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In the narrative Death in Venice, Thomas Mann depicts how „Apollonian”writer Gustav von Aschenbach is overcome by the „Dionysian” principle, among other ways, in the mythological-psychological manner, and this is significantly high-lighted by an archetypal dream of the main character.Apart from completing the psychological profile of the artist and shedding light to the process evolving in his soul, this dream also provides a deeper insight into the social and historical context of the time, i.e. anticipates certain general, collective events.
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The paper deals with the nature of unfinished posthumous novel Omerpasha Latas by Ivo Andric as well with the questions concerning its main character. The theses of renegacy as the main theme is being questioned. The fictional character of Omerpasha Latas fashioned on the basis of historical facts had been constructed intentionally and unconditionally as a villain: as an embodiment of unlimited will for power and total individualism. Such total disconnection from any community doesn’t make Omer an outlaw from initial identity but the outcast from the culture itself. The absolute seclusion of the main character is being transmitted to the other characters in the novel as well: neither of them could establish a constructive relationship with the other human being. Thus, we could speak of Omerpasha Latas in terms of portraits rather than in terms of complex and developing story.
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In the first part of the text we start from the fact that aviation experience after First World War does not only appear in the thematic and poetic sphere, but as well as a surmise of a novel method of killing. The novelty becomes apparent when the aviation experience becomes supplanted by the experience of bombarding (using bombers) as a milestone of an utterly different kind of war. In this new war, the difference between the front and the rear, soldiers and civilians, is entirely lost. In the second part of the text, the research focuses on Andrić’s experience of bombardment. Firstly, we analyze his Berlin diary entries during the Allied bombardment in 1940, and secondly, two short stories – “Slučaj Stevana Karajana” and “S ljudima” – originating from the time just after Second World War, thematizing the Allied bombardment of Belgrade. The conclusion of the analysis is that Andrić sets the two stories in counterpoint by distinguishing two separate ways of relating to the act of bombardment: one that leads to fear, worry, and loneliness, i.e. metonymies of death, and a second one leading to people, the collective, in which man manages to preserve his humanity under shelling.
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In this paper we investigate the phenomenon of childhood in Andric’s short stories. It is represented as an initiation period in which the young hero introduces himself to raw, stripped-down image of the world, a period in which he begins his maturation and self-realization. Therefore, narrated from a heterodiegetic position of a subject close to the narrative perspective of a hero and from the perspective of an adult hero who directly testifies about his growing up. Young heroes are in the liminal position between the two age stages, and their experiences have characteristics of a transition ritual. They experience painful, sobering knowledge that break down their naive perception of the world (the symbol of a broken window as a symbol of growing up and accepting the bare reality). Alone in their problems and doubts, they are isolated from adults, peers and the environment that rejects and marginalize them. In this paper we dealt with a social marginalization, the first erotic cognition, moral self-determination of an young individual. Remembering the moments of crossing that serves two stages of life, existence and naive world of maturity, reconcile and unite the individual.
