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The author presents the book by Guberina and Krstić, The Differences Between the Croatian and Serbian Literary Languages, as a manual which has been of crucial importance in the development of the theoretical views of Croatian as a separate language and in the preservation of the Croatian lexis in the systematic attempts at serbization carried out by the Yugoslav regimes of 1918-1941 and 1945-1990.
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The paper deals with the origin of the book Razlike između hrvatskoga i srpskog književnog jezika, written by Petar Guberina and Kruno Krstić in 1940. That book was an answer to unitary language politics in Yugoslavia 1918-39, denying the existence of Croatian literary language.
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U vrijeme Jugoslavije, domaći dramski pisci igrali su se nekako podjednako na pozornicama od Vardara pa do Triglava, a jedino pitanje bilo je leži li nekome na primjer više Miroslav Krleža ili Branislav Nušić, Ranko Marinković ili Duško Kovačević. Naravno, u vrijeme socijalizma bilo je i tzv. disidenata, “zabranjenih” pisaca i tabu tema, u slučaju kojih bi se ljudi od teatra dosjetili jadu pa bi se provokativni komadi, kao recimo “Oslobođenje Skoplja” ili “Karamazovi”, prema tekstovima Dušana Jovanovića i u režiji turbo provokativnog Ljubiše Ristića, najprije igrali u Zagrebu pa onda bilo gdje drugdje. Slično je bilo i sa “Šovinističkom farsom” Radoslava Pavlovića koja se, uz škrgut zuba partijskih komiteta, malo igrala u Beogradu, malo u Zagrebu. [...]
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The paper discusses the personal and political relations between the French surrealist poet Paul Éluard and Serbian writers and intellectuals, first of all Marko Ristić, a theorist and one of the founders of the Serbian surrealist movement. We will show the reception of Éluard’s works in the Serbian cultural space, his visit to Yugoslavia, then Éluard’s activities in Paris related to Yugoslav politics. One significant part of the article represents, until now, unpublished archival documents that testify to the friendship between Éluard and Ristić. We will try to explain how this friendship ended after the Cominform Resolution in 1948 and what consequences it had on Serbian and French culture.
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The author of this paper explains the interpretation of the diphthongs in the epic ”Stephen the Little” by Serbian poet Petar II Petrovich Njegos from the epoch of romanticism. They are: а) tautovocalic diphthongs in the same word, b) tautovocalic diphthongs at the word boundary and its enclitics, c) tautovocalic diphthongs at the word boundary and its proclitics, d) tautovocalic diphthongs at the boundary of two phonetic words, i.e. in sandhi. The analysis comprises the epic ”The Mountain Wreath” and the epic ”The Ray of the Microcosm”, and some of Njegos`s poems, аs well as examples from Serbian folk poems published in the first collection of folk poems ”Маlа prostonarodnya slavenо‑serbska pěsnarica” by Vuk Stefanovich Karadjich.
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Vesna Goldsworthy is currently professor of creative writing at the University of Exeter and the University of East Anglia. Her first book was “Inventing Ruritania. The Imperialism of the Imagination” (1998) in which she applies the constructivist and orientalist paradigm to Southeast Europe and depicts Balkan stereotypes in Western European travel writings and popular culture since the myth of Dracula. A dense summary of this reference work can be found in the anthology “The Balkans and the borders in the head” edited mostly in German in 2004 by Karl Kaser in the Austrian Wieser encyclopedia. Only from the very title an attentive reader could understand twenty years ago that Goldsworthy is way too good and too creative for a “normal academic”, so she switched to literature. Her memoir “Chernobyl Strawberries” from 2005 tells the story of her childhood and youth in Yugoslav Serbia. The German translation with the title “Heimweh nach Nirgendwo” was highly praised by Elke Heidenreich who after her career as a cabaret artist became popular as a book reviewer on TV and radio and was widely received. Goldsworthy’s poetry in “The Angel of Salonika” and her recent novels such as “Gorsky” and “Monsieur Ka” transpose her personal experience of migration, acculturation and intercultural perception and misunderstandings to London during the Cold War and the East-West bloc confrontation.
