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The paper analyzes specific cases of word formation and semantic invention in novels and stories by Mirjana Novakovic, in order to investigate the process of changing the buzzwords of consumerism and words from ancient Greek into the signifiers of a distopian environment projected into the future.
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The main aspect of this paper is an analysis of the way how famous Serbian essayist and critic Borislav Mihajlović Mihiz described first two decades of socialist Yugoslavia in his book Autobiografija – o drugima. Borislav Mihajlović (1922–1995) well known by his nickname Mihiz was a figure without precedent in Serbian and Yugoslav culture. He was most relevant and most widely known literary critic in socialist Yugoslavia, although he was openly anti-communist. Although Autobiografija – o drugima was first published when communist era was already over, the book is not simplistic and black-and-white. In describing his own life and lives of the people he knew well Mihiz manages to sketch complex picture of the epoch. He first focuses on the group of his friends who will later all become important artists and intellectuals. During the end of the forties they all lived together on the same address (Simina 9A in Belgrade) and among them some were communists and some were not. However, personal relations made at the time during the youth were very significant afterwards and it was quite often than some high rank communist would be able to help a friend who made some political faux pas.Mihiz afterwards describes his role as a literary critic in NIN, the most prestigious news magazine in Yugoslavia, as well as his dealings with Ivo Andric, both before and after he won Nobel Prize for literature. Also, one of the crucial moments in the book is his peculiar friendship with Milovan Djilas, the only real high profile Yugoslav dissident. In this paper, the relation is commented also from the other side with quotations about Mihiz from Djilas’ work. In the end, there were also Mihiz’s ties with some people from Yugoslav secret services, as well as the description since 1968 and student rebellion. In addition, in the final part of the paper there is investigation about the reception of this book in the time of its first publication and also to this day. Although widely considered as a sort of masterpiece, there are also some views harshly critical, but more towards the author than the book itself. In these interpretations Borislav Mihajlović Mihiz as a figure is seen as a symbol of anti-Yugoslav sentiments in Serbian society. However, his book Autobiografija – o drugima proves to be much more nuanced that these views suggest. His description of the epoch thus becomes valuable source.
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In this paper, we analyse the possible manners in which to approach the writings of Jakov Ignjatović when working with students abroad. The focus is on the novel Eternal Groom and the work Memoirs. Additionally, we try to shed light on the significance of connecting curricular and extra-curricular activities when working with the Serbian language and literature students abroad. The aim of the paper is to contribute to the studying of the Serbian language and literature at universities abroad.
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In dieser Arbit haben wir anhand der Analyse des Cchronotopos festgestellt, dass sich die Handlung dieser Geschichte in der fernen Zukunft entwickelt, was typisch für die phantastische Literatur ist. Dieses Werk gibt deswegen dem Leser einen Eindruck, dass es eine Voraussage der künftigen Ereignisse ist. Anhand der Analyse der intertextuellen Beziehung mit dem Werk von Karl Popper wurde dargestellt, dass die dystopische Gesellschaft in dieser Geschichte durch die Übertreibung einzelner Elemente der Gesellschaftsphilosophie von Popper entstanden ist. Deswegen können wir diese Gesellschaft in diesem Sinne als eine abstrakte Gesellschaft beschreiben. Man hat bemerkt, dass die Religion der Durstigen, die einzige Alternative gegenüber der dystopischen Gesellschaftsordnung aus der Geschichte darstellt, auf undeutlichen Stellungen, dem Willen zur Macht und Lügen beruht. Die endgültigen Ergebnisse verweisen darauf, dass eine gute Nachricht aus der Zukunft, wie schon der Begriff Evangelium in der Überschrift suggeriert, ein postmodernes Verfahren darstellt, denn die Geschichte bringt keine guten Nachrichten aus der Zukunft, sondern bringt uns in ein moralisches Dilemma. Deswegen kann man Evangelium nach der Durstigen als ein Antienvagelium bezeichnen.
