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Short story by Nikola Šimić Tonin: "DIDA NIKINA BORBA S VUKOVIMA"
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Polazeći već od »formalno-stilskog« aspekta može se reći da struktura odnosno poetika Šopovih Astralija ima začudne karakteristike, jer poemu čine sto pjesmama bez naslova (označene su naime rimskim brojkama) posložene u sedamnaest pjevanja. No, što su zapravo Astralije, odnosno koje su »misli« položene u stihove te iznimne pjesničke zbirke koju književna kritika ocjenjuje kao, po svemu sudeći, najizvrsnije Šopovo djelo. Što dakle Šop, zapravo, podrazumijeva pod onim astralnim, zvjezdanim ili zvjezdolikim? Šopova poezija zacijelo nije tek izraz puke udivljenosti zvijezdama, svemirom i zvjezdanim nebom. Prije bi se moglo reći da je cijela poema osebujno svjedočanstvo pjesnikova istraživanja sebe sama, štoviše prikaz vlastitih duhovnih preobrazbi kao svojevrsni rezultat tih sebe-propitivanja. Ono pak vlastito ili vlastitost, sukladno Šopovim pjesničkim uvidima, ustvari je ono sebstveno, sebstvo kao ono unutrašnje, »duševno« koje ujedno, začudo, ima značaj stranosti pa čak i neosobnosti jer nije nešto unaprijed dano nego biva istom kao ono koje se rađa i preporađa, štoviše ono koje rađa sebe sama kroz sebeodnošenje ali i kroz odnošenje s drugim bićima odnosno stvarimā. Kao ono što bitstveno određuje čovjeka, sebstvo je stoga nešto krajnje zagonetno. Zagonetnost sebstva, s obzirom na odnošenje s drugim bićima ili stvarimā, možemo prepoznati u sljedećim stihovima: »Za kakvog mene / uobličuju se nove stvari«.
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Poetry by Boris Domagoj Biletić: “Crna fragola, sjene, od grote stol”, “Portunhaustor”, “Identitet (I)”, “Autostop”; “Vrijeme mantilā “, “Mornarsko odijelce“, “Globa upola”, “Papaći’s ol stars bend”, “Vampir, nebiće dopadljivo”, “Perverznjaci”, “Pjesma bumerang”, “Onda (kad) si pisac”, “Djedovina.hr”, “Ni službe ni preostali moji”, “Uvod u noviju povijest obitelji”.
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Poetry by Sanjin Sorel: Moji službeni izumi; Šime Đodan; Ubojice čiji je mođo u trendu; Franjo Tuđman; Ubijanje; Franjo Kuharić; Ubijen; Marko Veselica; Ispovijest ubojice; Antun Vrdoljak; Ante.
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Poetry by Marko Grba: La Tempesta di Giorgone; Račun koristi i štete Medica; Slomljeni Konstantin; Mestieri di Napoli; Posljednje svjetlo Pompeja; Lica s razglednica; Sentiero dei limoni; Caravaggiov dječak.
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Poetry by Dražen Katunarić: U svojen svitu; Eksperimenti s vinom Heraklove suze; Sitna usluga; Delfijska mačka; Moja pitijska djevojko; Pejsaž s Narcisom; Odisej pliva; Mojre iz krojačkog salona; Dafne i krijesnica; Kralj iz Asine; Afrodita pafoska; Afroditin udjel; Afrodita sada; Afroditina stijena; Boginja A; Afrodita more.
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Ivo Andrić's unfinished novel Omerpaša Latas sets out from a historical framework in which the historiographical and chronological sequence of the military-political mission of the imperial serasker Omerpaša Latas is outlined. However, this literary form did not remain structured as a biographical fiction about the historical campaign of the imperial serasker. In this unfinished novel, two approaches, chronicled and biographical, are equally visible and intertwined. Against the powerful serasker, the narrator juxtaposes the character of a sick and disorderly young man, Osman, as a distant observer through whose consciousness the author evaluates his actions. The author's construction creates, in Barthian terms, a referential illusion of the historical versus the ahistorical or the historical within the ahistorical, just as Omerpaša and Osman were literary brought to life in a specific relationship of confirmation and denial. The aim of the work is to describe the relationships in which Osman and Omerpaša represent the generating nucleus from which another image, another's world, grows. They are opposite each other like a reflection in a mirror seen by the inner eye of the author. This was achieved, among other things, by the monologue form, from which the constructions of internal fictions emerge in turn.
