Parryjevo epsko prikupljanje epike
Review of: Mirsad Kunić, Čitanje Parryjeve zbirke, Connectum, Sarajevo 2018.
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Review of: Mirsad Kunić, Čitanje Parryjeve zbirke, Connectum, Sarajevo 2018.
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Review of: Sabina Bakšić, Alena Ćatović, Književna baština Bosne i Hercegovine na osmanskom turskom jeziku: pragmatička dimenzija, Univerzitet u Sarajevu - Orijentalni institut, Sarajevo, 2019.; Halid Bulić, Pragmatički aspekti romana Ponornica Skendera Kulenovića, Institut za bosanski jezik i književnost, Tuzla, 2018.
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Review of: Remzija Hadžiefendić-Parić, Lingvostilistički zapisi, KDBH „Preporod”, Zagreb, 2016.
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Review of: Ajla Demiragić, Ratni kontranarativi bosanskohercegovačkih spisateljica, Institut za etnologiju i folkloristiku Zagreb, 2018.
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Blagaj is an important place of Bosnian history and culture, a space of inspiration and art, continuity of life and creation, but also a space that reflects the mentality of the Bosnian people in the historical whirlwind. The aim of this work is to show how the literary portrait of Blagaj is shaped in the selected texts of Ibrahim Kajan, and how traces of cultural heritage are condensed into symbols through the literary word, creating a new space of memory.
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Review of: Muhidin Džanko, Ismail-aga Čengić, Dobra knjiga, Sarajevo, 2017
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Review of: Amila Buturović, Kameni govornik: Stećci, prostor i identitet u poeziji Maka Dizdara, Kulturno društvo Bošnjaka Hrvatske ˝Preporod˝, Zagreb, 2018.
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At the end of the sixties in Sarajevo, poetry was in vogue for the last time. True, I don't know what it was like in Moscow and Leningrad at that time, and whether, perhaps, Yeftushenko read his love and engaging poems in front of full stadiums, but in Sarajevo, in the hall of the Đuro Đaković Workers' University, the former Jewish Temple, all-night concerts were held poetry marathons, and one young man, a future famous local rock promoter and disc jockey, broke the world record for continuous recitation. Thousands of young men and women, today already seventy years old, in the ecstasy of Sixty-Eight and Che Guevara, listened to poets declaiming their verses, under the vivid illusion that poetry would change the world. And of course, that speaking, the voice that utters the poem and the audience that reacts to the poem, had to have an impact on the prevailing poetic poetics. Although there was no political order behind it, poetry was created for the broad masses of the people, and the poets behaved like the masses.
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An essential feature of the songs from this collection is their perceptual-visual non-traditionalism. The way of thinking and the way of understanding the poetic substance that come to the fore in them are such that it is difficult to find anything similar in the books of older writers. They bring a completely new poetic sensibility which, if given the opportunity to develop freely, could be useful in a literary environment where for a long time a differently based song ruled.
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At the beginning of May 1994, during the preparation of the next issue of Stećka, which I edited at the time, Angelina Šimić, a permanent contributor to the newspaper and a journalist from Oslobođenja, brought me a poem by Mira Petrović, without a title. Even today, I don't know how she got there, because that was the time of the complete blockade of Sarajevo, although an agreement between Croats and Muslim Bosniaks on the Federation had already been signed in Washington (it was on March 18 of the same year, to remind you all of that !). From Fojnica, where he spent the entire war until the conflict between the BiH Army and HVO, Miro Petrović with his wife and two sons was already somewhere in Herzegovina, whether in his native Klobuk or somewhere else, I did not know exactly. His poem, the first verse of which read: That sky, those whistles, is how, in fact, we connected for the first time (during the war, unfortunately, he never contacted me from Fojnica).
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Review of: Nehrudin Rebihić: Bošnjačka poezija 20. i 21. stoljeća, Zavod za kulturu sandžačkih Bošnjaka u Republici Srbiji, Novi Pazar, 2020.