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Although Brother Petar known as the one who talks in Andric’s works, in the story Trup he mostly listens and especially listens to under some form of coercion, and only later that listens (partly and see) timidly and, while he was in captive on only one occasion, transmitted (retold) to other. But he never forgets the story, and when he returned home, he tells the others, and that’s saying is what he is separated from others. (Though, in fact, separated him from the others, primarily its sensitivity for others.) In this story, therefore, the narrator is more someone else. A basic issue or question of all questions in the story Trup is: Why is this talk, why to the strange man, how he deserves that? That is about the legend of Celebi-Hafiz, the abuser reduced on nothing, hull, weaves the legend of the need of talking about it (slave-Turk, Brother Peter). But without story about Karajazadži not be able to comprehend the story of Celebi-Hafiz. Both stories go side by side. Karajazidži’s presence is great, more than convincing, compensation for the absence of Hafiz! Brother Petar does not speak how Celebi Hafiz felt because he was blind, without arms and legs, with strangely disfigured face. It is the speech of silence! But from that perspective, Brother Peter’s perspective of storytelling and from the perspective of storytelling that mysterious Turk (slave) about Celebi-Hafiz it was impossible to know and tell. This is why that Brother Peter’s gather from prison in Accra. But if it is hurting the hand, wich in his thoughts were cut off, as you have just Hafiz hurt both arms and both legs and both eyes and face without a face ?! Karajazidži did not understand what was understood (felt) Brother Peter. About Celebi-Hafiz he tells story from positions of Christians, but Brother Petar from the position of man. He does not have compassion for Celebi-Hafiz, Brother Peter – has! Unlike Brother Peter, Karajazidži in Celebi-Hafiz sees only a Turk; Do not fall occurred to him that it was unfortunate Turk and makes permanent deflection of him, convinced that in Brother Peter, a man of his faith, has unquestioning support. After all, he did not have direct access to the Celebi-Hafiz look, the look of his accident; he also was the way it is, as it was by the testimony of Brother Peter, was a Turk who resisted! If then Brother Peter was even close to his understanding of this, later, or much later, in the subsequent memory of Celebi-Hafiz, it certainly changed. Compassion for the unfortunate fate of a man won a preponderance even despite his overall evil.
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The paper investigates the spatiotemporal elements in the construction of the plot which establishes the starting point, a general overview of the allegorical representation of the world. In relation to reality as a mirror, and a parabolic game as the reflection, profiling of the characters and their interrelationships occupy an important part of the analysis. Phenomena of the lower constructive rank: circle, word, whiteness, exterior – interior but equally important in building the sense, analysed from the point of view of the parabola as a global metaphor.
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The paper analyzes the relationship between the document and the oral stories, a list of assets and figure of nameless young man through which Andrić’s “The Damned Yard” expressed foreboding which testifies an uncertain fate literature after modernism. Andrić’s novel shows the poetic vision of postmodern poetics of the novel, while the incompleteness list and silence of the young man recognizes the outstanding issue of destiny of literature in the time ahead of us. It has been concluded that Andric had spotted cutting off the literature from the discourse of writing as one of the ultimate consequences of this fate, while at the same time he had preserved the faith in the possibility of its immortality.
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Die Erzählsammlung Zemaljski dugovi (zu Dt. etwa: Verschuldungen zu Lebzeiten) herausgegeben von Milovan Marčetić, umfasst dreissig Beiträge, die Ivo Andrić zur Hauptfigur haben, von hauptsächlich zeitgenössischen serbischen Autoren. In einigen von ihnen wird er sporadisch als ehemaliger Gesandter in Berlin (1939–1941) erwähnt, drei von ihnen thematisieren diese zwei Jahre des schreibenden Diplomaten in der Hauptstadt des Großdeutschen Reiches. Die Erzählsammlung Zemaljski dugovi (zu Dt. etwa: Verschuldungen zu Lebzeiten) herausgegeben von Milovan Marčetić, umfasst dreissig Beiträge, die Ivo Andrić zur Hauptfigur haben, von hauptsächlich zeitgenössischen serbischen Autoren. In einigen von ihnen wird er sporadisch als ehemaliger Gesandter in Berlin (1939–1941) erwähnt, drei von ihnen thematisieren diese zwei Jahre des schreibenden Diplomaten in der Hauptstadt des Großdeutschen Reiches. Mirko Demić beschreibt in den Sackgleisen des Wartens die Genesis der Liebesbeziehung Andrićs zur Frau seines Freundes und Arbeitskollegen Nenad Jovanović. Die vorerst unterdrückten Sympathien füreinander münden nach unverhofften Begebenheiten und dem Tode ihres Mannes, zu dem der Aufenthalt im KZ Dachau wesentlich beigetragen hat, in einer gemeinsamen Ehe. Diskrete Schilderungen und eine feinfühlige Erzählweise sind dem sensiblen Liebesthema angepaßt. Dejan Stojiljković eiferte in den Toten Gegenständen den Thrillern billigster Art nach und legte einen konspirativ agierenden Andrić an den Tag. Er beauftragt einen im Hotel „Adlon“ residierenden Gehilfen seines Militärattachés, gefälschte Papiere für die Ausreise in die Schweiz für einen polnisch-jüdischen Berliner Professor zu besorgen. Um nach getaner Arbeit der Verhaftung zu entgehen, erwürgt der Gehilfe einen Gestapo-Mann mitten in Berlin. Die Erzählsammlung zeugt von einem regen Interesse der Autoren und der Leserschaft in Serbien für das Leben und Werk des Schriftstellers Ivo Andrić.
