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Мој иријатељ Јован Дучић испјевао ми je опет једну пјесму, у београдској ≫Правди≪. Дао ми je неколико колајна, како то доликује широкој пјесничкој и братској души; чак ми je пронашао и сродност с некаком краљев- ском лозом. Што хоћу да ми каже више, мени — ≫нашем компромисном католичком човјеку≪, а то je слабићу, иначе безимена и бесвјесна поријекла!
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Review of: Babić, Biljana (2012), Ortografske i jezičke karakteristike u štampanim djelima Pavla Solarića, Banja Luka: Filološki fakultet.
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Excerpt from the novel written by Jugoslav Arsenijević: ЦРНЕ ШАМИЈЕ КАО МИЛОСТИ
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Recognition of the symbolic code of Bulgaria in the travelogue prose by Yugoslav poets, Desanka Maksimovic and Vesna Parun, is accomplished with two figures: the Other Sea and Other Man. The Other Man is creative medium through which the Other Sea is observed, while the Other Sea unveils its unknown horizons with drawing historical, spiritual and symbolic representations into the iconographic framework of the Black Sea. The aim of the paper is to present the figure to the hydronim as a palimpsest in the Slavic relations; the path of recognizing Yugoslavia and Bulgaria is represented through historical to symbolic points – the Adriatic Sea as the First Sea exists trough the Other Sea, the Black Sea. By comparative methodology, symbolic layers of the travelogue prose are revealed through the ornaments of Black Sea.
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The intention of this paper is the semantic disfiguration of the cultural subtext of black-humorous elements in Dušan Kovačevićʼs comediography, and a method of research is to synthetically discover the meaning on a symbolic plane of the text. The comic elements of Kovačević‘s plays are presented based on the plays: The Marathon Family, Radovan III, Balkan Spy, Claustrophobic Comedy, The Professional, Roaring Tragedy, also, based on film adaptations of plays Balkan Spy and The Professional. The subject of this paper is to determine the genre charcteristics of Dušan Kovačevićʼs comedies, as well as a comparative analysis of parodic in the context of Serbian literature history. An analysis of comic elements is performed based on the theory of drama, comedy and absurdity. This paper discusses the concept of parody and grotesque. The second part of the paper refers to extratextual characterictics that are scenic type of nature and contribute to the atmosphere of black-humorous social regression. The goal of this paper is to relate the characterisation of Dušan Kovačevićʼs dramatic prosèdē as tragicomic. His comedies demonstrate internal aspects and characteristics of tragedy, but the actions of the characters from plays are comic in nature.
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Review of: Lompar, Milo (2018), Crnjanski – biografija jednog osećanja, Novi Sad: Pravoslavna reč.
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This paper seeks to shed light on Ferdinand Freiligrath`s and Walt Whitman`s impact upon Miloš Crnjanski`s early political and poetological reflections. It is interesting that the Serbian poet and writer, who rarely and reluctantly spoke about his literary role models, mentions the German poet Ferdinand Freiligrath twice in his autobiographical work Ithaca and Comments, claiming he identified with him during his youth. Although obvious connections can be found in political ideas and revolutionary aspirations shared by the two poets, Freiligrath's significance seems to lie in the fact that he introduced Walt Whitman to the German literary audience and thus undoubtedly influenced the development of modern poetry.
