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Imaginea muntenegrenilor în literatura populară croată şi sârbă

Author(s): Armand Guţă / Language(s): Romanian Issue: 1/2012

Image of the Montenegrins in Croatian and Serbian popular literature on the one hand and on the other hand even in the modern literature is mainly depicted in the context of theirs long struggle for freedom against Ottoman yoke. Due to ethnic and historical particularities, Montenegrins were presented as half Serbian or Serbs and in other contexts as an uncertain mixture of Illyrs and Slavs with a not very well defined ethnic consciousness. In the same time they were in the first line in the context of joint south Slavs military operations against the Ottoman Empire from the end of XIX century till the first quarter of the XX century.

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O svojevrsnoj melanholiji eminentnih duhova

Author(s): Drăgan Stoianovici / Language(s): Serbian Issue: 3/2011

L'auteur se penche sur une affinité saisissable par endroits entre, d'un côté, le livre autobiographique posthume d'Ivo Andrić Znakovi pored puta (Signes au bord de la route) et, de lautre, les journaux d'Alice Voinescu, de Jeni Acterian et d'Eugène Ionesco (Journal en miettes). Il s'agit d'une certaine tristesse de fond, qui teint leur perception du monde et de la condition humaine; cette veine mélancolique ne s'enracine pas dans des faits contingents, mais plutôt, selon la formule pertinente de Chamfort, „tient à la grandeur de l‟esprit”. Elle coexiste d'ailleurs, chez tous les quatre, avec une intense joie de vivre (en dépit de la perception parfois très différente du fait inéluctable de la mort, en l'occurence chez Andrić et, respectivement, Ionesco), et – chose également remarquable – avec l'intuition et la nostalgie de l'au-delà.

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Recenzii

Author(s): Octavia Nedelcu,Sorin Paliga / Language(s): Romanian Issue: 3/2011

Reviews: Florin Ursulescu, Rodica Ursulescu Miliţiš, Biblioteci şi cărţi româneşti din Voivodina, Ed. ICRV, Zrenianin, Serbia, 2009, 157 p. (Octavia Nedelcu) Ivo Muncian, Naše gore list: Srpski pisci u Rumuniji (Fala noastră: Scriitori sârbi din România), Ed. U.S.R., Timişoara, 2010. (Octavia Nedelcu) Glosariusz staropolski. Dydaktyczny słownik etymologiczny (Glosar al polonei vechi. Dicț ionar etimologic de uz didactic), coord. Wanda Decyk-Zięba ș i Stanisław Dubisz. Varș ovia: Wydawnictwo Uniwersytetu Warszawskiego 2008 (Sorin Paliga)

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Recenzii

Author(s): Octavia Nedelcu,Mariana Mangiulea Jatop,Florin Sandu,Cristina Neacşiu / Language(s): Romanian Issue: 2/2011

Reviews: Repere ale gândirii ontologice reflectate în opera unui laureat Nobel pentru literatură. Ivo Andrić, Semne lângă drum, traducere din limba sârbă de Dragan Stoianovici, Bucureşti, Ed. Curtea veche, 2010, 435 p. (Octavia Nedelcu ) Лексикографията в европейското културно пространство. Материали от Петата национална конференция с международно участие по лексикография и лексикология, София, 19-20 октомври 2009 г., red. Lilia Krumova-Ţvetkova, Sabina Pavlova, Ed. „Знак ‘94” , Veliko Tărnovo, 2010, 426 p. (Mariana Mangiulea) Viktor Erofeev, „Stalin cel bun”, Ed. Paralela 45, Piteşti, 2006. (Florin Sandu) Boris Groys, Stalin – Opera de artă totală. Cultura scindată din Uniunea Sovietică, tradusă în limba română de către Eugenia Bojoca şi George State, Colecţia „Balkon“, Idea Print&Design, Cluj, 2007, 98 pagini [Gesamtkunstwerk Stalin. Die gespaltene Kultur in der Sowjetunion, München-Wien, 1988]. (Cristina Neacşiu)

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La a patruzecea aniversare

Author(s): Octavia Nedelcu / Language(s): Romanian Issue: 4/2010

Conference-Report: La a patruzecea aniversare (Octavia Nedelcu)

