live today is in many ways different from the one in which it was lived just a few decades ago. Under the shade of unsafe and uncertain future, the essential topics are dark scenarios and the questions of survival. In the environment like that, not only do the massive and cruel economically and existentially motivated migrations happen, but also the frequent exile for different reasons, which becomes a lifestyle. This work explores the position of Bekim Sejranović in comparison with the dominantly globalist concept of nomadism as a cultural obsession with transformation. In his case, nomadism presents the aspect of the search for oneself and the resistance to permanent place of residence, entrenched social practices, and totalitarian authorities, as well as the ultimate attempt to live freely and at full speed. That kind of idea is also conveyed throughout the novel by Bekim Sejranović titled Nowhere, From Nowhere (2009), as well as in his other work. Nomadism and exile become not only the narrator’s destiny, but also his worldview and kind of a pursuit for some lost or feigned world. Inseparable from this is, surely, the question of identity which is often fluid or emptied from the content in this era, that it is almost impossible to define it today. The constant redefining of identity and the search for oneself are exactly what is portrayed in this novel by Sejranović.
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Review of: Michael Martens, U požaru svjetova: Ivo Andrić – jedan evropski život, Buybook, Sarajevo, 2019.
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Review of: Tvrtko Kulenović: Ja umjetnost – djelo: Zbornik radova sa naučnog skupa održanog u Fojnici novembra 2019, ur. Edin Pobrić, Štamparija Fojnica, Fojnica, 2020.
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He quietly opens the door on which is written the Assembly of the Municipality of Ljubuški and clumsily talks with his hands. These are the lines from the anthology song set to music, My Uncle Mijo. The song was written about forty years ago. With today's column, I quietly open the vaults and write with an unskilled pen about the achievements of poets over poets, editors over editors, pedagogues over pedagogues. I dedicate this column to the poet Miri Petrović - January 5, 1954 - and his sixty-sixth birthday. May it be for his health and for our happiness!
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Every time you are horrified by this world, when you doubt everything and think that there is no more comfort for you, you remember that deep down in the south, in the Mediterranean, there is Mostar, the emerald Neretva and the glassy Radobolja flow through it, Velež is illuminated by snow, plane trees with silver from Balinovac, Miro Petrović, a good man-poet, you are illuminated by snow and covered in silver, passing between the plane trees, from Balinovac to Musal and to Kujundžiluk, the road you have traveled many times: to the goldsmith to silver and gild verses, from Stari mosta to greet you with a song and bless the city. You remember and comfort yourself. There is still hope for this world.
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Once, somewhere, I wrote: A poet without the ambition to be a poet - that's Miro Petrović. His ideal: that everything should be written by itself. That's why Petrović doesn't have many songs. But all that reluctance is in vain for him - what he wrote and published is all real, good poetry. Together with his famous School of Applied Poetry, which unintentionally produces great moments as its chosen poetics.
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No one knows where Miro Petrović lives and what he actually does. Apparently, people say, it is in Fojnica in the summer. In the garden of Angela's birth house, she collects sweet potatoes in a jar, and then uses it to thresh the pods. Behind Gospojina, when it is already cold in Fojnica in the evening, he stays in Klobuk. The world told him to sit on a stone and count how much sky there is "in meters" between Herzegovina and Zagora. While he lived in Sarajevo, he allegedly only ate canned beans with the federal writer Ilija Ladin. When he lived in Tuzla, Miro Petrović did nothing else but look for salt in the ground on Gradovrh hill. In recent years, people say, he spends most of his evenings sitting under the Old Bridge and trying to measure how much water really flows between Carinski and Lukački. Once a man saw him climb the Fortica with a ladder and from there throw a huge fishing net on the Hum hill.
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Review of: O prijateljima, živim i mrtvim Miro Petrović: Spomenar, naklada PLANJAX komerc d.o.o., Tešanj, 2021.
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Review of: Majstorija minijature Miro Petrović, SPOMENAR, Planjax Komerc doo, Tešanj, 2021.
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Review of: Sead Šemsović, Usmena poezija Bošnjaka, Zavod za kulturu sandžačkih Bošnjaka u Republici Srbiji, Novi Pazar, 2020.
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Nauk krstjanski s mnozijemi stvari duhovnijemi i vele bogoljubnijemi, a work by the Bosnian Franciscan friar Matija Divković (1563–1631), published in Venice in 1616. Divković’s work is particularly important from the literary-historical point of view, because it contains an anthology of texts (described in the title as many spiritual matters): several miracle and mistery play, lamentations, songs etc. Although their sources haven’t been established yet, they are evidently related to the literature of Dubrovnik and Dalmatia from the Middle Ages to the end of 16th century. This added corpus of literary texts was undoubtedly the main reason for the immense popularity of Divković’s work in all Croatian regions during the 17th century, also testified by the fact that it was published in more than twenty editions.