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This paper tends to point out the distinctiveness of Vladan Desnica’s novels within the Serbian and Yugoslav prose in the 1905s. Written according to the principle of encyclopedic technique of condensation, he concentrated on the eleven key words which were processed as encyclopedic units (entries): esthetism, individualism, intuitivism/ irrationalism, antirealism, relativism, subjectivism, pessimism, destruction of the story, openness, multi-sided vision of the world, oxymoron.
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The paper One aspect of the characters’ concept in the Balkan Spy (Balkanski špijun) analyzes elements which make the characters either static or dynamic, as well as the static-dynamic relation towards the social moment and prevailing ideology,the harmony or gap which exists between the internal life of the hero and what the hero manifests, along with the connection of these factors with Kovačević’s dramaturgy. Based on the width and length analysis of the characters from the Balkan Spy, it may be concluded that the concepts of almost all characters are static,which is only to be expected in a comedy. The transformation of the only conceptually dynamic character, Sonja Čvorović, who undertakes the visible path towards independence by reaching a new level of consciousness, is not in the focus of the dramatic text, although the potential for a change which characterizes her, places this heroine in opposition towards all other characters. On the other hand, the ideological pattern which governs the behavior of the drama heroes forms the basis of the essential differences among the static characters (for example Ilija – the Tenant).They also affect the dramaturgical functions of a certain character very directly.When the behavior of the static characters (except for the Tenant) is compared to the way the social system functions in Kovačević’s black comedy, the similarity which exists between them becomes evident. In other words, the way the characters think and their corresponding actions are manifested as an extension of the state paradigm in which the question of responsibility is shifted to an undefined guilty party or to state enemies, thus camouflaging the unpleasant truth on the extent of personal contribution to failures and mistakes. The destructivity of the ideological model in which Kovačević places the Balkan Spy is also visible when comparing the situations Ilija Čvorović and Petar Markov Jakovljević get into, as the Tenant suffers because he is an opponent, while Ilija suffers because he is the instrument. In such a constellation there are no winners among the characters placed on the scene.The static concept of the characters, confrontation of ideologically differently based static concepts, but also the gap between the inner life of the character and what the character expresses (depth), identifiable for Ilija Čvorović for example, clears the space for laughter and comical elements, although the grotesque and the absurd may easily swing the genre pendulum to the field of the tragic and frightening. This is quite certain from the perspective of those who have not been instrumentalized nor share the rigid Čvorović-view of the world, since it is inevitably clear that they may,at any time, become the subject of surveillance and uncontrollable mistreatment conditioned by the personal nightmare of the pursuer.
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This paper discusses ambivalence humor and parody, to be the most important qualities of a literary work by Branko Ćopić. Although its roots can be sought on different sides, here they are found in the mythical conception of the binary structure of world and folk philosophy. The ambivalent principle includes the characterisation of certain literary characters, their attitude towards themselves and others, and to the world in which they live. Also, the ambivalence may be present in some literary genres (fairy tale, belief narrative genres, legend, epic poem, a curse, a blessing, a proverb). Ćopić’s relationship to time (day/ night, past/ present, history/ legend) and space, supernatural beings, life and death, reality and fiction, is also subject to an ambivalent vision. In this sense, this feature is not just an emotional layer or the ambivalent reaction of the reader, rather deep currents, the internal structure of Branko Ćopić’s literary works.
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The topic of this paper are linguistic and stylistic characteristics of poems written in the form of news, in Serbian literature for children. The aim of the paper is to show which linguistic and stylistic characteristics of news are singled out and also which characteristics of poetry for children are singled out as dominant ones. This hibryd genre of Serbian literature for children has been studied by applying both linguostylistic and functionalstylistics criteria.
