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This article explores the forms and functions of grotesque realism in the play Balkan Spy (1983) (Balkanski špijun) by Dušan Kovačević. The analysis is focused on the mechanisms of grotesque that the author uses in order to create a tragicomic version of reality, and on the effects of this aesthetic choice. The analytical approach to the dramatic text shows that Kovačević employs elements of both conventional and modern theatre. In other words, contemporary grotesque realism, caricature, irony, bitter/dry and subversive humour are the most dominant dramaturgical techniques that the author brings in order to create his characters as well as the absurd world caused by political paranoia.
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Aforističar Ilija Marković preminuo je u petak 9. septembra 2016. godine. Pokojni Ilija se rodio 1940. u hercegovačkom selu Drijenjani. Posle rata njegova porodica se preselila u Vojvodinu. Živeo je, radio i stvarao u Novom Sadu. Relativno rano je ušao u književnost gde je stekao ugled jednog od najpoznatijih i najplodnijih aforističara. Opredelio se za formu aforizma koja predstavlja jedan od najkraćih umetničkih žanrova i koja je najviše odgovarala njegovom senzibilitetu. Tu formu je koristio za izražavanje misli iskazanih sažeto u nekoliko reči, ili ideja iskazanih kratkom rečenicom, na takav način da jednom kada se čuje teško se zaboravlja. [...]
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The processes of translation and critical reception of a literary work being adopted as a text of world literature and therefore translated into English, before all other factors, are governed by (social) narratives, as proposed by Somers and Gibson (1994) and Mona Baker (2006). Being a part of a larger system, the narratives in question are perceived as an instrument in “rewriting and manipulation” (Lefevere 1992) establishing an international or global setup of world literature studies. A case study examining the position/interpretation of The Dictionary of the Khazars by Milorad Pavić within this framework serves as an illustration of the process.
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The paper presents the translation concept of the Library Albatross (1921), the most significant project of today’s canonical Serbian modernists and avant-garde writers. This concept is paradigmatic within the modernist creative tendencies and programs between the two world wars. Although Library published only the translation of Poe’s Tales of Mystery and Imagination, the list of announced translations, the paratexts that accompany the Library’s promotional material, and the translation published, allow us to discuss specific translation strategies of Albatross. Albatross translation practice is a template for more comprehensive thinking about poetic innovations of Serbian literature after First World War. Moreover, the Albatross translation platform allows us to consider the concepts of modern / modernism, periphery / center, and world literature in Serbian culture during the twenties.
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MIKIĆ, Aleksa (Bukvik, Bosna, 24. VI 1912). Pseudonim: Ilija Katić. Otac Cvijetin, putar; majka Savka, rođena Jokanović. Imali su desetoro dece. Osnovnu školu pohađao u Bukviku (1920–1925). Kao dečak nekoliko godina služio kod seoskih gazda u Posavini, Semberiji i Sremu; četiri godine bio školski poslužitelj u Bukviku.
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Poetry written by Vitomirka Trebovac ‒ ALLE BÄUME, ALLE KINDER UND ALLE FAHRRÄDER IN MIR (GEGENSÄTZE; NIE WERDE ICH VERGESSEN; DIE NARBE; DAS LAUFEN; ÜBER DAS HOHE ALTER; DIE LINDE; DIE STILLE; DURCH DEN REGNERISCHEN TAG; HEUTE UND IMMER LEBEN; DIEMIT FAMILIEN UND DIEOHNE SIE).
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The tragic events in Novi Sad in January 1942 constitute an important subject in the prose of Aleksandar Tišma (Knjiga o Blamu [The Book of Blam]), Erih Koš (Novosadski pokolj [Novi Sad Massacre]), and Danilo Kiš (Psalm 44 and Peščanik [Hourglass]). Jewish-Serbian writers were not left disinterested by the fact of the Shoah of fellow Jews or by the violent deaths of their Slavic neighbors. The above-mentioned, formally very diverse works belong to the corpus of Serbian novels about the Holocaust, which are a testament to the crime and which render individual deaths meaningful. Novels about the Novi Sad massacre reveal the psychological motivation of the instigators and direct perpetrators of the crime, shed light upon the logistics and the mechanics of death, and constitute a record of the victims’ reactions in the situation of a direct threat to their lives, and also the world of mental nightmares tormenting the survivors. Finally, and most importantly, they are an artistic tribute to all the identified and anonymous victims of the Hungarian repressive and exterminatory operation. The above-outlined issues were examined using the notions and research tools of psycho pathology, individual psychology, humanistic psychiatry, thanatology, suicidology, victimology, and cultural anthropology.
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The paper presents an unstudied text with the name of the Apostle Andrew in the miscellany of 15th c., now Muz.10272, Rashka orthography. The text (with traces of archaic archetype) is a unique copy of the compilation. The history of the manuscript is very interesting, because it belonged to the A. Hilferding collection in the past. The aim of the author is to propose a preliminary analysis of the text, its origin and chronology, as well as its context in the Slavic tradition.
