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Prvi međunarodni slavistički skup u Crnoj Gori Njegoševi dani održan je na Cetinju 26, 27, 28. i 29. juna 2008. u organizaciji Univerziteta Crne Gore i Instituta za jezik i književnost Filozofskog fakulteta iz Nikšića.
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The review of: 1)Rusmir Mahutćehajić, Bauk bosanstva: U anesteziji i poslije, Dobra knjiga, Sarajevo 2022; 2)Mirsad Kurgaš, Česme, hajrati i zadužbine u barskom kraju, autorsko izdanje, 2022, 287str; 3)Emir Mušović: Mušovići na Bedemu – prilog istoriji bratstva Mušović od XVII do XIX vijeka na prostoru Kolašina i Nikšića - Jadiđar, Prijepolje, 2019; 4)Avdo Međedpović: ,,Ženidba Vlahinjić Alije“, Bošnjačko udruženje književnika Sandžaka, Novi Pazar, 2021. priređivač i urednik Hodo Katal; 5)Braho Adrović, Vrzino kolo, IGP “Pegaz”, Bijelo Polje, 2022; 6)Bešir Ljušković: „Pupčanik“, Udruženje književnika Srbije, Beograd, 2020.; 7)Faiz Softić: Noćni čuvar pasa, Baybook, Sarajevo 2021.; 8)Jovan Divjak, Troknjižje: Ratni dnevnik 1992, Ratni dnevnik 1993 i Fragmenti, Izdavač: NVO Obrazovanje gradi Bosnu i Hercegovinu, Sarajevo, 2022; 9)Ruždija Adžović: „Tunjo“ - Razgovori sa Muhamedom Filipovićem, izdavač „Buybook“, Sarajevo 2021. godine; 10)Faiz Softić: Mutna voda, Planjax: Tešanj, 2018.
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Poems by Nusret Idrizović: "Grobari pjevaju", "Čežnja", "Daljine", "Breza", "Tjeskobe", "Pustolovine boja", "Mlinica", Kletva i molitva", "Jedva čujan vrisak potisnute i nezadovoljene", "Jutro", "Šapat česme", "Slave je dovama", "Česmina vremena; Šapati vodene smrti".
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At this time of the year two thousand and seven, Nusret Idrizović, a native of Bjelopolska, left us in Zagreb, with the last wish that Sarajevo be his eternal resting place. He is a Bjelopojian by birth, from Idrizović, a well-known lineage to which this city showed respect by making one quarter of this town in Polimlje, Ejdna mahala is recognized by them, as Idriska mahala. He lived his life in Zagreb, where as a journalist and writer he left an indelible mark on the culture of Croatia. He was recognized with an award "Vladimir Nazor" is the highest recognition given by this in the field of literature state. Idrizović was awarded this award in 1987 for his novel "Wheel of Secret Signs". He ended his long and exciting literary journey with the novel of an unusual structure, the autobiographical recognition "Effendi in the Secret City", the novel "Cruel Fates" which is the most valuable for this he left a topic worthy of "contempt" to the world's cultural heritage, and with a book poetry with the nostalgic title "Bistrica dawn", from which this dear I remind my friend with the song "Between homelands". From the time of our intensive socializing, the reporter's note "The smell of grapes and walnuts" keeps me going.
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U ovom se izlaganju uspoređuje crnogorska bajka Djevojka brža od konja, koju je Vuk Stef. Karadžić zapisao u svojm Srpskim narodnim pripovijetkama, s antičkim (i Ovidovim) mitom o utrci Hipomena i Atalante. Oba su teksta puna prastarih, možda praindoeuropskih, mitskih motiva oko prosidbe i ženidbe. Važnu ulogu igra zlatna jabuka kao znak prosidbe.
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U plejadi crnogorskih pisaca čiji su život i djelo obilježili stvaralaštvo neprolazne vrijednosti (poezija i proza), ime crnogorskog pisca Miraša Martinovića predstavlja jedinstvenu i unikatnu pojavu na književno-kulturnom nebu Crne Gore i Europe. Martinovićevo stvaralaštvo je poput drevnih bogova s Olimpa protkano drevnim civilizacijskim i kulturološkim prostorima i procesima iza kojih ostaju trajne i neprolazne vrijednosti poput antičkih prostora. Živa antika antologijski je pregled eseja, studija, književnih osvrta i intervjua najistaknutjih poslanika kulture i medija koji su desetljećima pratili uspon Miraša Martinovića.
