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Based on the literary and cultural material, the article discusses two functions played by the term of emigrantology as a legacy of three waves of Russian emigration in the 20th century. The term was introduced by Lucjan Suchanek to the research space of Slavic emigration. It has systematized the area of intellectual and scientific self-reflection (including literary studies, historiography, philosophy and theology, and cultural studies), which developed in the community of Russian emigration. Additionally, the term provides modelling of the need for interdisciplinary and in the nearest future trans-disciplinary studies on the complex cultural phenomenon of Slavic emigrations. In this particular context, the article presents major research directions and achievements of Russian studies in Poland.
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This paper studies the cultural, in this case literary (prose),communication between writers-representatives of different nations. After the determination of the term interculturality and function of culture in slowing the stigma, ghettoisation, passes to the analysis of literary and social activities of two writers,members of the same minority in Serbia - Laslо Vegеl and Laslo Blašković. In the case of different strategies (writing in their native or second language, orientation towards his national community, the relationship to the majority, according to a former state – Yugoslavia – and present, Serbia, treatment of political issues, etc.) Establishes their relationship to their own entity stronghold and possibilities of overcoming its possible oppression (the term Gayatri Chakravorty Spivak) or oppressiveness (termed Susan Stanford Friedman).
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The paper considers travelogues of Yugoslav female writers Alma Karlin, Jelena Dimitrijević, Isidora Sekulić, Marica Gregorič Stepančič, Marica Strnad, Luiza Pesjak. These texts created in the first half of the 20th century in Serbian, Slovenian and German are on the periphery of the literary field and, with rare exceptions, do not belong to the canon. The most famous of these authors are Sekulić from Serbia and the German-speaking writer Karlin from Slovenia. Recently, the work of Dimitrijević has also become an object of attention of researchers. Other travelogues writers are almost forgotten. Identity problems, especially national ones, are a constant component of the travelogue genre. During a journey, the author directs his attention to “other /alien” peoples and cultures that can be called foreign to the perceiving consciousness. However, when one perceives the “other”, one inevitably turns to one’s “own”, one’s own identity. The concept of “own – other /alien”, on which the dialogical philosophy is based (M. Buber, G. Marcel, M. Bakhtin, E. Levinas), implies an understanding of the cultural “own” against the background of the “alien” and at the same time culturally “alien” on the background of “own”. Women’s travel has a special status in culture. Even in the first half of the 20th century the woman was given space at home. Going on a journey, especially unaccompanied, was at least unusual for a woman. According to Simone de Beauvoir, a woman in society is “different /other”. Therefore, women’s travelogues can be defined as the look of the “other” on the “other /alien”. In this paper, particular attention is paid to the interrelationship of gender, national identities and their conditioning with a cultural and historical context. At the beginning of the 20th century in the Balkans, national identity continues actively to develop and the process of women’s emancipation is intensifying. Therefore, the combination of gender and national issues for Yugoslavian female travelogues of this period is especially relevant. Dimitrijević’s travelogue Seven Seas and Three Oceans demonstrates this relationship most vividly: “We Serbian women are no less patriotic than Egyptian women… Haven’t Serbian women most of the merit that the big Yugoslavia originated from small Serbia?” As a result of this study, the specificity of the national and gender identity constructs in the first half of the 20th century in the analyzed texts is revealed. For this period one can note, on the one hand, the preservation of national and gender boundaries, often supported by stereotypes, on the other hand, there are obvious tendencies towards the erosion of the established gender and national constructs, the mobility of models of gender and national identification as well, largely due to the sociohistorical processes of the time.
