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MIXER, Zoran Janić: Putopis sa hodočašća; CEMENT, Saša Ćirić: Duboka hibernacija; ŠTRAFTA, Predrag Čudić: Uvod u Mišu Stanisavljevića; VREME SRMTI I RAZONODE, Predrag Lucić: Čuj: Markale! I čuj: Srebrenica!; BULEVAR ZVEZDA, ARSIĆ-BASARA, Svetomir; BLOK BR. V, Rašid: Primeri
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MIXER, Volfgang Kloc: Kuda ide tiha množina; CEMENT, Saša Ćirić: Kult sećanja; ŠTRAFTA, Jasna Dimitrijević: Snaga i radost; VREME SMRTI I RAZONODE, Predrag Lucić: Skupštinka devojka, Tomislav Marković: Vesti iz daleke sadašnjosti; BLOK BR. V, Lazar Bodroža: Avanture zeca Milorada (1)
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MIXER, Saša Ćirić: Topovsko meso; CEMENT, Dragoljub Stanković: Melanholija Galije i njena deca; ŠTRAFTA, Faruk Šehić: Begovi ponovo jašu; VREME SMRTI I RAZONODE, Vladimir Arsenijević: Pravoslavlje ili smrt, Predrag Lucić: Banja Luka piše Tel Avivu; BULEVAR ZVEZDA, KOMNENIĆ, Milan; BLOK BR. V, L. Bodroža & T. Marković: Karta srpskog spasa (14)
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MIXER, Boško Tomašević: Pamflet o pamfletu; CEMENT, Igor Đorđević: Petljanje; ŠTRAFTA, Goran Cvetković: Godina izneverenih očekivanja; VREME SMRTI I RAZONODE, Predrag Lucić: BULEVAR ZVEZDA, DRAŠKOVIĆ, Vuk; BLOK BR. V, L. Bodroža & T. Marković: Karta srpskog spasa (15)
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MIXER, Aleksandar Pavlović: Gor(s)ki talog istorijskog iskustva; CEMENT, Jasna Dimitrijević: Vidi pod: simulakrum; ŠTRAFTA/arhiv, Desimir Tošić: Svet u promenama; VREME SMRTI I RAZONODE, Tomislav Marković: Pravilnik o naricanju za otetim Kosovom; BULEVAR ZVEZDA, KOVAČEVIĆ, Siniša
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MIXER, Aleksandar Novaković: Nebesni Ljotićev Trinidad; CEMENT, Saša Ćirić: U svetu caruje drugarstvo; ARMATURA, Bojan Tončić: Pozivar je srce Srbije; VREME SMRTI I RAZONODE, Recycle Bin Laden: Ja opet biću vlast; BULEVAR ZVEZDA, Marojević, prof. dr Radmilo
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MIXER, Saša Ilić: Mrtav pesnik koji je ostao u životu; CEMENT, Nemanja Mitrović: (S)misaona havarija; ARMATURA, Bojan Tončić: O kovčegu, većini i krvi; VREME SMRTI I RAZONODE, Tomislav Marković: Napred Srbijo!; BULEVAR ZVEZDA, HADŽI ANTIĆ, Dragan
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MIXER, Boško Tomašević: O ozbiljnosti bez sadržaja; CEMENT, Dejan Ognjanović: Poetika patetike; ARMATURA, Faruk Šehić: Tužni dželat; VREME SMRTI I RAZONODE, lirika utoke, Predrag Lucić: Čiovo je srce Srbije; BULEVAR ZVEZDA, BATURAN, Radomir; BLOK BR. V, Nikola Korać: Betmen
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MIXER, Boško Tomašević: Ponor bez poezije; antiCEMENT, Nemanja Mitrović: Pripovedanje teorije, ARMATURA, Milica Jovanović: „Ne dam Kosovo na prvom sastanku“; VREME SMRTI I RAZONODE, Tomislav Marković: Pobratimstvo lica u Skupštini; BULEVAR ZVEZDA, RADOVIĆ, Amfilohije; BLOK BR. V, Kosmoplovci: Čudna šuma
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MIXER, Nenad Veličković: Zločin i karakazan; CEMENT, Dejan Ilić: Ugarak; ŠTRAFTA, Dejan Ognjanović: Gusani u magli; VREME SMRTI I RAZONODE, Tomislav Marković: Prijatelju, prijatelju; BULEVAR ZVEZDA, AVRAMOV, Smilja; BLOK BR. V, Kosmoplovci: Lajbcig
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MIXER, Svetlana Slapšak: Vodene brazde; CEMENT, Karaoke obračun: Izlaženje Barbi Marković; ŠTRAFTA, Tomislav Marković: Tajno društvo krvoslavaca; ARMATURA, Jovan Nikolaidis: Crnogorska krivica; VREME SMRTI I RAZONODE, Vladimir Arsenić: Saveti mladom rodoljubu; BULEVAR ZVEZDA, KRESTIĆ, Vasilije; BLOK BR. V, Kosmoplovci: BOLJI ŽIVOT