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Od ponuđenih desetak tekstova koje mi je poslala redakcija s molbom da između njih odaberem tri koja bi mogla biti reprezentativna slika kritike koja se objavljivala u starom, Begićevom Izrazu, odlučio sam se za tekstove Hatidže Krnjević “Đerzelez Alija između epskog trijumfa i ljudskog poraza”, Zdenka Lešića “Poezija Gustava Krkleca” i Danila Kiša “Verlen ili o muzici, jedan problem uporedne estetike”.
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Slobodan Selenić’s theatre criticism, although he had been writing for only sixteen years, left a significant trace about the theatrical era. This paper is an introduction to research of Selenić’s essayist discourse, with special attention to authors like Đ. Lebović, J. Sterija Popović, L. Kostić, B. Stanković, B. Nušić, M. Crnjanski, B. M. Mihiz, B. Pekić. Significant literary and theatrical elements of Selenić’s work have served as an example, and his texts about Serbian authors have been specifically studied.
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The paper shows the connection between the Biblical canticles and canons at orthros, the most important and most solemn part of this church service, through the example of The Service to Holy Patriarch Jefrem by the medieval poet, bishop Marko Pećki. The analysis of the structure of canon at orthros, a liturgical hymn that belongs to the corpus of old Serbian literature, indicates the possibilities of connecting the Biblical text with Serbian medieval texts and its influence on them. Connecting Biblical canticles with the hymns of canon is achieved through irmos, an introductory stanza inspired by the contents of the Holy Bible which links the events from the hagiography with the basic meaning of the Biblical text.
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The paper aims to present the key concepts that two formalist schools of thought developed in order to defend poetry as a miracle of communication. Russian Formalism takes Shklovsky’s defamiliarization (остранение) as its key concept and the trans-sense language (zaum) of Russian Futurist poets as a basis for analysing what constitutes differentia specifica of poetry. The ideas of the Russian formalist school, through Roman Jakobson, spread first to Eastern Europe, and then to the United States of America, where they influenced a group of critics, who were already inspired by T.S. Eliot’s and I. A. Richards’ ideas on poetic language and communication, to develop a new critical methodology. The name “New Criticism” was supposed to indicate that this school of thought was about different approaches and new tendencies in criticism. As the paper demonstrates, the key representatives of New Criticism are particularly interested in exploring the function of poetry and of criticism as well as the nature of poetic imagination and language. In order to examine what the poem says as a poem, they developed the practice of close reading and focused on metaphor, paradox, and specific method by which a poet transforms his experience into a poem as autonomous features of poetic expression. The special terminology introduced by Russian Formalism and New Criticism, and the complex, ironic and intellectual language they used not only managed to throw light on what specific problems of the science of literature were, but also enabled a defence through poetry – a kind of resuscitation and refinement of non-literary reality.
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The article presents phenomenon of emergence of Serbian alternative comics scene during the period of breakup of Yugoslavia. The analysis is focused on anthology of works “Regards from Serbia” by Aleksandar Zograf who is considered the founder of the new direction in comic art. The works drawn over the nineties were portraying everyday life in Yugoslavia during its breakup. This period has been considered a strong taboo since and is not being willingly taken up by scientist from former-Yugoslavia what makes it difficult to gain knowledge that would meet scientific standards. Zograf’s comics were being published both in his country and abroad, what made them source of knowledge on situation in the Balkans of the world. In the article comic art is also being treated as anthropological evidence that enables understanding of foreign culture and processes related to attempts of rejection of the old ideological, moral, and axiological order.
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In the article, the phenomenon of yurodstvo has been recalled, which is a characteristic and perhaps the brightest realization of the Eastern Christian ideal of sanctity as a clear projection of its irrational or even specifically perverse potential. The examples which are quoted in the considerations and selected from a rich literary corpus (Old Russian, Old Bulgarian and Old Serbian), are colourful manifestations of sanctity in Eastern Christian terms, which can be defined only in a specific religious or socio-cultural context. For that reason, it was considered that this specially designed sanctity should be interpreted in the key of negative theology which is typical of the Eastern (Orthodox) Christianity. Also known as apophatic, this theology assumes the impossibility of a positive knowledge of God, which entails a specific helplessness of reason towards the phenomenon that exceeds all applicable established standards. In the discussed case, the reflection intentionally goes beyond the limits of exemplification of the sainted yurodstvo, since it also covers other types of sanctity, recognized and perpetuated in the Eastern Christian (including Church Slavonic) tradition, and shows the proximity of all projections of the so-called parenetic sanctity along with the relationship between the yurodstvo itself and eremitism and Monasticism. In this wide exemplification range, it seems justified that the incarnated sanctity of the yurodivy, a hermit or a monk, revealing itself in the socio-cultural reality in an unusual, incomprehensible or even perverse way, is an emanation of the numinous mystery which escapes the rational orders. This emanation should be, therefore, regarded as a phenomenon going beyond the boundaries of intellectual cognition, socio-cultural sphere, or a fixed standard.