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As the fundamental text for the study of artistic and literary avantgardes, Bürger’s Theory of the Avant-garde has been the subject of a wide and diverse critical reception. An especially contentious claim of Bürger’s is the one about the failure of neo-avant-garde art – a claim that cannot be separated from of his category of historical avant-gardes and the claim about the defeat of the pre-war avant-garde movements. Missing the construction of Bürger’s argumentation, different critics have pointed to different post-war artists and artistic movements which, through their work, revitalized avant-garde poetics with more or less success. However, by staying in the same framework of the Euroamerican capitalist West and its artistic system, these counterexamples could not offer a systemic intervention into Bürger’s theory. Due to its specific historical, social, and therefore cultural and artistic trajectory, the experience of Yugoslavia represents one of the possible points of departure for such an intervention. By focusing on existing interpretations of the relation between the Yugoslav avant-garde, neo-avant-garde and post-avant-garde, this article aims to show how the unique relation of the post-war avant-garde towards its tradition can contribute to the critical supplementation of Bürger’s theory and a more nuanced understanding of the possible relations between the neo-avantgarde and the avant-garde. In that sense, this article will try to show how the Yugoslav example is indispensable to a relevant discussion of artistic avantgardes in general.
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This paper deals with the comparative analysis of the phenomena of female beauty as a significant trait of tragic circumstances in the history of literature and film, with a special focus on the central subject ‒ Jelisaveta, a Venetian noblewoman who married Đurađ Crnojević, the Montenegrin ruler. Reviewed through a diachronic perspective is the motif of the cursed foreigner, which in this drama is a compositional leitmotif that serves as evolutionary cause of physical and moral suffering, as well as the spiritual darkening. Prominent place within this work has the placement of the play “Jelisaveta, Princess of Montenegro” by Đura Jakšić in the context of Romanticism, which highlights black-and-white psychological characterizations. In a related manner, the issue of imagological aspects is raised‒the attitude towards the Other, the ties to historical revisionism, and the place of Crnojević dynasty in both historical and literary texts.
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The key topic of this text is the re-vernacularisation of post-Croato-Serbian standard languages in the service of the state and the nation. The author’s starting point for the elaboration of this topic are four books criticising the subordination of language to nationalist ideas of the state and of the nation: Škiljan’s Speech of the Nation: Language, Nation, Croats (2002); Kordić’s Language and Nationalism (2010); Bugarski’s Do You Speak Polycentric (2018); and Glušica’s The Montenegrin Language and Nationalism (2020). Well-sourced and analytical, Glušica’s book provided the most material for a critique of the practice of re-vernacularisation. The author believes that the practice alienates metalinguisticity from its linguistic community, turning language into state vernacular and discourse of nation, engendering a schism, a diglossia within the Montenegrin linguistic community. The author also believes that such practice is anachronistic and un-emancipatory. What is more, it is entirely contrary to the contemporary processes of vernacularisation that have developed under the influence of communication technologies and computer-mediated communication. The latter represent a challenge to the current practices of standardisation, as, in place of the monologuist, monoglottal and mono-semiotic institution of standard language, they are establishing the foundations for a dialogic, polyglottic and poly-semiotic institution of public language.
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The paper Imaginary Structures of Exile Miroslav Krleža, Dubravka Ugrešić and Ognjen Spahić includes three subchapters: The (Auto)exiled Returned Home, The (Auto)exiled Left Abroad and Sanitary Exile, which discuss some aspects, individual and collective, of this kind of experience. The history of humanity includes forms of exile, consequences of power struggles, ideologies and drifting collective or personal history. The demographic and ethnic map of the world has been in perpetual transformation. Closely related to the notion of”chronotope”, the exile, in all its forms (autoexile, exodus etc.) refers to the time and space left behind.
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The paper Border as a Specific Modelative Space in the Novels of Zuvdija Hodžić and Husein Bašić concerns itself with presenting some of the manifestations of the border phenomenon in the novels of Husein Bašić and Zuvdija Hodžić. The border is one of the main motifs and modelative principles in the novels of these authors and one of the specifics of the literature of the Sandžak cultural-historical space. The author aims to show that this phenomenon is manifested in the works of the aforementioned writers through several forms of meaning-making, which are certainly not the only ones, but they encompass a certain range of meanings that can be found in the novels in question.
