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This paper presents Divan, the only known work of the poet Yousuf Chalabi, who wrote under the pseudonym Asim, in the late seventeenth and early eighteenth centuries. This poet is partially known to the Bosnian scientific and professional circles, through some biographical and bibliographic reviews, and therefore, with this paper, we shed light on this part of the unexplored literary heritage of Bosnia and Herzegovina.
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In this paper I analyze Bekim Serjanović’s novels From Nowhere to Nowhere (Nigdje, niotkuda), The Prettier End (Ljepši kraj) and A Nomad’s Diary (Dnevnik jednog nomada). I also mention two short stories: Miss Misery on Susak (Miss Misery na otoku Susku) and Sleepless for One Hundred and Thirty Hours (Sto trideset sati bez sna) as examples of the author’s strategy of retelling the trauma of non-belonging and the traumatic experience of immigration. Since the prose created by Sejranović is a combination of fictional and factual, but with a strong autobiographical dimension, in the analysis I start from Freud`s psychoanalytic theory of trauma interpreted by Cathy Caruth and the concept of cultural trauma caused by great social changes. Then I proceed to argue which literary and narrative strategies Sejranović used to express his traumatic experiences.
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Bio je veliki pisac, iz kraja u kojem su se u naše vrijeme narađali veliki pisci. Ovi, u krugu koji bi se načinio šestarom, promjera ne šireg od deset kilometara: Miodrag Bulatović, Ćamil Sijarić i Marko Vešović. Iako su jedno, od istoga svijeta i jezika, njih trojica nikada se neće naći u istoj antologiji, pa čak ni istoj nacionalnoj književnosti. To je njihova, a i naša zajednička nesreća.
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He was a great author, coming from the region where many great authors were born. These ones, within the circle that could be drawn with a pair of compasses, no wider than 10 km in diameter, were: Miodrag Bulatović, Ćamil Sijarić and Marko Vešović. Although they represent one identity, from the same world and language, the three of them will never be present in the same anthology, not even in the same national literature. It is their, but also our mutual misfortune.
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The paper discuses Hamza Humo’s text “Nationalism in BH literature” published in 1929 in the book Effort of Bosnia and Herzegovina for liberation and unification. The text presents an overview of development of Bosnian literature from the 17th century to the beginning of the First World War. Humo’s attitude towards language and literature in the works of some writters is observed, as well as Humo’s language in the text itself. Bosniak literature and the Bosnian language are not specifically presented in this text, but only as part of the development of literature and language in the wider Yugoslav area. Nevertheless, the name Bosnian language is mentioned in the text, and it is treated more as label for the dialect and the literary realisation of that speech, considering the fact that the classical processes of language standardization had not yet begun. Many writers mentioned in this text also spokes about language in their works, which Humo underlines only occasionally. This text is also significant for the study of the history of literature and language in Bosnia and Herzegovina in the interwar period.
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This paper analyses Edhem Mulabdić’s novels Zeleno busenje (1898) and Nova vremena (1914), and his collection of short stories, Na obali Bosne (1900). These texts played a pivotal role in economic, educational and social progress and interculturality among Bosnians. Mulabdić’s literary works strive to bring together “heart and mind” – East and West – and to affirm intercultural understanding through collaboration with other South Slavic peoples. Mulabdić promoted the Bosnian language, universal ethical values, the idea of emancipation through education, and the re-contextualisation of Islamic teachings, and his ideas strongly influenced the wider community.
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his work includes sonnets by SkenderKulenović that have a poetic connection - stone and / or water. he basis of Mostar is stone, whether built into cobblestones, built into a bridge, the Old Bridge or a mosque, the stone is a stećak and a mediator between the living and the eternal, the link between this and that world. he river and the stone make up the historical, cultural and mythical, national and everyday being of Mostar, so this work will include and analyze sonnets that mentally and symbolically refer to the stone and water of Mostar. SkenderKulenović, as well as Mak Dizdar, belong to the greats of ex-Yugoslav, ie Bosnian-Herzegovinian literature of the 20th century. his work will include the sonnets„Stećak“, “Putnik“, „Iza bezzidnoga zida“ „Tarih(I)“, „Tarih (II)“, „Ponornica“, „Čuda“, „Mrtvo korito“, „Prh“, „Zlatni ključ“,through which we imported motivic and thematic correlations of Kulenović’s poetry.