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Elementele folclorice din poezia lui Matja Bečković între raţionament politic şi aspiraţie identitară

Author(s): Armand Guţă / Language(s): Romanian Issue: 3/2010

Matija Bećković (Матија Бећковић) was born on November 29, 1939 in Senta, in the Serbian province of Vojvodina to Serbian parents from Montenegro. He graduated from the Valjevo Gymnasium in Valjevo in 1958. It was during his gymnasium years in Valjevo that he published his first poem, in the journal „Mlada Kultura”. Furthermore, it was also in Valjevo that Bećković met Vera Pavladoljska, to whom the poem of the same name, published in 1960, was dedicated. This poem remains one of his most widely known and read poems. Bećković went on to Marry Pavladoljska, and he remained married to her until her death. Upon graduating from the Valjevo gymnasium, he entered the University of Belgrade and graduating with a degree in Yugoslav and world literature. He became a corresponding member of the Serbian Academy of Sciences and Arts in 1983, becoming a full member in 1991. He is one of the most prominent Serbian poets of the 20th century. Bećković is a close friend of Serbian Prime Minister Vojislav Koštunica, and an active supporter of his Democratic Party of Serbia. He lives in Belgrade since 1960. On the Montenegrin independence referendum, 2006, Bećković did not vote since he lives in Serbia. However, he, as the most prominent figure in the block against Montenegrin independence, gave passionate speeches against separation. A distinguishing feature of Bećković’s poetry is its regionalism. Distinctly Montenegrin archaic dialect and phraseology permeate his work. This aspect of his work is most often lost when one reads it in translation. Even so, other features that distinguish Bećković’s poetry in the cannon of South Slavic literature will not be lost on the foreign reader. Bećković’s poetry often strikes the reader as profoundly rhetorical. By the same stroke, he avoids the danger of didacticism that often comes hand in hand with the resort to rhetoric. He does so by insisting on the entertaining aspect of his poetry, regardlessly of the subject matter, ranging from love, over politics, to theology. His poetic mains works are: Vera Pavladoljska; Metak Lutalica; Tako je govorio Matija; Dr. Janez Paćuka; O međuvremenu; Če: Tragedija koja traje (Published in English as Che: Permanent Tragedy); Reče mi jedan čovek; Međa Vuka Manitoga; Lele i kuku; Dva sveta; Poeme; Služba Svetom Savi; O Njegošu; Kaža; Čiji si ti Mali?; Nadkokot; Služba; Sabrane pesme; Kosovo najskuplja srpska reč ; Ćeraćemo se još; Kad budem mlađi.

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Deconstrucţia canonului literar în critica actuală română şi sârbă

Author(s): Mariana Dan / Language(s): Romanian Issue: 2/2010

Both Romanian and Serbian literary critics have recently tried to re-evaluate the literary achievements of the past from a nowadays perspective. In Romania, Eugen Negrici, tries to “demystify” a whole Romanian cultural background envisaging the fact that the specific historical, political and social facts were favourable for the process of myth formation. As myth is viewed as ideology and mentality, literature and literary critics are presented as its supportive factors. In his multidisciplinary study, Negrici, while not believing in the possibility of the diachronic evolution of literature any longer, still believes in the evolution of mentality and society – which is a paradox. His deconstruction of the literary process, which envisages the reader, the writer, the literary critic and the issue of reception, is, at times, mordant and his evaluation is not necessarily followed by a constructive re-evaluation. The main idea of the book, which is the need of Romanian literature to synchronize with other European literatures, is old, and was already described in Romania in Eugen Lovinescu’s studies, prior to World War II. According to Negrici, it is the Romanian mentality in the first place that is due to ‘evolve’. In Serbia, Gojko Tešić’s study represents an endeavour to re-evaluate and rehabilitate some very important writers of the 20th century Serbian literature, in spite of the bios perspective of more generations of literary critics and university professors. While presenting, by numerous examples and in a convincing way, the evolution of modern Serbian poetry, Tešić discloses the interrelation between modernism and avant-guarde, which, only taken together constitute a paradigm in Serbian 20th century literature. The fact is interesting that the poet Vasko Popa, of Romanian origin, but who wrote in Serbian, represents, in Tešić’s opinion, a landmark in nowadays poetry, and a point of reference from which the literature of the past can be reshaped and ’refreshed’ by a new and productive critical outlook. The comparison between the Romanian and Serbian critics’ approaches is very interesting, as it reveals that while many important Romanian writers are rejected by some Romanian criticists from an a priori perspective, the same writers are highly appreciated abroad. It is the case of numerous Romanian writers to have had a better reception abroad than in Romania. This leads to the conclusion that critics like Negrici, while trying to demistify the canons of Romanian literature, involve in a new process of myth-formation, which is not in favour of Romanian literature.