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Review of: Almir Bašović, Kalemi i biljezi: O sjenkama rata, smijeha i granice u bosanskoj i hrvatskoj književnosti, Kulturno društvo Bošnjaka Hrvatske ˝Preporod˝, Zagreb, 2020.
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This paper examines the comparative symbolism of specific flowers, herbs, fruit, and food in Bosnian sevdalinke, Macedonian love songs, as well as in wedding songs from Bosnia-Herzegovina and Macedonia. Various herbs, flowers, and fruits are used as gifts in courting, to symbolize masculinity or femininity, or as symbolic elements at a wedding, and thus function as powerful cultural elements in these folk songs from the Balkans.Likewise, certain types of food such as baklava, kajmak, honey, and sugar itself represent romantic love and/or passion, and are typical cultural elements of Bosnian and Macedonian folk literature.
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Anđelko Vuletić is a poet, storyteller, playwright and translator from Bosnia and Herzegovina. He chooses the areas of Herzegovina, where the playfulness of the expressionist vision is realized, as the mythical and real setting of his novels. The narrative-confessional tone prevails in the composition and form of his novels and thus intimate view of things in the characters. The main part of the plot is related to the fate of the main character, and by speaking in the first person, which is very common for Vuletić’s characters, the character often takes over the role of the storyteller, although he already exists in the form of a reliable storyteller. This paper will show the basic linguistic and stylistic features of the novel Gorko sunce. It will analyze specificities at the semantic, semiotic and stylistic level and point out the most significant linguistic and stylistic units (phonostylistic, morphostylistic and syntaxostylistic).
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The paper will present the mythical, epic and baladesque elements which, in specific ways, participate in constructing the oral literary intertext in the novels 'Imotski kadija' by Irfan Horozović and 'The Red-Haired Woman' by Orhan Pamuk. Although it is noticeable that texts have always established connections with other texts of literature and culture, intertextuality as a technique began to be interpreted only in the sixties of the last century, when post-structuralists raised the question of the autonomy of the literary work, i.e. the text. In literary theory, we can trace the concept of intertextuality from Bakhtin (thesis on dialogue), Julia Kristeva (mosaic of quotations), through Barthes (theory of text) and Genette (intertextuality within transtextuality), to Croatian and Slovenian theorists Viktor Žmegač, Pavle Pavličić, Dubravka Oraić Tolić and Marko Juvan. As a dominant feature of postmodern culture, intertextuality is particularly significant in postmodern novels such as the ones written by, among others, the Bosnian author Irfan Horozović and the Turkish Nobel laureate Orhan Pamuk. The establishment of an intertextual dialogue with forms of oral literature (myth, epic song such as the one in the novel The Red-Haired Woman and ballad in the novel Imotski kadija) is noticeable. In Pamuk's novel, the ancient myth of Oedipus and the Iranian national epic Shahnama (a passage about Rustem and Suhrab) are intertextually present, while in Horozović's novel there is a clear allusion to the Bosnian ballad about Hasanaginica already in the title. The paper will show the ways of using the mentioned texts of the oral cultures of the East and the West in the construction of novelistic narratives.
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Binding motive, motive of alienation, as a dominant factor in the overall musical composition of short story of transition period in Bosnia and Herzegovina (and neighboring countries), has signs/beginnings in “Prodavnica noževa”/“Knives store”by Irfan Horozović, through the “Metamorfoze”/“Metamorphoses”by Zlatko Topčić and “Priča od kiše”/“The story of rain” by Hajrudin Ramadan, “Kad sam se okrenuo stajala je na prozoru”/“When I turned around she was standing at the window” by Aleksandar Bečanović and“Izvještaj iz utrobe”/“Report from the womb” by Pavle Goranović (Mon tenegro), to the stories of Serbian author David Albahari “Indijanac na olimpijskom trgu”/“Indian at the Olympic market”.