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This paper will examine from linguistic standpoint how Andrić utilizes Bakhtin’s concept of heteroglossia (raznorechie) in his novel The Woman from Sarajevo. In the text linguistics and text stylistic one of highly interesting and important topics is the question of representation of (novel) characters’ (protagonists’) discourse (speech and thought). Following Bakhtin’s notion of heteroglosia and Leech & Short’s and Kovačević’s classification of types of represented speech and thought, the author of this paper conducted investigation of the types and functions of the direct and indirect discourse in Andric’s novel The Woman from Sarajevo (Gospođica). The analysis shows the existence of numerous types of the representation of direct and indirect speech and thought with different narrative/literary functions.
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In the paper, we investigated the use of monologue forms of free indirect speech (FIS) in the novel Seoska učiteljica, by Svetolik Rankovic. Firstly, we considered ’stylematic’ potential on the basis of linguistic and stylistic parameters, and then ’stylogenic’ function as well. After that, we started narratological analysis, having in mind that FIS often depends on the context and that linguistic criteria that are used are not sufficient in discernment of this technique. Literary criticism of FIS so far, expressed its opinion by assessing S. Rankovic’s skill. As far as the author is aware, this is the first work that pays more attention to the study of the use of FIS in S. Rankovic’s fiction. The paper highlights the pioneering attempts of this writer at building interior monologue technique of FIS. The most frequent linguistic-stylistic markers that allow identification of this narrative process, are most certainly the ones on linguostylistic plan. FIS can be recognized on the basis of the type of verb verba dicendi / sentiendi, provided that it is not part of FIS, but that it is a contextual realization: namely, verbs of this type often appear in sentences that precede FIS, or follow it, and those are narrative sentences. Amongst the elements that separate FIS from narratological context we can certainly count in the following units as the most prominent : the established verbal formula from everyday speech, affective vocabulary (oh, baš, gle, jest), repetition and discontinuity of inherently conversational style, as well as the modal particles (dakle, sigurno), various forms of interrogative and exclamatory sentences, rhetorical questions, verb forms for experienced actions, as well as stylistic methods such as ellipses, parcellations, gradation and similar units with a cumulative function. The use of deictic units can be observed: instead of distal forms of pronouns (such as demonstrative: taj), adverbs (tamo) and particles (eto) which characterize indirect speech in the novel remains proximal (ovaj, ovde, evo) and medial (onaj, onde, eno) forms of these words. Deictic references belong to the discursive level of the character, not the narrator. Finally, typography is shown as another factor: the use of three full stops (’...’) is one of grapho-stylematic features of FIS. Since there are examples that, apparently, grammatically do not differ from the copyright text, a wider context is necessary, and our analysis required determination of narratological factors. In cases of not realizing syntactic criteria, there was an interweaving of focalizations of the narrator and the character. While in linguistic terms there is a problem of assigning reference and deixis, in the stylistic plan places like this leave space to FIS to fulfill a large number of stylogenic functions. If observed from a conceptual and narratological aspect, FIS provided an insight into the psychological state of the characters, their thoughts, moods, dilemmas, voice characteristics, etc.., which brings life into the narrative, and in the reception plan allows for oneness with the emotional states of the characters. Thus, we come to the conclusion that FIS enabled the narrator to speak from the point of view of his heroes, while retaining his position as well, but also to go through different psychological states with them as well, while the reader is able to enter the consciousness of the characters. Since it is, characterized by high stylogenic functions, because of these features, FIS becomes very important process in novelistic rose of S. Rankovic.