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The different views on identity politics in Ottoman Bosnia presented by Ivo Andrić and Safvet-beg Bašagić in their respective doctoral dissertations stem from differences in the historical and socio-economic experiences of each of their respective religious and confessional communities. Andrić, oriented towards the future, perceives Bosnia from the perspective of a newly introduced concept of Yugoslav national unity that does not value diversity. Bašagić, romantically looking into the past, sees Bosnia through rose-coloured glasses. Both Andrić and Bašagić share distinct notions of their historical periods and allow for non-scientific influences to shape their academic discourses.
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Andrić's creative soul in the timeless present, opens wide like the doors and windows on a house on the steep Alifakovac in Sarajevo, all the way to the deepest well in the soul, to the soul's endlessness, so that it could accept all of those who would like to enter the story and to point to the bright and pristine ”heavenly” moments of the soul, and even more to the dark ones, sinful and shameful, horrifying and tragic, now and forever intervowen into the Mann's “festivity of the story”. These stories by Andrić are but walking shadows and states of the soul. Searching for and recognizing the irrational moves of the soul and its timeless forms, the genuine stories of this The House on Its Own are the depths and the essence, or as Mann put it: ”the blessing of the sky above and of the depths below”. One of the last books by Andrić, consisting of interconnected short stories, deconstructs the narrator's creative technique and reinterprets the author's idea from the essay Of stories and story telling – that literary discourse is equal to historical truth. Both history and fiction are but means of telling stories about the central, eternal and timeless – about the human soul.
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Andrić ima veliko povjerenje u riječ, u njenu moć, njenu funkciju u životu. Riječ je za njega najveća tekovina čovječanstva, prenosnik svih vrijednosti i njihovo sito, i ništa se s njome ne može mjeriti. Sve ljudsko je u riječi, u govoru, u priči. Izvan nje nema ništa, postoji samo gluvilo, "pustinja ćutanja". Suzbijati riječ, zato, znači smanjivati svijet, još više - rušiti mu temelje.
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The paper analyzes the story of Ivo Andrić The Bridge on the Žepa in the interpretive key of hermeneutic narrative ethics. The goals of the work were multiple. The first goal was to look at and explain the mentioned theoretical-analytical framework, which has not been the subject of the study within the Bosnian-Herzegovinian literary-theoretical discourse. The reason why hermeneutic narrative ethics is presented is that it, as a new, insufficiently known approach to storytelling, enables new readings of narrative texts. This goal was realized by presenting the methodological apparatus of this framework, which includes the following concepts: ethical potentials of storytelling, sense of the possible, historical imagination, dialogicity, subversive narrative understanding, awareness of other people’s perspectives, ethical search. These concepts are applied in the second part of the paper, which offers a new reading of the short story The Bridge on the Žepa. The main hypothesis of the paper is that Andrić’s story develops certain ethical potentials of storytelling. The paper showed that the stated interpretive approach with its methodological apparatus enables the understanding of the ethical potentials of Andrić’s story The Bridge on the Žepa, which were not the subject of literary criticism. The analysis also revealed that the narrative of the circumstances of the construction of the magnificent bridge in Žepa is a means of understanding the individual and wider cultural past of characters whose lives took place in the space of possibilities of a particular historical world, and that the story is a form of ethical search, which develops the ethos of dialogue because it encourages the dialogic conception of narration.
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The talented Slobodan Karl lives and writes anticlimax. For fifteen years he has been trying desperately to write “the best novel in the world” by which he will cross the self-imposed limit and call himself a writer - a man who lives exclusively from writing. As a guide for weekend trips, he turns interesting ideas into weak endings, and in relation to people - impressive first impressions into disappointments. Slobodan is convinced that in order to turn his talent into success, he needs material security and time, which exist in his life as mutual exclusivity. Uncertain, he finds solace in superficial relationships. When his life is further complicated by the divorce and the condition of his son, Slobodan is ready to do what he can do best - write another average novel that no one needs, least of all. A chance meeting with Dušan Jadrančić, a self-proclaimed risk trader and a man of seemingly vague intentions, will initiate a series of emotional and structural changes in Slobodan that will bring him to the brink of success.
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This work deals with the problem of the reception of the former literature of the Slavia Orthodoxa circle in Poland, which is an issue folded, multifaceted, closely connected with the specificity of the two cultural spaces, seemingly different, but as it turns out, not so distant or different in their traditions. The issue of the translation of literature of Orthodox Slavs is discussed on the example of the Old-Serbian texts, given the criterion of presence and absence of these texts in Polish circulation readership.
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Nedavno je Lazar Čurčić privukao ponovo pažnju na narodnu pesmu Nahod Momir, veoma iscrpnom i dokumentovanom studijom.
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The paper presents the metrical reading of some poems of Lukijan Mušicki in which he used archilochius strophes and some rare combination of verses. Reading this poems, in particular two translation of Quintus Horatius Flaccus famous Diffugere nives in the light of significant attempts in the development of Serbian verse, the paper also summarizes several classification and metrical interpretation of archilochius verses in poetry of Lukijan Musicki
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