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Poetical originality and observed encyclopedic knowing of cultural and historical paradigms have put Predrag Matvejević among the most recognizable and signiicant South Slavic essayists and experts of cultural and anthropological questions. We can recognize Matvejević’s aesthetic orientation in the marginal genre determinant – travelogue essay in which the whole range of philosophical, literary, historical, cultural, anthropological and other topics are relected. He was one of the most translated authors with inconceivable inluence to cultural, historical and literary lows of European literature. With his moral and intellectual proile, Hanifa Kapidžić-Osmanagić also recognizes ebullient lyrical spirit. In this paper I want to write about essayistic-travelogue books Mediterranean: A Cultural Landscape and Our Daily Bread, and about Matvejević’s recognizable Mediterranean melancholy, as well.
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In this paper, we will analyze 25 poems in prose, which are part of the collection „Sa ploča istočnih“ from 1925. he analysis will include all the levels of linguo-stylistic analysis, starting from the phonostylistic level, in which we will single out assonant, alliterative and anaphoric repetitions; to textual styles, where particular emphasis will be placed on strong positions of the text, such as naming and incoative and initive sentences. As part of the morpho-stylistic analysis, the focus will be on verb tenses; of the syntactic igures, polysyndeton, inversion and syntatic parallelism will be analized seperately, while the lexical level will be analyzed through the words of foreign origin, more speciically through orientalisms. he aim of the paper is to present the euphonic, rhythmic, intensifying, and especially semantic function of stylistic igures that Humo used in building up his collection.
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he school system of Bosnia and Herzegovina principally consists of three curricula: the Curriculum of the Federation of Bosnia and Herzegovina, the Curriculum of the Republika Srpska and the Curriculum of the Brcko District. Although at first glance it’s only stratiied into three parts, it is even more complex in practice. For example, in the Federation of Bosnia and Herzegovina, each canton (ten of them) has the opportunity to adopt a curriculum based on the Framework Curriculum of the Federation of Bosnia and Herzegovina. In the Republika Srpska, we have other complexities, including the impossibility of attending classes in Bosnian and Croatian, which is the constitutional right of the constituent people, but only attending classes in “language of Bosniak folk” and “language of Croatian folk”. Such a complex educational system in the scientiic-research sense is extremely interesting because it sets a precedent in modern educational systems. However, in this paper our focus is not on the formal educational structure of Bosnia and Herzegovina, but we have focused on the content capacities of curriculum in literature which, in addition to grammar, is the dominant area studied in Bosnian, Croatian, Serbian and literature. he focus of our interest was to investigate the extent to which Mostar writers are represented in primary school curriculum in Bosnia and Herzegovina and to analyze which literary works by Mostar writers are represented.
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Travelogue records of Bosnia and Herzegovina from the pen of Czech authors can be traced back to earlier periods, but records with genre traits of literary travelogue can be seen only from the second half of the 19th century, to reach their expansion in the number and artistic quality in the 20th century. This will be influenced by non-literary factors, above all a different historical and political map of the Balkans, but also the formal and poetic characteristics of the travelogue genre. For the Czech travelogue writers, Bosnia and Herzegovina has not been identified with the Ottoman Empire since the beginning of the 20th century but is rather described as part of the Balkans inhabited by Slavic people who are viewed with affection and admiration for the rich folk tradition and heroic struggle for independence, while the Ottoman heritage in the culture and tradition of Bosnia is recognised as a particularly attractive exotics. Through the examples of the travelogues of Ludvik Kuba, Jiři Daneš, Jiři Mahen and Vaclav Fiala, the picture of Bosnia and Herzegovina is sketched, which the Czech travelogue writers in their time conveyed to their readers, but on the other hand, the outlines are given of the wider picture of the history, past, tradition and the culture of this country viewed from the angle of another. Finally, the analysis of selected literary travelogues also reveals an objective and subjective map of the encounter between the culture of Bosnia and Herzegovina and that of Czechia. In terms of the selected art form, these travelogues range from humorous and satirical stories, reportage reports, adventure reading, through photographic record commentary, folkloric and ethnographic studies, to deep intellectual and spiritual meditation.