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Language is a phenomenon that is inseparable from all spheres of life. Since language is the basic means of communication, its social importance is indisputable. Without language, the society could not function; on the other hand, language could not “live” if there was no use of it. The characteristics of a nation are reflected in language, while, in turn, language makes a nation to a great extent; it constitutes a socio-cultural reflection. It is related to history, politics and different institutions, such as church and school, and it unstoppably performs its function in these areas. The use of language differs depending on its power and status in the society. Language influences the society with its power, but social changes also largely contribute to language changes. Both society and language are alive, so changes occur concurrently in both spheres. There are many different ideologies that have spread their influence in the history of the society development. One of them would be the ideology of language standard, or the proper use of language, which will be separately elaborated in our paper. Our civilization is founded on rules, or different norms of behaviour present in language and in the society. Communication is successfully realized by observing the existing conventions, without which the language system would not survive. We unconsciously accept language ideologies and rules, not paying attention to the great power of language in everyday activities. Language, society, politics, rules and changes are the subject of this article, and they are observed in their specific features and comparison.
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Bosnia and Herzegovina’s recent past has witnessed the emergence of a series of novels whose thematic preoccupation is based on the actualization of the turbulent events of the war (1992–1995) and the post-war period. Recognizing the concepts of neocolonialism, i.e. the discourse of neocolonialism in the novel Siesta Fiesta Orgasmo Riposo, and then detecting the consequences that are a direct product of the exploitative policy of the West, is the topic of this paper. The paper tries to analyze the role of the narrator/characterand shed light on his position as a marginalized other whose identity is actually formed at the border, reflecting at the same time the passivity of the weak subject and his existence within the complex mechanism of consumer society.
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An essay written by Dubravka Đurić: Beleške o biopolitici (eksperiment iz geobiopolietike)
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The main subject of this paper is the medieval piece of work Physiologus, a kind of didactic writing, written in the manner of narrative prose. It consists of the stories about animals with a moral at the end. Although it belongs to the profane literature, it has religious connotations as well. This work is translated from Greek. It was very popular among Serbs in the Middle Ages, which can be assumed on the basis of great number of preserved transcripts of this work. This paper examines the language (at all levels) of two stories, the one about an eagle and other about a crane, in three different transcripts: the Nikoljac manuscript no. 52 (N 52), the National Library of Serbia manuscript no. 53 (NBS 38) and the Museum of Serbian Orthodox Church manuscript no 100 (MSPC 100). The manuscripts differ in time (from the 15th to the 17th century) and place of the origin (east, south and west part of Stokavian). The main goal of this paper is to find out, on the basis of the philological analysis; in what style these texts were written and whether there are variations in the transcripts in this respect.
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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 complexity of observing a collection of poems is reflected in its structure and thematic richness. The sources by Ljubomir Simović, reveal a specific experience of the world and man in circumstances that are recognizable and close to everyone who has experienced conflict, repression and dissatisfaction in their social or personal history. The different layers that rest on biblical morality and mytho- logical tools in this collection of poems are revealed through two different, but not necessarily conflicting principles: the Principle of the Female and the Principle of the Male. In the context of twentieth-century Serbian poetry, this collection, published in 1983, will be ideologically close to the works of authors who treat the themes of the Kosovo myth, social movement and transformation from the Middle Ages to the present, and understand human destiny through a certain destiny of national identity. The diversity in the forms used by the author as well as the semantic potential of the collection will make Istočnice a very challenging and provocative text for interpreta- tion both today and through many years to come.
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