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Because of their geographic and political positions, Croatia and Bosnia and Herzegovina always had a lot of similarities when it comes to works of children's literature. This paper will analyse and compare several works by authors whose writing marked the end of the twentieth century and the beginning of the twenty-first century. The paper presents a comparative analysis of several poets (Šimo Ešić – Stanislav Femenić) and prose writers (Zejćir Hasić – Nada Iveljić; Šefik Husagić – Maja Gluščević; Bajruzin Hajro Planjac – Ićan Ramljak).
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The paper interprets Signs by the Roadside as a hybrid genre and a condition for understanding the entirety of Andric’s work. They are the prerequisite for the understanding of Andric’s poetics.
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The title of Andrić’s short story Panorama refers to an old-fashioned image sequence which represented countries and cities of the world. The already worn out form of entertainment was liked by a naive and poor boy. His complex experience of panorama causes the composition of the short story, in which several semiotic layers can be discerned. The pictures as kitschy, false representamen represent objects – landscapes, buildings, and people from different parts of the world, and the boy connects them with personal experience or images. The picture in his consciuosness (interpretant) raises the subconscious superstructure (new representamen) of still images, which become alive in the boy’s dream, but also lead into anxious outcomes caused by his poverty or fears present in children’s dreams. In the nostalgic imagination of an adult man the life course of former panorama characters is thought out by further semiosis. This last layer acts as an epilogue with several stories made up besides the remembered images. The AustroHungarian advertising trick, which even in provincial cities has no echo, realized its aim in the reception of the Sarajevo boy since he experinced the still images as potency – filling them with his own meanings. The reverse of the panorama in the moment of its departure is the boy’s realization that money, unfortunately, essentially determines the fate of people and their creations. However, an adult man does not give up on imagination as the best part of himself.
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The Slovak translated literature, in its excessive opus, can proud itself with a large number of capital works by authors from ex-Yugoslavia. Among others, it contains works by Ivo Andrić, whose literary work first appeared in Slovak translation as early as 1926. The following great works by Andrić have so far been translated to Slovak language: ‘The Damned Yard’ (slo. ‘Prekliaty dvor’), ‘Anika’ / ‘Anika’s Times’ (slo. ‘Anikine časy’), ‘The Bridge on the Drina’ (slo. ‘Most na Drine’), ‘Solitude House’ (slo. ‘Dom na samote’), ‘Omer Pasha Latas’ (slo. ‘Omer paša Latas’), ‘Bosnian Chronicle’ (slo. ‘Trávnická kronika’). Andrić’s extraordinary narrative talent, realistically suggestive method of presenting reality, as well as skill at formulating the eternal truths – all of this brought to the Slovak reader the alluring world of Bosnia and Herzegovina, over the course of various socio-political eras. Translators who had the opportunity to translate Andrić were aware that this was a chance for them to showcase their skills; however, it also meant bearing a considerable amount of responsibility. Andrić’s opus has been translated to Slovak by the most expe rienced professionals (Andrej Vrbacký, Tomáš Štrba, Ivan Minárik, Branislav Choma, František Lipka, Jarmila Samcová), who had had years of background in literary translation. Nonetheless, this does not mean that their competencies were always sufficient for correct interpretations of Andrić’s work, influencing their ability to faithfully convey his words to Slovak language in an adequate way as a result. If we analyse Slovak literary translations of Andrić’s texts, we will find the most jarring discrepancies on the lexical level; discrepancies which, albeit, do not get in the way of fluency and clarity the text as a whole. On the other hand, if we analyse the texts in more detail, we can conclude that discrepancies exist in translations of Realia, toponyms, Turk loanwords, and some phraseological units. Despite that, we are still able to unambiguously conclude that Andrić’s opus has not lost its originality in Slovak translation, as Slovak readers to this day happily return to these books.
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