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In their individual categories and entities, both American and Bosnian and Herzegovinian literatures are more transnational in the 21st century than ever before in the history of the literature of both countries, or even in the history of world literature. The transnationality of both has been manifested in many ways through the history of the world as seen as an open space for mobility in both literatures, being in many respects opposed to the closed spaces of the “imagined communities” of the nation-states these literatures “belong to” in the national context. In addition, transnational American and Bosnian-Herzegovinian literature has been created on both sides as a joined and mutual, permuting and open space/category in both literatures. Hence, there are individual systems and spaces of Transnational American Literature(s) and Transnational Bosnian and Herzegovinian Literature(s), and there is a mutual category and a joined entity of Transnational American and Bosnian and Herzegovinian Literature(s) as part of the generic system of both trans/national works of literature. By its definition, the word “transnational” is consisted of the prefix “trans” and the word “national”, which means that the term “transnational” in itself simultaneously contains and transcends the national. Therefore, the United States, as with any other country, cannot be separated from its literature, and nor can Bosnia and Herzegovina. The transnational literary America “contains” the national literary America and transcends it at the same time, just as the transnational literary Bosnia and Herzegovina “contains” the national literary Bosnia and Herzegovina and transcends it at the same time. Thus, U.S. transnational literature, or, transnational American literature, or, trans-American literature – all three terms have the same meaning – belongs to the United States and, at the same time, it does not belong to the United States alone. Likewise, Bosnian and Herzegovinian transnational literature, or, transnational Bosnian and Herzegovinian literature, or, trans-Bosnian-Herzegovinian literature – all three terms have the same meaning – belongs to Bosnia and Herzegovina and, at the same time, it does not belong only to Bosnia and Herzegovina. The transnational literary America, as well as “the transnational turn” in American Studies in the United States and other countries – which is the new understanding of American cultural pluralism and America’s essential interconnectedness with the rest of the world, originally arising from wide-scale and far-reaching changes in the United States and in the rest of the world in the late 20th and early 21st centuries – opens up America in itself and to the world, as well as the world to America. However, the transnational turn in Bosnian and Herzegovinian Studies in Bosnia and Herzegovina and other countries has not happened yet, even though contemporary Bosnian and Herzegovinian transnational literature, or, transnational Bosnian and Herzegovinian literature, or, trans-Bosnian-Herzegovinian literature, has already “imagined” and established itself as an autonomous realm. Accordingly, this article will observe all of the above-mentioned open spaces in contemporary transnational American and Bosnian and Herzegovinian literatures, contrasting them with the closed spaces of the “imagined communities” of the nation-states these literatures “belong to” in the national context. The term “imagined community” is taken from Benedict Anderson’s influential study of nationalism, Imagined Communities: Reflections on the Originand Spread of Nationalism. Although first published in 1983 (London: Verso), Anderson’s Imagined Communities is still one of the significant works on nationalism. He argues that the nation is an imagined political community because members of countries never meet or know most other members of the same nation yet still perceive a sense of unity or communion (6). By focusing on world literature in motion and on what Pascale Casanova calls “the international literary space” in general and, in particular, on transnational American works of literature and transnational Bosnian-Herzegovinian works of literature, this article will show that while national literary centers do exist in literary history and as a way of organizing curricula, and that they still dominate many contemporary studies in the field of world works of literature, the concept of national literature is not exclusive and unilateral. Moreover, it will show that the modes of intercultural and international circulations do exist and operate beyond and outside the established national systems. By exploring contemporary American and Bosnian and Herzegovinian literatures across the borders of their individual “imagined communities”, the article will offer a new classification scheme of the individual categories of both transnational American and transnational Bosnian and Herzegovinian literature. The latter will propose how we might re-conceptualize “mainstream” national literary approaches and understanding in contemporary Bosnian and Herzegovinian literary and cultural studies. Based on Caren Irr’s theoretical views and conceptions about the identity of a U.S. author, the article will develop a new perspective about both who a U.S. author is and who a Bosnian-Herzegovinian author is, as well as about the questions: what is trans/national American and/ or Bosnian-Herzegovinian literature, where is it, and who or what does create it? In her 2014 book entitled Toward the Geopolitical Novel: U.S. Fiction in the Twenty-First Century, Irr argues that a work does not count as part of U.S. literature only on the basis of the author’s birthplace, citizenship, current residence, or workplace because “[m]ore important than biographical markers [...] is an explicit effort to address a North American audience” (11). The same, of course, goes for a Bosnian-Herzegovinian audience and also for what counts as part of Bosnian-Herzegovinian