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MIXER, Saša Ilić: Crni univerziteti; CEMENT, Aleksandar Novaković: Stvar pameti; ŠTRAFTA, Tomislav Marković: Rečnik paraknjiževnih termina; VREME SMRTI I RAZONODE, Tomislav Marković: Ne mogu da se setim jedne prepečenice, Marjan Čakarević: Nebolomstvo, Saša Ćirić: Saboranija, Miloš Živanović: Vizija Šerloka Ćerača; BULEVAR ZVEZDA, POPOVIĆ, Danko; BLOK BR. V, Kosmoplovci: A šta će reći ljudi
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MIXER, Saša Ćirić: Ubiti mitsku rugalicu; CEMENT, Svetlana Slapšak: Čovek prljavih nogu; ŠTRAFTA, Saša Ilić: Kosovo- „jedini pravi taster“, Pavle Rak: Žanrovske metamorfoze kosovskog zaveta; ARMATURA, Slobodan Georgijev: Sa Kosovom ili na njemu; VREME SMRTI I RAZONODE, Tomislav Marković: Ustavni epigrami, Na Gazi-mestanu; BULEVAR ZVEZDA: Redakcija: Rakitić Slobodan; BLOK BR. V., Kosmoplovci: Flash!
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IN THIS PAPER I DISCUSS POETRY OF KATALIN LADIK, RADMILA LAZIC AND AIDA BAGIC. I TOOK THEIR WORK AS A SYMPTOMS OF SOCIAL, POLITICAL AND POETICAL CONTEXTS WITHIN WHICH THEY WORKED. LADIK CONSTRUCETED HETEROSEXUAL FEMALE SUBJECT, WORKING WITHIN THE CONTEXT OF LATE SOCIALIST SOCIETY OF FORMER YUGOSLAVIA. SHE WORKED AT THE CROSSROADS OF FORMER YUGOSLAV, SERBIAN, AND HUNGARIAN CULTURES, WITHIN THE RADICAL EXPERIMENTAL LITERARY AND ARTISTIC SCENE. IN POSTSOCIALIST SERBIA OF 1990S, LAZIC STARTED WRITING FEMINIST POETRY WORKING WITHIN HETEROSEXUAL PARADIGM, AND THE DOMINANT IDEOLOGY OF TRANSPARENT LANGUAGE. BAGIC' S POETRY APPEARED FROM THE NGO FEMINIST CONTEXT IN ZAGREB, CROATIA, AND THEN FOR SEVERAL YEARS LIVING BETWEEN CROATIA AND SERBIA, CONSTRACTING LESBIAN SUBJECT.
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Josip Osti (1945 – ) is one of the contemporary writers whose works reveal remarkably pronounced openness towards, and dialogic connection with, World Literature. Prague and Czech literature occupy a special position in his poetic world. Since he transforms every single poetry volume of his into a “literary home”, Osti re-instils literature with its sacral meaning and role as a defender of meaning and memory. His wonderful verses remember places and landscapes, authors and works. Thus, Golden Prague as well as Jaroslav Hašek, Milan Kundera, Bohumil Hrabal, Miroslav Holub and other Czech writers have their vivid presence in the books of the Bosnian-Slovenian writer, reminding us that for Josip Osti books are much more than fine art objects; they are “angels and home deities”.
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The strategies in Branislav Nušić’s comedies, observed in analysis from the perspective of linguistic stylistics, through the interdisciplinary method, described, named and justified in the present work, are: the effect of fireworks, a/symmetry; the effect of expecting the unexpected; the co-ordinate system for the development of comedic action; the sign character of objects; the “closed” rondo-composition, against the background of the linguistic and stylistic techniques typical of the writer of comedies and elements of his poetics: cumulation, abundance, aberration, irradiation and integration of stylistic means from all linguistic levels forming the stylistic code of the comic (not considered in detail). The key scenes that served as a basis for reflection are from the comedy “A Member of the Parliament”, but the conclusions are also based on “A Suspicious person”, “PhD”, and “The Cabinet Minister’s Wife”.