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This paper aims to give the recipient detailed and comprehensive analysis of Đilas’ novels Land Without Justice and Montenegro, using the latest theoretical and critical methods in the field of narratology, phenomenology and semiology. The analytical sublimate of Đilas’ novelistic prose is based on the incorporation of the structural elements such as: the narrative situation, the organizational norms of the temporal and spatial categories, the compositional determinants and pattern system for creating characters in Đilas’ novels, but as well as on their interaction and interference on the meta-textual plane which is established between these novels. The chronological order of the narrative structure of these novels is subsequently established, hence the narrator, the dismissal of the time categories (past, present and future tense), interprets through the different stories in the temporal paradigm which present alternatively dismissal of time anachronism (analepsi, prolepsis, ellipses) that at the level of the narrative text establishes the complex temporal pattern.
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This paper deals with the poetics of the book series “Krivice 1–2” and “Krivice 3” by Husein Bašić. “Krivice” are new-history novel-chronicles about World War II, revolution, implementing a new authority and the Informbiro Resolution in Sandžak. The title comes from an ideological stereotype “Turkish blame” used to, in an epic culture of hatred and revenge, grant amnesty to persecutions and crimes committed against Bosniaks who, after the Ottoman Empire receded, found themselves in a position of an unwanted Other, suffering in every Balkan war. The narrator is a distanced analytic and chronicler of events, who documents by citing archival material, literary, newspaper and diary texts, proclamations, letters etc., as well as introducing living people and historical figures in a role of political and cultural witnessing. The modus of narration is subordinate to the objective of truthfulness of witnessing through dialog, direct and indirect speeches from the characters and free indirect speech which includes the author’s attitude with an ironical deflection. Showing and reporting connects intertwined scenic displays of national-politic and social happenings, imprinting via method of montage into a mosaic map of a complex historical situation. Episodic sequences of psychological dramas and traumas are told with a lyrical expression and a dramatic charge. A nice humoristic and relaxing irony permeates the entire narrative, in which the discourse of power of the Party is strongly ironized, as well as the discourse of every ideological practice.
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U radu će se dati prikaz slike ,,drugih“ kroz koju se defi nišu kulturna posebnost, kulturna raznolikost i kulturna sličnost utemeljene na smjeni turske crnogorskom kulturom nakon oslobođenja Nikšića od Turaka pred Berlinski kongres 1878. (Poslije slavnih pobjeda nad turskom vojskom, na Vučjem dolu 1876. godine, u Dugi nikšićkoj i Ostroškom klancu 1877. godine, koje je slavila sva Evropa, 9. septembra 1877. godine oslobođen je Nikšić. U gradu je prije oslobođenja bilo 3.000- 4.000 stanovnika (V.Klaić, 1878., str. 93). Bilo je samo 40 hrišćanskih porodica. U selima u ravni polja i obodu bilo je 1800 starosjedilačkog stanovništva. Oslobađanjem od Turaka konačno je nestalo izolacije Nikšića i Nikšićkog kraja od široke okoline... Tada je još jednom došlo do mijenjanja skoro cjelokupnog stanovništva. Od muslimanskih porodica ostalo je svega 19. Ostali su odselili pretežno za Skadar, a kasnije za Tursku. Nikšićki kraj naseljavaju učesnici u borbama za njegovo oslobođenje.(Radojičić 1982:113)
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Reviews of: Esad Kočan, Naša Rijeka, Almanah, Podgorica, 2023.; Safet Hadrović Vrbički: “Orfeji Bihora - Pričam ti priču”, Centar za kulturu Petnjica, 2022.; Šaban Šarenkapić, Kuća jasina, BUKS, Novi Pazar, 2022.; Nasuprot zlu: Muslimanske rezolucije iz 1941.: Zajednička izjava iz 2015. Priredili: Enes Karić i Mustafa Spahić, izd. El-Kalem, Sarajevo 2019, str. 120.; Avdija Avdić: Otkidoh stručak do zemlje: devedeset lirskih narodnih pjesama iz Sandzaka Vlastito izdanje priređivača, Bijelo Polje 2011.; Adamir Jerković: “Magle nad Bosnom,” Almada, Sarajevo 2022.; Dr Sofija Kalezić, Rasplitanje duge: Antologija proznog stvaralaštva Bošnjakinja Crne Gore, Almanah, Podgorica, 2022.