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Zdenko Lešić, one of Bosnia and Herzegovina's most prominent literary theorists, published two novels in the period following the war: Sarajevo Tabloid (Split 2001) and About Tara (Sarajevo 2004). While the first novel, in the words of the author himself, can be read as a „contemplation of eternal human suffering, which tragically repeated itself in besieged Sarajevo” (2015:283), About Tara is a tragic family story from the immediate wartime past written through the experience of radical displacement in South Korea and the encounter with the Buddhist teachings. Relying on theoretical works about trauma fiction, this article aims to explore the novel About Tara as a polydiscursive text that reflects upon the possibilities of overcoming a traumatic experience through the Buddhist principle of compassion (karunā).
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An analysis of Bisera Alikadić’s interesting and unique lyrical work, specifically poems with existentialist motifs, shows only a part of the stylistic diversity and richness of her literary work. The poetic reflection of Bisera Alikadić’s numerous poetic works crystallizes around the motif of loneliness, apprehension, alienation and maladjustment, as well as the desire to get out of that state. These are the motifs in which she proved herself as the author of a full life and creative experience. The symbolic brevity of her statements is a feature of her first poetic phase, in contrast to the second, in which she speaks openly, boldly and brazenly, not shying away from vulgarity and cursing, defiance and blasphemy, pointing out the numerous absurdities of life in the modern world, but also the impossibility of poetry she writes without semantic and lexical contradictions. Her poetry talks about life in the modern world; it shows life in its totality and multifacetedness, rejecting pathos and lament. Lyrical identity experiences life with all senses, but contains the impression of a subject who is lonely despite so many joys in life.
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Review of: Enisa Gološ, Ekspresivna leksika u Huminom djelu, Univerzitet „Džemal Bijedić“ u Mostaru, Mostar, 2020.
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Review of: Naida Gadžo, Savremeni metodički pristup početnom čitanju i pisanju, Bosanska knjiga, Sarajevo, 2021.
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Meša Selimović designs a gnoseological journey of the dervish against a historical background containing elements contemporary to his biography. It follows the axis light – darkness – truth and justice – the loneliness of power and emphasizes the spiritual degradation of the protagonist. Starting from Ahmed Nurudin’s portrait illustrated in the beginning of the novel, this paper studies the symbols and cultural archetypes such as light, darkness, death, fall, journey and the circle present in the 1966 literary masterpiece Death and the Dervish. Interpreted in the terms of a psychological novel with parable elements based on historical material, it is the result of the process of mythification, demythification and remythification. Furthermore, the symbols and cultural archetypes grafted on a historical substrate urge meditation on the human condition.