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The Bosnian Franciscan priest Antun Knežević (1834–1889) lived in the turbulent circumstances of Bosnia in the 19th century and in his literary and historical works, as well as his social and political activities, one recognizes echoes of the ideas of Romanticism and of Croatian Illyrism. Due to his ideas about Bosnian autonomy, Knežević tried to prove the uninterrupted continuity of Mediaeval Bosnian Statehood. This paper will analyze Knežević's fictional (and non-fictional) texts from an imagological perspective. The focus will be on his Krvava knjiga (Eng. The Bloody Book) (1869), the 4th volume of his Bosanski prijatelj (Bosnian Friend) (1870), as Knežević was both its edi tor and author, and the notes in his annals from Varica, which he originally titled Njeke moje bilješke iz zadnjih godinah (Some of My Notes from Recent Years), where he was recording the events from October 1869 until his death. We will attempt to prove the thesis that this Bosnian Franciscan priest, in the heteroperceptions, autoperceptions and metaperceptions contained in his texts relied not only on the Europocentric views about the Others, but also on the imagologicaly potent earlier Bosnian-Herzegovinian Franciscan literary traditions, i.e. on even more ancient anti-Turkish attitude in early Croatian literature. Unlike the texts that precede these ones, where the religious, social, 90 cultural and civilizational Other encompassed all the intra-textual categories the Religious Enemy, the Oppressor, the Unfair Judge, the Barbarian, but also the Mighty Warrior and the Conqueror), the last two categories are missing from Knežević's writings, along with any feeling of respect for the Other, even as an Enemy. The change may be explained by socio-historical circumstances – the weakening of the Ottoman Empire and more and more certain change of the rule in Bosnia.
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A new reading of the contemporary Andrić's Prokleta avlija (1954) will be achieved through an intertextual vision – in relation to Prokleta ergela (2009), a novel by the Croatian and Bosnian writer Feđa Šehović. Intertextual forces will not be approached in the sense of unidirectionality, that is, the trap of influence, but in the context of the transposition of meaning, the articulation of (always) new meanings (Kristeva), and thus the mode of the constitution of the meaning of the text (Lachmann). The paper will seek to outline in a juxtaposition the way Andrić's Prokleta avlija and Šehović's Prokleta ergela function in a heterotopia / other sites / counter-sites model (Foucault).
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Poetry by Maja Marchig ("Trajektorija"; "Disperzija"; "Projekcija"; "Fotosinteza"; "Mimikrija"; "Ekologija")
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Poetry by Maja Ručević ("Sindrom rupe"; "Nomatkinje"; "Mongolka ili nemogućnost cvjetanja"; "Štafeta"; "Osmog dana u tjednu, iz Chagallovog kista"; "Triptih za neispravne kamikaze"; "Domicil I"; "Žene koje nisu psovale"; "Krojevi života")
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Poetry by Tomica Šćavina ("instrument za navigaciju"; "otvoreno"; "uvis"; "ono što joj pripada"; "kuća"; "lijeva struna"; "njeno"; "ponovo skupa"; "za njih"; "kuća od vjetra")
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With poem Judith, the enterprising Marulić calls for a courageous individual act and strengthening of the literature development in the Croatian expression. Referring to an independent renaissance vision, the construction of literature also arises, parallel with the historical reality, i.e. with transferred representation, the creative subject writes and spreads reality. The paper points out the autopoetic vows to biblical and classical, oral and written heritage („bašćina“) and indicates the mediations and vital deviations from the recognized achievements. The abyssal intersections of poetic meanings stand out in particular, as well as external contexts and echoes, which leads to shifted methodological settings and different interpretive forces. Initially, the analysis of the first edition, along with comparisons with selected editions, reveals the verticals of the literary values of the poem, the indelible stock of meanings in which it emanates, and purposefully mirrors the distinct beauty.
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Poetry by Franjo Bratić: “Hoću biti kuća”, “Tražili smo pjesmu”, “Sve je baš tu”, “Jedna”, “Ništa mi ostavili nisu”, “Kuću smo tražili”, “Tražili smo pjesmu”, “U mojoj kući puno je hodnika”, “Kuća me određuje”, “Htio bih baš”, “Svi moji životi”, “Ne dam te nikomu, draga moja”, “Još se držim starih zvukova”, “Što nam sve kroz ruke prođe”.
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