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Confluenţe lirice: Marin Sorescu şi Vasko Popa (Experienţe de tălmăcire: de la poet la poet)

Author(s): Octavia Nedelcu / Language(s): Romanian Issue: 2/2010

Pendant les derniers décénies, les recherches dans le domaine de la traductologie ont favorisé l’apparition de nombreuses études, publications et institutions spécialisées où la théorie a souvent une importance excessive en comparaison avec des exemples concrets. C’est déjà un lieu comun l’assertion selon laquelle la traduction la plus difficile est celle de la poésie et que les meilleures traductions sont realisées par les poètes. L’histoire de la littérature nous y offre beaucoup d’exemples. Dans notre ouvrage nous avons analysé en quelle mesure le poète roumain Marin Sorescu assume consciencieusement la condition du traducteur de la poésie de Vasko Popa, un grand poète moderniste serbe et la nature de la trahison qui en résulte, étant donnée les éléments consonnantiques et osmothiques de leurs créations. Traduit en roumain, Vasko Popa donne l`impression d`un excessif voisinage thémathiques avec les modernistes roumains, y compris Marin Sorescu qui réussit portant à s’approcher le plus de la quintessence de la création du poète serbe.

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Žanrovski hibridizam u drama Borislava Mihajlovića Mihiza

Author(s): Milena S. Stojanović / Language(s): Serbian Issue: 2/2010

Borislav Mihajlović Mihiz wrote four original plays, two of which are about the greatest Serbian folk-epic heroes, and two concerning recent Serbian history. Depicting individuals who, in the midst of crucial historical events, face their own moral and psychological dilemmas, being a writer inclined to paradox, Mihiz mainly deflects from familiar and/or expected interpretations of chosen motifs. The genre hybridisation is evident in both main and adjunctive drama text, and accomplished with particular language tools, the choice of folk epic or historically documented motifs, but also with stylistic characteristics of the drama discourse. The elements of narrative, epic, essayistic, administrative, diary-like and scientific styles re-semantize the drama text, the formal play with drama’s structure also results with greater complexity of its meaning. Mihiz does not hesitate when, for instance, introducing footnotes to his drama text. Description of characters and didascalie are more a way to characterize and psychologically deepen the characters and a motivational element of drama action, not just practical stage directions. Mihiz disrupts the stage illusion in his adjunctive text, using, amongst other things, the techniques of Brechtian theatre and (auto)poetic comments. The main text remains unimpaired. All four Mihiz`s dramas consist of different drama forms: in “Banovic Strahinja” and “Marko Kraljevic”, author combines the elements of historical, sociological and psychological drama (with addition of melodrama and tragicomedy). Although successfully performed on stage, Mihiz’s dramas, because of the epic elements functioning more as literary text then theatre play, can be defined as a sort of read-only dramas.

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Recenzii

Author(s): Octavia Nedelcu,Cristina Godun,Antoaneta Olteanu / Language(s): Romanian Issue: 2/2010

Reviews: CÂNTECUL DE LEBĂDĂ DUPĂ 20 DE ANI... Voislava Stoianovic, Додири и прожимања/Contacte şi interferenţe. Timişoara, 2009, 273 p., ediţie îngrijită de Stevan Bugarski (Octavia Nedelcu) Constantin Geambaşu, TEXTE ȘI CONTEXTE. INCURSIUNI CRITICE ÎN LITERATURA POLONĂ, Editura Universităţii Bucureşti, 2009, 211p. (Cristina Godun) V.I. Tihomirova, Pol’skaja proza o Vtoroj mirovoj vojne v sociokul’turnom kontekste 1989- 2000, Moskva, Institut Slavjanovedenija RAN, 2004, 212 p. (Antoaneta Olteanu)

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ВЕЉКО ПЕТРОВИЋ И ИВО МУНЋАН: ЈЕДАН ПОЕТИЧКИ УКРШТАЈ

Author(s): Mirjana Bojanić Ćirković / Language(s): Serbian Issue: 6/2020

In this paper we analyze the poetics of two writers, Ivo Muncan and Veljko Petrovic, through a comparative approach to their stories and poems. We investigate the themes and motives interweaving of two poetics aimed at the problem of national identity and the identity of the individual in contact with a modern times. Special attention will be devoted to finding similarities in meaning motives of the country, villages, tradition.