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Reviews of: 1. Fajko Kadrić “Šta su meni ptice: Kazivanja Ekrema Redžića”, Tešanj: Planjaxkomerc, 2022. 2. Haverić Džavid, “Historija islama i muslimana u Australiji: Rane interakcije, naseljavanja i zajednice prije sredine 1940-ih” Haveric, Dzavid, History of Islam and Muslims in Australia: Early Encounters, Settlements and Communities Prior to the Mid-1940s, Lambert Academic Publishing, Germany, 2019. (263 pp.) ISBN 978-0-9580103-6-8. 3. Enes Karić, “Boje višnje”, Tugra, Sarajevo, 2023. treće izdanje. 4. Ulvija Mušović, “Vatan”, Almanah, Podgorica, 2023. 5. Dino Burdžović, “Memoari Besima Jusufovića”, Centar za očuvanje i razvoj kulture manjina Crne Gore, Podgorica, 2023. 6. Fatmir Bači, “Zalog svjetlosti”, Matica Bošnjaka, Novi Pazar, 2020. 7. Sve što je Dino napisao bilo je z(l)ato: Dve decenije od prerane smrti pesnika Aladina Lukača 8. Safet Hadrović Vrbički, “DIVAN - antologija vlastite lirike (tom I)”, Rožaje 2023. Izdavač: Udruženje bošnjačkih pisaca Crne Gore) 9. Zehnija Bulić: „Čekajući Turke“, Izdavač: BUKS, Novi Pazar, 2019. Faruk Dizdarević, “Druga obala: Ogledi i razgovori”, Grafičar, Užice, 2022. 10. Esad Kočan, “Naša Rijeka”, Almanah, Podgorica 2023.
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War literature for children and young adults, especially books which thematizes the World War II, has been an important part of the Yugoslav literary canon for half a century. In my paper, I will try to shed light on its specifics, the wider social context in which it appears, its role in the process of politicization and its particular appearance within Montenegrin youth literature, using the examples of two war novels by the famous Montenegrin writer Dušan Kostić. The theme and overall concept of the war novel for children and young adults fits into the existing context of war prose, but due to its numerous specificities, it forms a separate entity. As it is intended for a special type of readership, it is understood that this type of prose satisfies its horizon of expectations, which is why there are numerous compromises in which the categories of realism and objectivity are most often problematized, while children as the main characters are often clothed in a veil of omnipotence. Most of the writers of this topic for children and young people retain the traditional-realist concept, the step-by-step plot, the omnipresent narrator and the chronological composition in terms of the structure and procedure of the novel. In this context, complexity emerges as a key distinguishing feature between prose for children and prose for adults - while more complex literary procedures have become "domesticated" in literature for adults, literature for children and young adults generally does not abound with examples of more modern literary treatment. Although novels for children with the theme of the National War of Liberation belong to the subgenre of action novels, they nevertheless have some specificities that set them apart from that group to some extent - action and psychological elements are largely interwoven here, which contributes to a more complex novel weaving. The National War of Liberation proved to be a rich source of literary inspiration in Yugoslav literature, which could not be avoided since the topic was imposed based on psychological, but also pragmatic-political, ideological motives. Since the young reader identifies with the main character, for psycho-emotional reasons his death was often unacceptable, which led to many "violent" artistic compromises between what would suit the reader and what was probable. A large number of writers followed the line of overemphasized action, overexposed children's heroism, or black-and-white techniques in character modeling, thus creating literature that painted the war first of all as one big adventure, completely losing sight of its inhuman condition and the dimension of destiny for the sensitive children's psyche. Therefore, most of the works of that period were characterized by an extraordinary similarity, almost a uniformity - they were built according to more or less the same model, with many elements that would mark that type of prose. In works of lower literary quality, children completely obscure the world of adults, as if only they are fighting a war, and any actors from that world are reduced to the role of extras. In the higher quality works on this topic, more trust is shown in young readers and in their ability to understand war as a complex phenomenon. Instead of an idealized hero with a crystal clear moral and ideological profile, a hero with all the attributes of his human mediocrity and imperfection appears more and more often - a being who is beset by doubts and temptations. The discrepancy between quantity and quality is the key feature of the period in which war prose dominated, simply because a large number of works repeated the "already seen" - they did not enhance the novelistic technique, nor the conceptual reflection of war as a phenomenon. One of the purposes of this prose was to establish the young socialist citizen. Kostić's war novels (Gluva pećina, 1956, and Sutjeska, 1958) are distinguished by their quality, and by their atmosphere, subject matter, and how the subject is treated, they belong to young adults’, and not children's literature. Dušan Kostić does not spare his readers, nor does he pander to them, simplify the complex matter by leading them down the path of naive spheres, or write tendentially for them; instead, he uses numerous psychological elements, which is why he can be read equally by various age groups. Kostić most often shows children caught in the whirlwind of war, powerless to resist the storm, but with a strong drive for self-preservation. The author managed to skillfully avoid the manufacture of heroism by focusing on psychological aspects, atypical for this type of children's prose. The epilogues of Kostić's war novels are artistically defined, because even though they do not have happy endings, an ontological optimism shines through them, without which literature for children and young people is unimaginable.