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There are still a lot of unsolved events in the life of Jelena Balšić, kritor, ruler, and the first Slavic woman writer from the territory of modern Montenegro. Historians talk about her in excursion when they write about three rulers – two of her husbands, Zeta’s prince Đurađ II Stracimirović Balšić and Bosnian duke Sandalj Hranić Kosača, as well as her son Balša III Đurađević Balšić. In historiographical works, on the one side, Jelena Balšić is idealized, while, on the other side, her socio–cultural and psycho–anthropological profile is overshadowed. Concerning this, there are only a few papers that talk about the last years of Jelena Balšić, one is from Đuro Tošić (Tošić 2004), and the other from Mladen Ančić (Ančić 1987) which denies, using documents, the claim that Jelena Balšić met Sandalj Hranić Kosača while her first husband was still alive. In an attempt to show the biography of Jelena Balšić, her spiritual side is often overlooked. Numerous hypothetical reconstructions of the events from Jelena Balšić’s life are based on reducing unknown to known. It is often claimed that Jelena Balšić married Sandalj Hranić Kosača as a way to protect Zeta, which was ruled by her son Balša III, from the Bosnian side, but the circumstances of her marriage are mysterious. There is also a mystery about Jelena Balšić’s residence after the death of her second husband. The year of her first marriage and the birthday of her son are still unknown, and that makes the question about his age at the time of his father’s death and the conjoined ruling of Zeta with his mother, hard. There is also no solid evidence that Jelena Balšić wanted to become a nun after the death of her first husband, and that she became a nun after the death of her second husband. Those are a few of the unsolved places in the biography of Jelena Balšić which we look at in this paper. The best sources about the life of Jelena Balšić are archives of Ragusa, Kotor, and Venice, as well as the manuscript Gorički zbornik (1441/1442) which contains the correspondence with the priest Nikon of Jerusalem. Looking at the biography of Jelena Balšić without looking at the Gorički zbornik is the same as reducing her life to a fraction.
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Having described the activist attitude towards the world and the life of Montenegrin poets from Njegoš onwards, which made Montenegrin poetry engaged, the author writes about a generation of poets, who appeared after the Second World War, and made a major turn towards more subtle, content-rich, more thoughtful and modern poetic currents, tangibly influenced by modern poetry of other European nations, which helps them to establish a different relationship with traditional poetics. In addition to activism and engagement, there is also a radical, organic attachment to the word, to the most responsible attitude towards it, towards what one wants to express. The word here is not only an aesthetic, but also an ethical category. As a specific feature of Montenegrin poetry, the author of the article emphasizes the language, rich vocabulary, concise and fresh expression and especially - a deep belief in the power and role of poetry. The central part of the work is dedicated to the poetry of Jevrem Brković, who, despite numerous thematic circles, constantly confirmed that he is a poet of the hillslopes country, Montenegro, and Duklja. Almost every poem of his books is dedicated to Montenegro, created as a poetic metaphor of the Hills and the their land, real and possible, mythical and historical, eternal, recognizable in consciousness and imagination, in space and time
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Contemporary narratology does not view composition only as a principle of merging the elements of a literary work into a harmonious configuration. Much more than the technique of combining static and dynamic motifs, the poetics of composition becomes a series of convergently converging narrative perspectives of a literary work of art. From the semiological aspect, the story becomes an iconic sign for which the way of organizing plays a crucial role in aesthetic modification. One hundred years ago, Russian formalists dealt with the problem of organizing narration, emphasizing in their theories the separability of fabled and plot construction. They defined forms as the material or material from which the story is made, and summarizes it as the artistic organization of motifs, ie fable elements. In this paper, we will, therefore, try to include the way of spreading and the function of all points of view relevant to the constitution of a literary work in general, and then we will apply this theoretical concept to Brković's novel Ljubavnik Duklje.
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The paper aims at identifying mythological elements in the novel Monigreni by Jevrem Brković. The author particularly highlights the fact that mythological aspects are dominant in the frames of the text since it has been known that the texts with enhanced semantic functions are those in which the motifs of birth and death are found on the edgings. Namely, birth and death are understood as frames of life. By placing the motifs of life and death on the frames of the text, the author influences the composition as well. In addition, already on this level, we can talk about the motif of the circle, which is one of the archetypal motifs of the entire world literature, and in this narrative text it takes on the functions of a leitmotif. The author highlights that in the Dictionary of Symbols the circle is interpreted as one of the motifs with the most complex meaning since the process of human life itself can be explained by the path of the circle. Just such an application of this motif is found in Monigreni, but it is not the only use of this motif. Namely, in addition to the fact that Domaš's life is depicted in a circular path, the motif of the circle on other planes can be followed, as well.
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The paper addresses examples of repetition of linguistic units of different character and differently positioned in the verse. The analysis shows that to the expressiveness of Lalić's linguistic articulation in songs and poems from writer’s first creative phase contribute stylistic figures based on textualpositional repetitions of linguistic units at the lexical and syntactic level, of which anaphors are the most common, and that the stylistic intensification of linguistic expression is also achieved by different types of consecutive repetition of linguistic units. In addition to distinguishing the structural characteristics of repetition, the analysis also perceived their artistic effect. More precisely, the stilematic and stylogenic possibilities of the corpus are emphasized, which, due to its under representation in analyzes of this kind, requires further and more comprehensive linguistic-stylistic study.