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In this paper I analyse the travelogues from Old Serbia, which were a developed literary genre in Serbia at the end of the long nineteenth century, as a mechanism of vindicating the territorial claims of the discourse of Serbian nationalism. In the period when the portrayed lands were under Ottoman rule and deemed inaccessible to most of the Serbian population, which regarded them as the core of their national territory, these travelogues were unique way for the public to gain first-hand information about these lands. After a brief historical overview of the development of the genre, I analyse the literary mechanism through which these lands were efficiently labeled as Serbian. I particularly discuss the importance of scientific data copiously provided in the travelogues, on the issues of languages, customs, etc.
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This essay offers theoretical and explanatory model of the literary war discourse, which is described thorough its three seminal features: 1. Literary war discourse is a discourse that by necessity creates special referential relations with a particular contexts, that is with the real and symbolic power, politics and its actors, by way of replicating textual functions into context and particular rhetorical and semantic strategies, and thus by establishing a specific model of communication; 2. Literary war discourse is pervasive – in itself, under “its aegis”, it can encompass particular discourses – theoretical, religious, scientific, legal, politico-historical etc. Literary war discourse, as the war discourse in general, appears as overarching discourse, aiming (and to the large extend succeeding) to reach even to the infinitesimal point of communicational space – and one which rules this space excluding the Other from it, depriving the Other actors and Different discursive action (that would enable for the projection and creation of different political decisions) from their space; 3. Literary war discourse is a cannibalistic discourse – discourse that symbolically eats its “subject”, as well as other texts and discursive subjects whose decisions do not belong to the field of war discourse, by creating a pervasive referential framework (Goodman, 1978), always, of course, taken in the relations and functional proportions under 1 and 2. The real “subject” of this discourse is the destruction of Other, devouring the life of Others and finding jouissance and eros (Barthes, 1975) in that “devouring”.
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We will deal with the elements of postmodernism in the novel City in the mirror by Mirko Kovač. The analysis will be based on intertextual aspects, that is, one of the intertextual phenomena-phenomena of citationality. Accordingly, we will deal with the problem of literary and cultural memory, with special emphasis on the functioning of mirrors and photographs as forms of heterotopia. The object of attention will be the separation of topics with characteristics of postmodernism in the text Sity in the mirror: dehumanization of personality; evil (zoophilia, incest, pedophilia ...) and its influence on characters and chronotop; displaying universal contradictions of reality that cannot be completely separated.
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Revista noastră evocă activitatea unui grup de cercetare, ilustrată deocamdată printr-un număr de sesiuni de comunicări științifice, cărți, traduceri. Ne-am propus să redescoperim „cea de a treia Europă”, pusă în umbră de superstiții politice, culturale, literare, ocultată de fanaticii naționalismelor de pretutindeni. E greu să descoperi relațiile adevărate, reale, profunde care s-au creat în spațiul Europei Centrale în ultimele două secole ; dar și mai greu este să studiezi aceste relații din unghiul de vedere al unui spațiu deseori considerat unilateral - spațiul Banatului, al Transilvaniei, al României. O impresionantă cantitate de documente se oferă cercetării : de-a lungul timpului, acest spațiu s-a constituit ca un model de conviețuire. Pentru Lumea de mâine, acest spațiu oferă enorm. Deci nu numai studiu pur și simplu, ci o încercare de a interveni în agitata lume de azi cu o propunere de Model ; o încercare de a defini și de a fixa un șir de repere. Activitatea intelectuală se complinește cu acțiunea, în tentativa de a solidariza un șir deforțe cărturărești, capabile a inaugura un comparatism recuperator și, prin aceasta, modelator. Cei care scriu revista sunt, în marea lor majoritate, tineri sub treizeci de ani. Vrem ca revista să afirme un spirit tânăr, dezinhibat, viu, dinamic. Nu în ultimă instanță, un grup- -model, pentru care cercetarea să însemne creație. în rest, despre proiectele grupului A TREIA EUROPĂ (bibliotecă central-europeană, dicționare ale literaturilor central-europene, traduceri, simpozioane, conferințe ș.a.) s-a scris. Revista e, în felul ei, documentul, mărturia, liantul, manifestul. Apariție semestrială, ea dă sens și ritm unei acțiuni - sperăm - de durată. Să fie într-un ceas bun.
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