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Husein Bašić bio je idejni tvorac, osnivač, prvi predsjednik i urednik Almanaha. Kao da smo se bili navikli da svome i svojemu počesto ne priznajemo vrijednost. Nijesmo znali da imamo Avda Međedovića, ali i da smo znali, nijesmo bili svjesni njegove veličine. Drugi su nam ga otkrili, drugi su nam rekli: „Imate Homera!“ Srećom, nije vrijeme što je prije bilo. Onima koji stižu na vrijeme, i vrijeme ide na ruku. A Husein Bašić je išao ispred vremena. Ohrabrio nas je i ojačao vjerom u sebe i sopstvene vrijednosti. Naučio nas da što više dajemo, više i imamo, da što smo više svoji, više pripadamo i drugima. Zahvaljujući njemu, njegovom djelovanju i djelu, svjesni smo da i sebi i drugima možemo reći: Nije Avdo Međedović ni sam ni samonikao. Uz njega je i Ćamil Sijarić, a evo im i još jednog jarana i druga, još jednog velikana – Huseina Bašića. I, hvala Bogu, to da imamo takvog velikana više nam ne moraju reći drugi, to je od drugih lijepo čuti i hvala im na tome, drago nam je što i drugi tako misle, ali nas najviše raduje što smo i kao kolektiv zreli da i sami znamo koga imamo. I drago nam je što će nas i po Bašićevom djelu prepoznavati, kao što nam je ono pomoglo i da nas kao narod priznaju i zovu imenom kojim se i zovemo; što smo stablo dubokog korijena i razgranate krošnje, kulture i duhovnog blaga, oslobođeni tuđe krivice i dugova, svoji na svome a ne na tuđem gnijezdu, narod koji dugo pamti a lako oprašta, koji više voli da trpi nepravdu nego da je drugome nanese.
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Izuzetna mi je čast što sam večeras u prilici učestvovati na ovoj promociji, i to iz najmanje dva razloga. Kad je prije tri decenije, u okolnostima egzistencijalnih prijetnji, ratnoga okruženja te progona Bošnjaka i razaranja njihove kulture, Husein Bašić osnivao časopis, a malo prije toga i udruženje Almanah, na prvoj je stranici novopokrenute publikacije zapisao: „Pojava 'Almanaha', časopisa koji će se baviti proučavanjem, prezentacijom i zaštitom kulturno-istorijske baštine Muslimana, Bošnjaka (otvoren je za kulturnu baštinu uopšte – kao univerzalnu vrijednost) – znači kakvu-takvu mogućnost da se makar registruju i naznače elementarne kulturne vrijednosti muslimanskog naroda u Crnoj Gori i Srbiji, koji je sticajem tragičnih okolnosti ostao još više izolovan i usamljen, s nanovo raspirenom hipotekom 'vječite krivice', ali i one, nimalo lakše, koju mu već, kao težak kamen, vješaju o vrat uskovitlani nacionalistički korpusi, aktuelna vlast i njihovi mediji. Budući da se iz frustrirane i mitologizirane halabuke i opsjednutosti većinskog naroda samim sobom ne može čuti ni jedan drugi glas – 'Almanah' na prvom koraku čeka nezavidna i neizvjesna sudbina naroda čijom će se kulturom prevashodno baviti, dakle, zamke i ograničenja koja sužavaju i opasno ugrožavaju ne samo mogućnost kulturnog iskaza i nacionalnog identiteta, već i samu egzistenciju i opstanak na ovim prostorima.“
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Sredinom osamdesetih godina, prvi put se srećem sa književnim djelom Huseina Bašica. Naime, pročitao sam Tuđe gnijezdo, a nedugo poslije toga i zbirku priča Neviđena zemlja. Knjige su ostavile snažan utisak na mene, tako da sam poželio da se bolje upoznam sa književnim djelom a i samim autorom. To se uskoro i desilo za vrijeme jedne promocije knjige u Rožajama. Tadašnje poznanstvo ubrzo je preraslo u pravo i iskreno prijateljstvo.