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ЗАБОРАВЉЕНИ ПИСАЦ СИМЕОН ЖИКИЋ ИЗ ПОГРАНИЧНЕ ОБЛАСТИ ИСТОЧНЕ СРБИЈЕ ПРЕМА РУМУНИЈИ И БУГАРСКОЈ

Author(s): Goran M. Maksimović / Language(s): Serbian Issue: 4/2018

Serbian literary historiography in previous research has prevented the formation of a proto Simeon Zikić (1878-1964) in the area of Eastern Serbia at the end of the 19th and in the first half of the 20th century. He left behind, mainly in the handwritten legacy, several works: three novels (Govor srca, Na svome poslu, Za ukazom), two books of narratives (Parohijske slike i prilike, Teška vremena), a book of discussions and articles (Pastirska reč) and an extensive autobiographical and memoir book (Moji memoari). All of these texts are mostly thematically related to the life of the Timok region of Eastern Serbia and the bordering Serb region towards Romania and Bulgaria in the last third of the 19th and early four decades of the 20th century, while in the manuscript of the memoir, a noteworthy place was also given to the description of life in Russia, where he studied from 1897. to 1905. Thanks to the textual work of Vladana Stojadinović, all these manuscripts were published in the Edict of the “Zaveštanja” of the National Library “Njegoš” from Knjaževac from 2010. to 2015, and in 2017. a collection of works was also published Sima Žikić, svedok vremena. In this way, a literary writer finally included in the serbian literary historiography of Eastern Serbia into equal parts of the serbian literature.

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ПОЛИТИКА И ДИJAЛЕКТ: ИВАН ИВАНОВИЋ, ШОПСКИ ГОВОР И ПРИПОВЕТКЕ ИЗ ЦИКЛУСА „СЕВЕР-ЈУГ“

Author(s): Sava Stamenković / Language(s): Serbian Issue: 3/2017

Ivan Ivanović (1936), а writer from the south of Serbia, the author of over twenty novels, collections of stories and plays, in one of the writers banned during the communist Yugoslavia. Among a prohibited works of this writer, there are two collections of short stories, "Shop Embassy" (''Šopska ambasada'') and "Honeysuckle" (''Kozja krv''), written mainly in the sixties, and published in its entirety in the nineties, after the fall of the communist regime. This "anti-communist propaganda" tells the story about the impact of politics on the lives of ordinary people from the south of Serbia. These stories are, as the author himself says, written in shop dialect or include characters who speak this dialect and, together with eight other novels, form the cycle "North – South". Besides the political intrigue in Belgrade and power games in the regional centers of the Communist Party, the fate of people from southern Serbia in these stories is determined by their origin and their dialect, by which others define them as illiterate and backward, unable to fit in the prescribed/imposed language/system. Newcomers from other parts of former Yugoslavia, whose views are close to the party, and whose dialect is closer to the standard, imposed themselves as an elite, occupied important social positions and in fact became masters of lives of the local population. That fits with the views of the writer, which we also discuss in this paper, about the conflict between foreign and domestic, Dinaric and Shop, and discrimination against the latter in the south of Serbia.

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СВЕТСКИ РАТ 1914‒1918. У МЕЂУРАТНОЈ ЗАВИЧАЈНОЈ КЊИЖЕВНОСТИ СРБА У РУМУНИЈИ

Author(s): Stevan Bugarski / Language(s): Serbian Issue: 2/2016

Крупни догађаји Великога рата 1914‒1918. одразили су се и на српску књижевност у Румунији. У напису се разматра међуратна књижевност, настала под свежим сећањима учесника. У питању су углавном прозни мемоарски списи, а и епски спев у десетерцу садржи много мемоарског. По својим особеностима списи су на граници белетристике и документарне прозе, а могу добро послужити и као историјски извори. Грађа је изложена азбучним редоследом презимена аутора, а о сваком аутору наведени су и основни биографски подаци.