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The beginning of the prehistory of Serbian ethnomusicology is marked by the appearance of two significant musical recordings, realised by means of the late Renaissance mensural notation. They were made by the poet and patrician Petar Hektorović from the island of Hvar, located in central Dalmatia, and included in his famous poem Fishing and Fishermen’s Talk, published in Venice in 1568. Hektorović’s poetic work represents an idyllic travelogue, arising from a three-day cruise he undertook in the company of two fishermen who were the poet’s faithful crew, wise collocutors, excellent singers of the above-mentioned folk songs, and at the same time the first ones whose names (Paskoj Deblja and Nikola Zet) are featured in the history of our science. Some parts of Hektorović’s poem, containing the poet’s comments on the manner of signing and his approach to notation, have become a precious source of additional knowledge about the melodies preserved in this way. Almost 150 years have passed since Hektorović’s notation of these songs (in the original referred to as bugaršćica and pisan) have been attracting the attention of the professional public – of textologists more than of ethnomusicologists, and to a greater extent in Croatia than in Serbia. Various issues have been dealt with in numerous texts, especially in connection with bugarštica, which belongs to a small corpus of the earliest known layer of the epic heritage of Serbs and Croats. In spite of this, many of them remain highly controversial – primarily the question of the origin of the verses and melodies, that is, whether they are of Serbian or Croatian, folk or authorial origin. After a detailed presentation of the confrontational views of the above in Serbian and Croatian ethnomusicology, which have been the subject of polemics for many years, the author focuses her attention on some deeply-rooted fallacies concerning the structure of the poetic and sung texts of bugarštica-type poems. Approaching this issue as an ethnomusicologist – who, as opposed to textologists, always bears in mind the difference between the demelodised and the sung version of the text of a folk poem – the author proves the inaccuracy of certain views advocated by Valtazar Bogišić, the author of a still very influential study on bugarštica-type poems published in the second half of the 19th century. On the basis of numerous arguments, among which Hektorović’s musical notation has a special place, it turns out that Bogišić’s long-sustained fallacy was due to his inadequate insight into the structural role of the so-called addendum, a textual addition of specific character that ends some verses of bugarštica-type poems. Finally, based on discovering the characteristic coupling of verse-type texts and the quasi-stanzaic melopoetic form – which is a significant feature of the South Slavic (especially Serbian) vocal heritage – the author draws the conclusion that this indubitably constitutes a case of a melopoetic expression originating from the folklore tradition of South Slavs.
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Veselin Čajkanović’s The Dictionary of Serbian Folk Beliefs About Plants is one of the most exhaustive and systematic works dedicated to Serbian folklore and beliefs concerning the magical and healing properties of plants. In addition to Serbian ethnobotanical concepts, Čajkanović also included folk notions about diseases which relate to the folk religion, and especially to the demonological concepts of the traditional Serbian culture. His posthumously published study served as the basis for much subsequent ethnological research of ethnomedical notions in Serbia. In this paper, we read Čajkanović’s book as a comprehensive source of ethnographic data presented in the Dictionary, in order to a gain deeper understanding of the ways in which Serbian people perceived, defined, assorted and classified plants, turning their ecological environment into a resource for physical survival and sociocultural subsistence of the collective. The traditional Serbian rural communities lived in close contact with nature, and the ability to identify and associate similar species, to distinguish them from other species, and to communicate that knowledge to future generations, was crucially important for their sustentation. Our task in this paper will be to develop a mental model of the nature in traditional Serbian culture, as well as its inherent set of elementary principles by which the plant world was perceived and utilized in the context of the traditional Serbian village. Following this line, we will additionally try to demonstrate how Čajkanović’s rich and decades-old ethnobotanical material can be reinterpreted by adopting the more recent methodological frameworks of structural and cognitive anthropology.
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Josip Sibe Miličić (1886–1944), a Serbian and Croatian poet whose works covers the period from early modern times to the literature of the People's Liberation Fight, remains remembered in the history of literature as one of the main poets of cosmism in Serbian poetry, as well as a mysterious figure in Lament nad Beogradom by Miloš Crnjanski, while his works remain mostly unvalued. The reason for this may be found in the period of the “Second Yugoslavia” – where Miličić was considered a Yugoslav nationalist Yugoslav nationalist in the period of the old, royalist regime – while, after the disintegration of Yugoslavia, he remained n the interspace of Serbian and Croatian literature, not of particular interest to either one. The aim of this paper is to approach the manifest book of Serbian cosmism – Miličić’s Knjiga radosti (1920) – from the positions of culturally specific contexts, and to open the problematic areas of redefining the poetics of cosmism in Serbian poetry, as well as to evaluate Miličić’s poetry in communication with mythological, Christian and Slavic cultural specifics, while also paying attention to the poet’s unique approach to phraseology in Serbian literature – which make this book of poetry both translatable and untranslatable to other languages. This approach leads to results that raise fundamental questions regarding present results when it comes to poetry of Serbian cosmism, as well as opens new perspectives regarding reading, understanding and the reception of Miličić’s Knjiga radosti, as well as his work in general.