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Postoje knjige koje predosjetite, a da ih nijeste imali u rukama, da ih nijeste pročitali. Dešavalo mi se da uđem u veliku knjižaru i da mi ruka ode sama ka knjizi koju tražim. Čim sam čuo da je objavljeno reprint izdanje knjige Kad su gorjele božje kuće Huseina Bašića, odmah sam osjetio potrebu i hitnost za tom knjigom, te sam brzo pisao Huseinovoj kćerki, Sejli Kerović, slikarki, pa njenom mužu Atviji Kroviću, te bliskom i dragom prijatelju slikaru Aldemaru Ibrahimoviću. Htio sam da odjednom stvorim nekoliko mogućnosti da knjigu što prije dobijem. I zaista je brzo stigla. Atvija Kerović mi je poslao iz Plava, gdje je prije nekoliko dana promovisano drugo, reprint izdanje. Brzo sam je dobio i brzo počeo sa čitanjem. N
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Review of: 1. Istinom protiv zaborava, Adil Zulfikarpašić, Put u Foču, Bošnjački institut – Fondacija Adila Zulfikarpašića, Sarajevo 2022.; 2. Dragocjena monografija, Bajro Agović, Džamije u Crnoj Gori, Almanah, Podgorica, 2023.; 3. Monografija o mušovićima, Ulvija Mušović: Mušovići – od begova i kapetana do zbjegova i svjetskih metropola, Almanah, 2024.; 4. O prodorima vječnog u prolazno, Nusret Idrizović Bistrička svitanja, Bošnjačka nacionalna zajednica Hrvatske, Zagreb, 2003.; 5. Pogledaj u svoje djetinjstvo i ne okreći se sine, Dino Burdžović, Bruce Lee je umro u Bijelom Polju, Alternativna Grupa Monte Art – Frankfurt Am Main, 2023.; 6. Čovjek u vremenu zla, Aleksandar Srdanović, Kraj dana, Bijelo Polje, 2024.; o vanjskoj politici Putinove Rusije, Nikola Samardžić, Drugi hladni rat. Zapad i Rusija: 1999-2019., Laguna, Beograd, 2021.; 7. Pjesnikove se oči na tamu vremena privikavaju, Safet Hadrović Vrbički, DIVAN - Antologija vlastite lirike Rožaje – Cetinje, 2023.; 8. Gusta mreža različitih značenja, Kemal Musić, Dan poslije, Nova knjiga, Podgorica, 2020.; 9. Haverićeva knjiga muslimanske zajednice u Australiji, Muslims Making Australia Home: Immigration and Community Building By Dzavid Haveric (Carlton, Vic.: Melbourne University Press, 2019); 10. Naša rijeka roman duboke emotivnosti, misaonosti i nesvakidašnjeg stila i jezika, Esad Kočan, Naša Rijeka, Almanah, Podgorica, 2023.; 11. Moć onoga što vidiš i onoga što ne vidiš, Redžep Nurović, Pjesme iz slušalice, Centar za kulturu “Vračar”, Beograd, 2024.
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