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Biografie şi creaţie în clocotrism

Author(s): Mariana Dan / Language(s): Romanian Issue: 1/2009

In spite of the fact that Serbo-Romanian cross-cultural relations were flourishing in the 7th and 8th decade of the last century, their record is very poor. It is the merit of the Serb-Wallach poet, Adam Puslojić, to have initiated and maintained those relations, by his many-sided artistic, cultural and friendly approach to Romanian artists and by his overwhelming creative activity: as a translator from Romanian into Serbian (he translated most of the 20th century Romanian poets!), as an author of poetry in Romanian, as a founder of the contemporary international neo avant-garde artistic movement clocotrism, in which the most numerous artists, besides the Serbian ones, were the Romanians. This paper reveals the roots and activity of clocotrism, defining it as an important neo avant-garde movement in SE Europe, the poetics of which anticipates postmodernism. Facts presented in this paper reveal that the participation of the Romanian authors is not purely formal, but decisive, as it influenced the establishing of a genuine artistic conception. Founded on performances, and on group literary research (’creative laboratories’), clocotrism bridges the gap between the biographical artistic personality and the artist as a creator of art, in a theoretical climate in which the literary text was considered as an entity independent from the author who wrote it. Clocotrism’s main principles are founded on: 1) the physical participation within the performances, 2) the collective creation of art in process, 3) the concept of ‘spirit’/’spirituality’ which is equally the principle of art and life itself. In the communist regime of both countries, the presence of the auctorial ego in public performances, speaking out what he thinks, although under a metaphorical cover, is deeply significant, and, besides the artistic achievements, it represents a proof of mutual trust. The international multidimensional, multidisciplinary and multimedia aspects of clocotrism, and the fact that numerous famous Romanian artists took part in it, represent facts of great importance which, overcoming any formal or official cross-cultural concepts of influence, require a further, thorough approach. If neo avant-garde manifestations were banned in communist Romania at that time, many Romanian artists found a favourable ground of creative expression in Belgrade.

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ОДНОС „ПЕРИФЕРИЈE“ И „ЦЕНТРА“ У СРПСКОЈ КЊИЖЕВНОСТИ 18. И 19. ВИЈЕКА

Author(s): Goran M. Maksimović / Language(s): Serbian Issue: 1/2015

The paper analyzes the specific relationship between the periphery and the center of the new Serbian literature (18th and 19th century), which was due to historical circumstances and the fact that the majority of Serbian national area was part of another state (Ottoman Empire, Austro-Hungarianmonarchy, Republic of Venice), and that it is only since the early 19th century began the process of liberation of the Serbian people and the constitution of the Serbian state, language and literature. Consequently, Serbian writers from peripheral parts of the Serbian people (Hercegovina, Bosnia, Dalmatia, Boka Kotorska, Slavonia, Banat and Macedonia), as well all those who are in these regions, but also in Serbia and Belgrade, went to school in Budapest, Vienna, Venice, Trieste, Paris, Prague, Bratislava, Timisoara, Kiev, Petersburgand, Moscow, and have powerful influence on theconstitution of the new Serbian literature (enlightenment, sentimentalism, romanticism, realism, modern). Crucial in this role Dositej Obradović and Vuk Stefanović Karadžić and many other writers of the time (Zaharije Orfelin, Jovan Rajić, Pavle Solarić, Sima Milutinović Sarajlija, Milovan Vidaković, Jovan Sterija Popović, Petar Drugi Petrović Njegoš, Branko Radičević, Jovan Jovanović Zmaj, Đura Jakšić, Laza Kostić, Simo Matavulj, Stevan Sremac). Effective influence on the periphery of what was happening in the center of the new Serbian constitution literature strongly manifested also in the process of liberation of the Serbian people and the constitution of the Serbian state during the 19th century. It is natural that because of this the center of Serbian literature moved in the midle of 19th century in Belgrade, the Serbian capital of the home country, but they are in a strong synergy continued to exist and other provincial centers of Serbian literature and culture (NoviSad, Cetinje, Sarajevo, Mostar, Dubrovnik, Zadar, Banja Luka, Niš, Skopje), thus continuing to creatively enrich the relationship periphery and center in the new Serbian literature.