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The novel is set in on the road from Akovo to Edirne and it questions the complex symbolism of the road and the traveller. This symbolism is present in the Slovenian mythology and in Oriental culture. By the symbolism of the road Sijaric shows his interests for transitional, dual and ambivalent. He has processed these characteristics many times in his creative work so far. The text of the novel intertextually communicates with Slovenian beliefs, myths and magic and with the traditional Slovenian performances in folk traditions. The author sometimes alludes on different forms of the traditional or cites them transfering their original meaning and sometimes, if it is needed, he changes them. Traditional beliefs and performances take part in the characterization of the characters, and dominant mythological symbolism in the novel is related to the symbolism of the road. The work shows how the symbolism of the road develops through symbolism, related predominantly to Slovenian myths, but also to beliefs that exist in other cultures. This way the characters of the novel get archetypal symbolism of the traveller caught on the life road of absurdity. Key parts of the novel are being pointed out through the analysis of the symbolism of the traveller. These key parts question the absurdity of war, the relationship between an ordinary man and the military leader and send strong anti-war messages. As in majority of his novels, he here questions the inequal position of women and the absurdity of war, the attitude of the military leaders towards ordinary people who absurdly die in war. „The Imperial Army“ is brought closer to the modern novel by the distinctive violation of the enduring content structure of the realistic novel. Instead of consistent realistic development of cause and effect story, the novel is compositionally conditioned by narrative microstructures analog to oral traditions, parabola often dramatized by the embodiment of the folk beliefs and stories modeled on Oriental literature. The road and the story become the only form of life in the novel. Space and time often lose their outlines of realistic space and time, they get the symbolic meaning related to traditional beliefs and performances and to the ability of the story to slow down and ostensibly stop time, contained in the 1001 nights collection and Sheherezada’s postponement of death.
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Alethically-endowed supernatural beings in the collection of short stories Ispod mrtvačkog mosta and the novel Vetrovi Stare planine by Slobodan Džunić, a contemporary Serbian writer, are investigated and described in this paper. On that occasion, it was concluded that the alethically-endowed supernatural beings in Džunić’s world of fiction are of archetypal origin, and they are a part of the collective unconscious, subconscious and deeply supressed content of the human consciousness.
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This paper briefly presents main aspects of Milan Kašanin’s literary, critical, historical and aesthetic thought. The presentation was focused on Kašanin’s critical texts dedicated to the new Serbian literature, published in monographs Found things (1961), Destiny and people (1968), Meetings and letters (1974) with review of study Serbian literature of the Middle Ages (1975), a book of memoirs and prose The Sudden discoveries (1977), and as well as the articles, notes and reviews that Kašanin had published in the daily and literary magazines during the second, third and fourth decades of the twentieth century. According to the research, we came to the conclusion that for the systematization and evaluation Kašanin’s critical work are not relevant his critical judgments, but a unique historical and literary vision, comprehensive critical ideology, classical and innovative literary aesthetics, symbiosis of the intuitive and conceptual thought, interdisciplinarity and methodological pluralism, finally, a style of expression of the ideas. Kašanin has shown a great narrative talent in the interpretation of new and old Serbian literature. Therefore Kašanin’s critical texts can be read and evaluated as a good prose that greatly enriches the Serbian literary criticism and narrative tradition.
More...Сижејни обрасци борбе неравноправних противника у народним епским песмама
More...(Целокупна дела / Десанка Максимовић, издали Задужбина „Десанка Максимовић”, ЈП Службени гласник, Завод за уџбенике)
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