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Short stories by Milka Tica; "Slobodni sastav", "Slomljena ruka", "Šalica se zaljubila", "Tetrapak, kuća za mlijeko".
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Poetry by Mario Bilić: "Ostavština", "Sunce", "Triputu jao", "Ne boj mi se", "Zašto meni", "Samo ti", "Medalja za hrabrost", "Ti odlučuješ", "Vodi te misao ", "Pjesnik s tjeralice", "Mjesto u crkvi", "Križ pisanja", "Biblija", "Teret veličine", "Golgota", "Moje rane", "Lagati gospodinu", "Svećenici riječi", "Nikola Božidar", "Tvoja duša", "Rane", "Ne reci zbogom", "Nedostaje ti", "Pravednik", "Vid", "Muka", "Na književnom križu", "Sudbini skresati krila", "Nevin i čist", "Hrvatsko slovo", "Moj did", "Smrt i Krist", "Kuga i pokora", "Moje pjesme", "Bijela vatra", "Ne sudi", "Biti", "Zdjela povijesti", "Pamtite me".
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Pjesnik suza, uza nade i beznađa. Pjesnik uzaludna uzdanja, pjesnik raznolikih zdanja. Pjesnik pomrčine, čavla, vječne pomrčine između intermezza – Stojan Vučićević! Nije sve kako izgleda na prvi pogled, nije tako ni u zbilji, ni u životu – možda u snovitim/ somnabulnim pjesmama. Riječi ne iskazuju apsolutno, ne iskazuju Apsolut – pjesnik bi htio doseći Apsolut kroz vidovito penjanje u sjeni borova, u tihom valovlju mora, u maestralu, u buri, u hridi. „Tko je komu zemlja u tolikoj tmici“ – tjelesno smo samo zemlja i prah, a htjeli bismo te protege uvući u dušu, kroza duh. Ujevićev cjelov sluti „tajnu nebesku“.
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The Culture of lies by Dubravka Ugrešić surpasses the conventional scope of cultural criticism. It wants to question the very essence of culture, it wants to tell the truth about the culture of lies. Such a purpose requires a language conceived in a way that culture understands it, but is independent from it. That is the only way that two mutually opposite standpoints can be linked. A question arises how is it possible to make a categorical incision between two experiences and two worlds, especially in the context of postmodern deletion of fixated views. Is critique the other or is it different from culture, and hence, is truth the other or is it different from lies? Previous pieces of research do not go beyond referring to a difference between the outcast and the normative perspective. Therefore, this paper will problematize: a) the basis of a critique that intends to be different and comprehensive, and b) basis of a culture whose comprehensiveness at the same time intends to exclude what differs from it. In so doing, the paper will utilize the outlooks of feminist epistemology, on one side, and the outlook of semiotics and semiology, on the other, because they efficiently refract the contradictory temperament of the author’s culture critique. Such an approach will, respectively, offer insights into Dubravka Ugrešić’s critical method.
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The theme of this paper concerns the main aspects of translating a linguistically and culturally hybrid text, using the example of two Dubravka Ugrešić’s books (1949–2023), Karaoke culture and Europe in Sepia. The author addresses contemporary themes in a globalised and increasingly virtual world, while constantly revisiting the Soviet and Yugoslav communist past through her personal experiences. Existing between languages and interpreting such a diverse literary world requires a profound understanding of historical, linguistic, and cultural contexts, as well as translation strategies aimed at bridging the inevitable spatiotemporal gap that arises between the two versions of the text. The main research questions are: what are the criteria for including or excluding different elements of heterolinguism/ plurilingualism in a translated text? By what linguistic means is it domesticated in a culturally and linguistically hybrid text?
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Short stories by Tomislav Pavlek: "Doviđenja momci"; "Breskve"; "Ljeto"; "Anton Conan Dolje"; "Jesen".
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Poetry by Tanja Stupar Trifunović: "Gilgamešove kćeri"; "Đavo u umjetnosti".
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Short story by Olja Savičević Ivančević: "Vilma Gjerek, mučena strastima, priziva ljubav i očekuje smrt".
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Poetry by Alina Jurjević: "Kad priča o moru"; "Gledaj ti lice"; "Tamo (negdje)".
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