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The author analyzes the place and role of simple forms in the process of creation and development of the Serbian short story (the period from Dositej Obradović until the age of realism). These forms (primarily listed in the classification of A. Joles) have a strong influence in the early periods of Serbian novelist prose as its basic framework or point. The sources of these forms are Biblical, folklore, classic or authorial (personal) and can be found at all levels of the story (title, basic idea, plot summary, didactic point). At first they are closely related with the educational orientation of the age of enlightenment and then gradually the influence of folk literature and speaking would gain strength. At that time more (1860s-1870s) the more developed short stories were withdrawn in the face of individualization and modern motivations of the plot and heroes (objectivization), remaining at the level of tendency and characterization by speech or becoming a basis for a more developed plot.
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Following the Copernican role of Vuk’s Srpski rječnik (Serbian Dictionary) in the domain of word formation in the period when the era of enlightenment intertwined with the new direction in Serbian prose, the paper pays special attention to Vuk’s tales on words and especially those that accompany proverbs and saying, where Vuk’s role of an excellent storyteller is very noticeable.
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Review of: Herta Kuna, "Језичке карактеристике књижевних дјела Доситеја Обрадовића", Akademija nauka i umjetnosti Bosne i Hercegovine, djela XXXVI, Odjeljenje društvenih nauka, knjiga 21, Sarajevo, 1970., by: Nevenka Gošić
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Jelena Nidžović: LIMBOVI, NEPREKIDNE NEGORČINE SVETA (Nenad Milošević: Pesme iz limba, Kulturni centar Novog Sada, Novi Sad, 2019)
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The paper points to topoi in the Old Serbian Literature featuring the three books of the Old Testament with female protagonists, although these books were not used during religious services. Their emergence is associated with the change of cultural-historic circumstances, with the actual manner of transposing texts on Esther and Judith yet to be determined. The original text might have been used in differrent context by Tsamblak to describe Milutin’s anger and Stefan’s hope of being able to calm it down the way Esther did, and by Constantine the Philosopher as a premonition of hardship through dreams. Moreover, in the works of Constantine the Philosopher and the Orator from Smederevo their is a direct link between Esther and Serbian heroines from troublesome periods, who become a role model by virtue of their noble sacrifice.
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Jovan Grčić (1855-1941) was an exceptional expert on German language and culture and one of the most prominent Serbian intellectuals from around the turn of the 20th century. However, his translations were forgotten in the following decades and are completely unknown to contemporary readers and academics. The aim of this paper is to call attention to Grčić's essential contribution to the field of German and Serbian cross-cultural connections, as well as to highlight and analyze the most significant elements of his translational poetics. This paper presents the extent to which the influence of the target culture is represented in his translations. It focuses on the unpublished translations of two crucial dramatic works: Goethe's Die Geschwister and Schiller's Die Braut von Messina. The main characteristics of Grčić's translational style are analyzed, which include: his adaptation of original texts in the target culture, the transfer of proper names into Serbian, and the modification of structural and formal elements of original texts as well as deviations relating to their content. The analysis shows that Grčić's translational poetics is a product of cultural and historical context as well as his admirable knowledge of German and his gifted approach to his mother tongue, which are represented in the poetical quality of his work.
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Улазак јужнијих делова народне заједнице у активно културно стварање карактеризује, између осталог, крај XIX века код Србохрвата и даје модерни и националистичкој плими XX века њихово обележје. Романтизам су држали углавном Војвођани и Загорци; реализам Шумадинци, Славонци, Личани и Приморци из Истре и са Кварнера. Остале, јужније покрајине учествовале су у томе стварању, силом прилика, само посредно: дале су анонимне или полуанонимне основе, – срж народне песме; од индивидуалних снага дале су XIX веку, истина, највећу, Његоша, али баш та појава показује колико изузетност индивидуалних ликова у то доба, толико и велике, још скривене могућности југа.
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Author of this work talks about the song Elegy (Lament) on the field of Kosovo by Jovan Sterija Popović, which is a representative and contemporary thematic for many reasons. The poetic speech of Sterija is always made by deeply considered synthesis, from traditional paintings and thoughts of aknowledged and known validity. By this, he achieves the impersonal and universal objectiviy of each statement. The work analyzes Sterija’s poetic process as well as historisophical settings and ethicosophical messages of his Kosovo lament.
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