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The paper investigates explicit peotics of Rastko Petrović dedicated to the issues of modern painting, literature and, in particular, novel. Petrović’s essays are grouped around his novels. While the fine-art criticism and studies about folklore creations from the first half of the 1920s explicate poetic questions related to Burleska Gospodina Peruna Boga Groma ( Burlesque of the Lord Perun, God of Thunder), the texts about European novel from the beginning of the 1930s correlate with the poetic horizon of Dana šestog (On the Sixth Day). Among the modernist novels, Rastko’s attention was drawn precisely by the works of the encyclopedic poetics, in the first place by Joyce’s Ulysses. While in hte poetics of Ivo Andrić and Miloš Crnjanski one can talk about the meaning of human ecistence whicj is formed in the entirety of the historical and social events, Rastko Petrović both as a novelist and as an interpreter of novels was obsessed with much wider dimensions – the cosmic one, which is an area of incessant interrelation between matter and energy, and the metaphysical one, which is in the sign of immeasurable mythical and spritual forces.
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The paper discusses the well-known Miloš Crnjanski’s travell-book Ljubav u To- skani (Love in Tuscany) in which one chapter, „Assisi” is dedicated to St. Francis as a saint-protector of Italy, „the lover” of Poverty, „the liberator” of body and love, as well as the lover of nature. Crnjanski uses very unusual procedures: he dramatizes the scenes from the Saint’s life, points to other texts (Celanski, St. Bonaventura, Fioretti, Goethe, Bourget), reads Nature as a book, that is as a monument to solve the issue of representing the Saint’s biography in a satisfactory way. Essentially, it is the case of a textual approach to the world. The persons, including Francis himself, are determined by what they read. „Good reading” is always a kind of living somebody else’s life.
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This paper deals with a conflict of value criteria in the reading of Dis’ poetry in the first half of the twentieth century. Bearing in mind that, according to the third grade curriculum in secondary schools, the reading of Dis’ poetry is preceded by a study of the modernist Serbian poetics including the reading of “Preface to the Anthology of the Recent Serbian Lyrical Poetry” by Bogdan Popović, it is necessary for pupils to be introduced with the first interpretations of poetry of this Serbian poet as well as with the values on which such interpretations were derived. Therefore, the objective of this paper is to re-examine the criteria for understanding and evaluation of the poetry of Vladislav Petković Dis through the use of a comparative method. This will enable the pupils to get a clearer insight into the development of the Serbian critical thought from the positivistic approach to deconstruction. As a result, they will be able to adequately position this poet as well as his work within Serbian literature.
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Elisabeth Rose Gruner, Constructing the Adolescent Reader in Contemporary Young Adult Fiction, London: Palgrave Macmillan UK, 2019, 192 pp.
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This paper analyses the works by Branko Milanović, generated over a period of almost forty years, dedicated to the analysis of various aspects of Ivo Andrić’s literary oeuvre. Milanović is one of the most qualified interpreters of this oeuvre, given the fact that he was among the first scholars within the scope of the Yugoslav literary science to have produced a PhD dissertation on Andrić and to have published a book on his works. There are several thematic issues that mark Milanović’s prolonged interest in this matter, centred around Andrić’s literary beginnings, the atmosphere and nature of his early works, his narrative pieces featuring questions of artistic expression and the essence of art, as well as around the foundations of Andrić’s poetics, revealed in his literary works and essay and critical writing, and, finally, his novels. This analysis shows that Milanović, as early as upon acquiring his PhD title, embarks on a unique, argument-based interpretative path, constantly juxtaposing Andrić’s fiction and non-fiction. Gathered in one place, Milanović’s writings on Andrić confirm him as being one of the foremost interpreters of the latter’s oeuvre.
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Округли сто о Јелени Димитријевић
Округли сто о Јелени Димитријевић одржан је деветог априла на Филолошком факултету Универзитета у Београду. Скуп Читате ли Јелену Димитријевић?организован е као једна од активности истраживачког пројекта Књиженство, теорија и историја женске књижевности на српском језику до 1915. године и састојао се од четири панела. У оквиру првог панела о делима Јелене Димитријевић у настави била су четири излагања. Љиљана Бајић је истакла да треба радити на проширивању наставног програма из књижевности у основним и средњим школама тако да он обухвати дела Јелене Димитријевић, баш као и дела других важних – маргинализованих – књижевница. Магдалена Кох је говорила о сопственој предавачкој пракси на одсецима за славистику на ниверзитетима у Пољској: дела Јелене Димитријевић део су обавезног курикулума у њеној учионици. О томе да ли је Јелена Димитријевић парадигма или изузетак говорила је Биљана Дојчиновић на основу њене заступљености у бази – али и часопису – Књиженство. Излагање Жарке Свирчев базирало се на видео материјалу који су снимили и монтирали ђаци четврте године Економске школе из Бечеја: они су сви прочитали роман.
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