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Vječni biseri narodni ili vječno krv i nož

Author(s): Maja Bošković-Stulli / Language(s): Croatian Issue: 07+08/2004

O pravljenju bojovnog ozračja prizivanjem stare junačke epike, kao i novim ili staro-novim dvostisima, gangama, rerama, bečarcima i kako se već zovu te pjesmice, podosta se pisalo nedavnih godina: Ivan Colović (Bordel ratnika, Pucanje od zdravlja, Politika simbola), Ivo Zanić (Prevarena povijest), te ja (članci »Uporaba narodne pjesme«, »Folklor između znanosti, ideologije i politike« u drugome, proširenom izdanju knjige O usmenoj tradiciji i životu). O širemu etnološkom kontekstu sličnih pojava govorila je Dunja Rihtman-Auguštin (Ulice moga grada, Etnologija i etnomit).

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Sreten Marić i sukob na književnoj levici

Author(s): Predrag Brebanović / Language(s): Serbian Issue: 1/2022

The paper deals with Sreten Marić (1903–1992), the reception of his work and its cultural and political implications. In accordance with Svetozar Petrović’s interpretation, the starting point are the neglected and never reprinted texts that Marić published in Zagreb and Belgrade in the period from 1936 to 1945. The texts are viewed in the context of the Yugoslav conflict on the literary left. After the analysis of their content and status, the final part of the paper offers a detailed insight into the reasons as to why Marić is read as one of the most prominent Serbian essayists of the second half of the 20th century.

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Фантастичното като място на балканския междулитературен диалог

Author(s): Boryana Tsvetkova / Language(s): Bulgarian Issue: 107/2022

The study is divided into several thematic cores, which consistently consider, argue, and analyze the idea of the fantastic as a place of Balkan inter-literary dialogue. The intercultural contacts in the Balkans and the problem related to the topic of the Balkan identity are presented. The idea of dialogues in literature is discussed, and the fundamental theories of dialogism in the works of Mikhail Bakhtin and Martin Buber are presented. In addition, the founding concept of Nikola Georgiev’s “silent dialogues” is introduced. The study outlines the specifics of each national context (Bulgarian, Serbian and Croatian) with an emphasis on fantastic discourse. Similar motifs and archetypal symbols, united by the genre of the fantastic, are analyzed. The authors whose novels were used for the study are Agop Melkonyan, Goran Tribuson, Zoran Živković and Boban Knežević.

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ПАРАДОКСИ КЊИЖЕВНЕ НАЦИОНАЛНОСТИ: СЛУЧАЈ БРАЋЕ ДИЗДАР

Author(s): Vesna Trijić / Language(s): Serbian Issue: 78/2022

This paper defines the term of literary nationality and explains its function in Serbian literary history and bibliography. It presents challenges in its application on the examples of literary and journalistic works of Hamid and Mak Dizdar, born brothers, of whom the first one was known as Serbian and the second one as Croatian author. Our research has shown that Hamid Dizdar started his literary and journalistic career as an author of Serbian nationality: he wrote in Serbian language, worked in papers with strong pro-Serbian political orientation and even entered polemics due to such choices. However, during World War II, when Sarajevo became an important center of the Independent State of Croatia, he declared himself as Croatian writer of Muslim religion and took part in fascist propaganda. There are also a few testimonies of his cooperation with both partisans and chetniks. In communist Yugoslavia, he declared himself as Serbian once more and was entrusted important task of running the newly established Historical archive in Sarajevo. His archival works inclined to Bosnian integralism. In the case of Mak Dizdar, works from the last five years of his life, from the book of poetry Stone Sleeper to the controversial “Marginalia about and around the language“, have been singled out as crucial in defining his literary nationality. It has been shown that only after the essay of Muhamed Filipović “Bosnian spirit in literature, what is that?“, in which Stone Sleeper was attributed as a milestone in the awakening of “Bosnian consciousness“, political views of Mak Dizdar had been radicalized, but only in his public engagement, not in his literary works. The outcome of this research is awareness that the Yugoslav period can be adequately described in national literary histories and bibliographies only by applying the term of literary nationality.

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