literature. The article will analyze the remaking of both American and Bosnian and Herzegovinian literatures and their identity, focusing on contemporary transnational American literature and contemporary transnational Bosnian and Herzegovinian literature, while also seeing contemporary transnational American and Bosnian and Herzegovinian literature as a joined category and mutual open space for both. It will offer a new framework for understanding the space of literature, its openness and motion, its “worldling,” and connections, especially in the context of contemporary transnational American and/or Bosnian-Herzegovinian literature(s). The analysis will emphasize that the American and Bosnian-Herzegovinian transnational literary territoriesare multilingual and multicultural, translingual and transcultural, cosmopolitan and worldly, and that they are in motion. All things considered, the aim of the article is to contribute to the understanding of the open spaces of both contemporary American and Bosnian and Herzegovinian transnational works of literature and newly theorized contemporary Bosnian and Herzegovinian literature toward transnational literary directions. Its special intention is to open up new possibilities in understanding the multidimensional wor(l)ds between North America and Southeastern Europe of the past and present, as well as to develop and increase understanding and consciousness of how literary entities relate to trans/national issues such as: identity, migration, culture, nation, ethnicity, religion, and to all the other characteristics of the world of a human. The article will highlight the fact that the space of literature is open in its scope and imagination, unlike the space of nation-state. It will offer some pioneering views on the national, comparative, and transnational understanding and contexts of American and Bosnian-Herzegovinian literatures within contemporary American, Bosnian-Herzegovinian/PostYugoslav/Slavic, Diasporic, Comparative, and World literary and cultural studies. Likewise, it will provide new ways of thinking about American and Bosnian-Herzegovinian/Post-Yugoslav/Slavic trans/national literatures, embracing a wider perspective to the literature which is open to the world and has a unique way of exchange with other nations. The special aim of the article is to contribute to the field of the study of Contemporary Transnational American, Bosnian-Herzegovinian, and American-Bosnian-Herzegovinian works of literature, emphasizing how the identities of authors and/or their books and then their modes of mobility, can defamiliarize and resist conventions and canon of “imagined communities”. In that context, the article also aims to benefit contemporary trans/national literary and cultural studies in their specificity and uniqueness in the United States and Bosnia and Herzegovina. Broader the world, examining the processes through which American and Bosnian-Herzegovinian literature become members of the “World Republic of Letters” and how this process is experienced and vice versa.
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With the autofiction “Otkup sirove kože” (The Buying of Raw Skin) Abdulah Sidran takes up the literary handling of the political prison camp Goli otok from the 80ies which he presents in a biographical and autobiographical way. It is written from different perspectives of a young and then older son of a ex-convict; the fiction which contains also documents of witnesses and other literary sources combines all in a specific way. This autofiction attemps to approximate historical facts which are subdued in the collective and the communicative (familial) memory and invokes not only the “Sons of Goli otok” to remember. Because the narator is able to evoke childhood memory only rudimental, he searches for the reasons of his father’s condemnation and creates from this and testimonies of others his own vision of alternative history. The article analyzes the narrative instances and strategies, composition and the aims of the text. Special attention is paid to the question how “Otkup sirove kože” modifies and corrects the presentation of these events in Emir Kusturica’s films “Sjećaš li se Dolly Bell” (“Do you remember Dolly Bell”) and “Otac na službenom putu” (“When Father was away on Business”) for which A. Sidran wrote the screenplays.
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Jasmin Imamović, Bosnian writer, in his novels The killing of death, Immortal deer, The adorer of a moment and Please, write proved himself as an excellent chronicler of the Zeitgeist. The paper shows the way in which Imamović inscribed urban identity, including: analyzing ways that was either experienced individual memories and experiences in urban space, watching the writer’s specific socio-cultural construction of the city and looking for events in the texts of everyday practice in an urban environment.
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Two short story collections, Godišnjica mature (2005) by Lamija Begagić and Sanduk po mjeri (2007) by Snježana Mulić, significantly marked Bosnian-Herzegovinian literary production of the first decade of the twenty-first century. Despite both collections being authors’ first books, mature writing, feeling how to round up a story, cogent interweaving of perspectives and thematization of ”short cuts“, pieces torn out of narrators’ lives (bitter-sweet stories about small things that usually have fatal impact on protagonists’ lives) are characteristic for them and are narrated in the manner of montage mosaic. The paper shows from one side similarities, and from the other side differences in authors’ poetics (the first one is born in 1980, the second one in 1962) and at first sight apparent change of optics and narrative strategies in their second books, the novel Povratak (Mulić 2009) and the collection Jednosmjerno (Begagić 2010) where recognizable melancholic lyricism from their early prose works is kept.
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