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In the paper, we deal with characteristic linguistic and stylistic procedures at the syntactic level that are particular for the linguistic expression of the interwar narrative prose of Milovan Đilas. It is about the phenomena that belong to the domain of expressive syntax - procedures of intensification: repetition (repetition of linguistic units) and cumulation (accumulation of the same or similar linguistic units), which are inherent to Đilas’ stylistic-linguistic structuring and are, therefore, an essential link in creating a complete picture of linguistic and stylistic profile of this writer. The analysis shows that the various repetitions, which are basic in the intensification procedure, although typical primarily for poetic texts, have their function in prose as well, where, besides to special emphasis, they also serve as cohesive elements. This feature of repetition is important from the aspect of textual linguistics and stylistics. In the analyzed corpus, repetitions of not only meaningful words are stylistically marked, but also relational words, achieved through the syntactic figure of iterative addition - polysynde. Various and very frequent examples of cumulation of linguistic units in the prose of Milovan Đilas are distinguished by uneven realization in terms of stylistics – ranging from stylistically less expressive or neutral examples (synathroism, distribution) to stylistically marked cumulation in the narrower sense.
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Војвода Драшко се на десетак страница Горског вијенца спрдао науштрб Млечана, а Кањош им је све то смјестио у једну реченицу: „Моја господо, бољи и виши пођоше бољијема и вишијема, а ја једва вас допадох!“
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The objective of the paper is to explain the way Radovan Zogović uses stylematics and stylogenicity of phonostylistic units to achieve enhanced expressiveness in his works. After a short introduction to the stylistic peculiarities of the mentioned units, the paper focuses on examples from Zogović's oeuvre, but also from the oeuvre of other Montenegrin writers, to place the actions of this author in the context of earlier phonostylistic actions of this environment, starting with those so early that opinions are divided about their intentionality and character (like the example of Old Man Milija) to newer authors, Zogović's contemporaries. By comparing these procedures, the author (in addition to the basic conclusion that Zogović, as a proven expert in his craft and the author of a particular style described in many works by earlier authors, consciously created his own style at all linguistic and stylistic levels) concludes that, apart from the already mentioned stylistic levels and procedures, the writer also had an excessively developed palette of phonostylistic means, some of which he shares with other good authors, still giving them his own stamp, while he realizes others in his own and unique way, equally successfully.
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The author deals with the theoretical principles of epistolography and classifications of 127 letters written by Stefan Mitrov Ljubisa, 125 of which were published in the Fourth Book of his Collected Works (1988). Having presented the views and interpretations of this problem offered by other authors R. Rotković, S. Jelušića, M. Medigović, the author gives his own classifications and interpretations. Respecting the chronological-textual (syntagmatic) principle as well as the vertical (paradigmatic) principle, and their purpose, the author divides Ljubiša's letters into: intimate (family letters), public (official letters) and special general purpose letters. Due to the impossibility of dividing letters into "pure forms", the author proposes two more groups: "mixed" and "literary" letters. And those two new groups pointed out the importance of the hybridization process of languages, genres and cultures. Epistolography is often a hybrid form because it usually occurs in symbiosis with travel biographies, diaries, essays and other prose.
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In this paper the author deals with the place, role, significance and contribution of Stefan Mitrov Ljubiša to Montenegrin literary and cultural development in the second half of the 19th century. The aim of this paper is, on the basis of archive material and relevant literature, to respond to the following research questions: In what sort of social and political context did Stefan Ljubiša operate? What was Ljubiša’s activity up until he entered politics, and what was it after then? What was his role and place in the historical development of language and literature, and culture in general, as well as his connection to the Montenegrin people, history, tradition and culture? The answers to these questions should reveal new details, give a contribution to understanding of the complex socio-political, cultural-historical relations and the activity of Stefan Mitrov Ljubiša in the 19th century. His ambiguous work, by its complex structure, the universality of its themes, the complexity of its form and the semantic layering of the language, even today raises essential questions of humanity and the world, induce reflection and diverse interpretations. All these are reasons for his relevance in the past, present and future, but also for his uniqueness, not only in Montenegrin, but also in South Slavic, art and literature, as well as in political and cultural history.
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The author of this paper analyzes the contribution of the distinguished academician Radomir Ivanović to Njegošologija. The paper has been, primarily, based on Ivanović's four monographs about Njegoš: Njegošev poetski govor (1991), Njegoševa psihologija i filozofija stvaranja (1997), Njegoševa poetika i estetika (2002) and Njegoš. Njegošologija, and Njegošolozi (2017), and then, on the basis of his editorial selection and anthology about Njegoš, and the book of Njegoš's poems (2013). The author, eventually, summarizes Ivanović's contribution to Njegošologija, claiming that it occupies a special place in its development, since he analyzed Njegoš's poetic work from a poetic and aesthetic point of view and thus expanded the range of approaches and methods to this poet. The author, also, highlights the philosophy of creation and the psychology of the creative process of this famous Montenegrin poet and ruler. Using different methods, analytical, comparative, generic, discussed genera and species, the author precisely drew his conclusions based on the pluralism of methods applied to Njegoš's artwork.
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