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The paper explores the perception of Franciscans in Bosnia-Herzegovinian literature for which Andrić’s literary, as well as essayistic and scientific opus is deemed meritorious/ guilty. Andrić’s ”Franciscan cycle” encompasses ten stories (U musafirhani, U zindanu, Ispovijed, Kod kazana, Napast, Trup, Čaša, U vodenici, Šala u Samsarinom hanu, Proba), written between 1923 and 1951. A comprehensive insight into Andrić’s ideas and perception of the Franciscans is completed when we add his novelette Prokleta avlija to the aforementioned stories, yet without losing sight of the Franciscan themes and characters in his other works (his novels Travnička hronika, Omer-paša Latas; stories Put Alije Đerzeleza, Za logorovanja, Mustafa Madžar, Mara milosnica, O starim i mladim Pamukovićima, Priča o vezirovom slonu; two texts of essayistic type: his doctoral dissertation Razvoj duhovnog života u Bosni pod uticajem turske vladavine (Development of Spiritual Life in Bosnia under the Influence of Turkish Rule), defended in 1924, in Graz, Austria, and his biographical essay dedicated to St. Francis – Legenda o svetom Francisku iz Asizija, and even his translation of Franjina pjesma stvorenja. Link between Andrić and Bosnian Franciscans in the paper is elaborated through three models of quotation relationships: as remembrance of the text, as remembrance of the genre, and as the figures of memory. Given that the aforementioned Andrić’s works are at the source of “Bosnia in Franciscan storytelling”, it is at the same time a reconstruction of the narrative about Bosnian Franciscans, but also an indication of the continuity of narrative about Franciscans in the opus of other Bosnian-Herzegovinian authors.
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The topic Interviews of Ivo Andric on the electronic media is challenging because through this analysis we reach new forms and insufficiently explored work of the writer’s personality and his critical view of the world and the media. From the research aspect this topic is significant because the interviews on electronic media, and the paper explores only television interviews, uncover now facts important for the understanding and interpretation of Andric’s work and persona. They show how the writer had wisely distanced himself from the impassioned Yugoslav daily politics and primitivism and remained a gentlemen in comparison to his contemporaries – not just as a great writer, but also through his relationship with the media.
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Although the chronotopic approach to the novels of exile is almost self-explanatory, certain specifics expressed by post-Yugoslav exile narrations evoke a separate chronotope interpretation. First and foremost, post-Yugoslav literature is additionally encumbered with the identity issue because the abandoned areas of the nineties for the exiled writer do not disappear at a metaphorical level, by turning into a mnemotope, but in the actual break-up of the political entity, the imaginary supranational heritage transforms itself into a kind of counterculture, mostly affirmed by exile writers. Therefore, returning to the abandoned place often becomes possible only as a return to the past. In this paper, the literary theme of exile will be followed comparatively, starting from the reflective nostalgia in the prose of Dubravka Ugrešić (The Ministry of Pain), through a global exile which reflects the history of the relationship between European persecutions and America as an unfair homeland, which breaks all identity support in the novels of Aleksandar Hemon (The Nowhere Man; The Lazarus Project), to the intra-Yugoslav, “hereditary” exile in the novels of Goran Vojnović (Chefurs Raus!; Yugoslavia, My Homeland), which fathers left to their sons like a curse of the genus. In the texts mentioned above, the chronotope of exile is dealt with at the level of genre, as the major, supreme chronotope, which includes or opens space to a series of specific local chronotopes, which are fundamental to exile narration. These motifs are also encountered in other genres, but in exile narration they are the bearing pillars of the genre. They are, by their nature, chronotopic because they are realised through the binary spatial-temporal categories of presence and absence, affiliation and non-affiliation, anchoring and nomadism. In this paper, I will look at three such chronotope motifs: 1) the motif ofhome as a non-place or a place of absence; 2) the motif of other/mirror country and other/“mirror” history; 3) the motif of return and travel (by train), which regularly invokes the stereotypical representation of the place and the past.
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The paper intends to present the most important contemporary Bosnian-Herzegovinian writer in the repertoire of the Sorbonne Theater workshop. It deals with the work on the play “Symposium / Banquet” by Dževad Karahasan in bilingual performing by students of BCHS language at the University of Paris-Sorbonne, in 2007. The play was based on the libretto for chamber opera “Gastmahl” (2005) by the same writer. As the author of this paper is the dramaturg and director of the student performance, a greater attention is paid to dramaturgical interventions, aimed at transforming the original text into the text for the performance (“redundant” parts of Karahasan’s libretto, Plato’s “contribution” to the text, “additional” characters according to the students’ profiles). Then, the paper deals with the difficulties in bilingual performances generally as in this performance particularly, with the importance of music, gestures and action, the choice of costumes, as well as other elements of “Symposium / Banquet”.
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