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Short stories by Dejan Đorđević: - Бог види и к’д је облачно; - Цвету су украли, неје се одала; - Не може. Предаде се!; - Нема слађе, него, к’д човек изеде бурек у суд.
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Short stories by Dejan Đorđević: - Бог види и к’д је облачно; - Цвету су украли, неје се одала; - Не може. Предаде се!; - Нема слађе, него, к’д човек изеде бурек у суд.
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(Милета Продановић, Саша Обрадовић, Драган Стојановић)
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The present work is based on author’s effort to view the artistic creativity of Laza Kostic – in its dramatic scope and in the case of his tragedy Pera Segedinac – from a perspective of openness to aspects of theological interpretations. In fact, a mentioned script is full of parallels and anti parallels with the Holy Scripture, which were generally interpreted as reminiscences of the biblical text; this is of great interest to us because they opened many new questions about the role of Community, Cross, Martyrdom, female principle and the relationship between Man and God in the very structure of the play. Author of this paper tries to deconstruct traditional path of literary criticism and bring this controversial drama near to modern theology, as an example of the inevitable tragedy of Christian worldview, created by the most important poet of Serbian Romanticism – Laza Kostic.
More...(ПРИЛОГ ТУМАЧЕЊУ ПРЕГЛЕДА ИСТОРИЈЕ СРПСКЕ КЊИЖЕВНОСТИ А. Н. ПИПИНА)
The paper aims is to present and evaluate the Review the History of Serbian Literature A. N. Pipin's as a classical history of Serbian literature that became part of the national culture. The development of the history of literature among Serbs, as an independent discipline and its modest beginnings, can be found in the first decades of the 19th century, in the time of Dositej and Vuk. In its beginnings, the history of literature was a "story" about the literary past of a nation and at its core was - criticism. This main idea as an axiom is a signpost that leads from the history of literature, which has long performed the function of criticism, to the genesis of literary criticism as the youngest branch of literary science and the way it formulated and exercised its functions in conditions when literary history was in a certain measures and history of the people.
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U interpretaciji je preporučen roman "Uloga moje porodice u svetskoj revoluciji" Bore Ćosića za srednjoškolsku lektiru. Pokazano je kako ovaj književni tekst nije bitan samo po svojoj kritičnosti prema jugoslovenskom socijalizmu nego i po načinu na koji taj sistem kritikuje. Tu se naročito skreće pažnja na književne postupke satire i humora kojima Ćosić izvrće do apsurda pregršt revolucionarnih krilatica. Na kraju je predložena i tema: veze satiričkih postupaka u romanu s angažmanom pisca, baš u kontekstu jugoslovenskog socijalizma koji bi ovim povodom također mogao poslužiti kao tema za raspravu.
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The following research will discuss the motif of incest in drama Nedozvani written by Momčilo Nastasijević. The purpose of this research is thus to prove, by analyzing different aspects of the motif of incest in this particular drama, that this motif, i.e. the doom of blood-kin that looms over the entire dramatic opus of the author, stands in fact as an allegory for art, and as such has contributed to the development of the author’s aesthetical concepts. Although, the motif of incest in this particular drama is a metaphor for “family self-sufficiency”, the categories through which this motif is presented indicate the writer’s intention to turn this motif into a metaphor for a mother's melody that will develop in other plays into an allegory for artistic creation i.e. an aesthetic concept.
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The paper describes the genesis of the Serbian short story of Dositej’s age (approximately the period from the 1780’s until 1840’s). Dositej’s translations give the Serbian short story a European framework (genres, narrative forms, leading ideas) and it is then gradually nationalized (thematically) and it starts introducing vernacular mixed with literary style (lexis, syntax). The concept of characters and story fit with Enlightenment ideas and forms (idyll, dialogic story-telling, portrait-story, didactic and moral story, etc.). It partly takes topics from the medieval times and then it opens up towards the contemporary civil life and folklore tradition in the intertwinement of Enlightenment and (pre)romantic foci.
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This study proposes one possible typology of the hero based on Northrop Frye’s system of classification. The latter served the purpose of making it easier to understand the processes of fashioning the constructs — both literary and social. The paper shows that this procedure is not just about the mimetic transfer of reality into literature, but rather about a more complex artistic reflection on reality. We note that the artistic (dramatic) shaping and unmasking of the social reality make possible sophisticated transitions from one type of dramatic hero to another (or still another) within the same literary character, which is unfeasible in the social reality experienced in a binary, black and white manner.The typology of the hero used in this paper — traditional hero, non-hero, tragic hero, anti-hero, and problematic hero — reflects and sublimates all of social, historical and political reality, but at the same time such dramatic heroes, comprised simultaneously of several different subtypes based on various ideological points of view, remain individualized literary protagonists with a complex mechanism of psychological, ethical and aesthetic perception.
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Adrijana Marčetić. Kritika o kritici [A Critique of Criticism]. Kraljevo: Stefan Provenčani Public Library, 2020.
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Nenad Nikolić. Identitet srpske književnosti. Priča o književnoistorijskoj ideji [The Identitiy of Serbian Literature. The Story of a Literary Historical Idea]. Belgrade: Srpska književna zadruga / Partenon, 2019.
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Maxim Shadurski. The Nationality of Utopia: H. G. Wells, England, and the World State. New York and London: Routledge, 2020.
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Short story written by Marjan Čakarević: Ruke. Vrtlog. [...] Ona je srna, mačka i luda ptica, ona svetli i lebdi i klizi, njene ruke blude kroz večni letnji sumrak, ona se pogledom otkriva i kao da pruža telo u tamno–sipki ruj, u crvene slapove i dim raskrivenih nebesa, koji se slivaju nagore, iz sobe, sa one terase, i, iako okrenuti ka tebi — posmatraču, otiču daleko izvan okvira slike. Slično je i u drugoj ravni, gde se vidi pokušaj narušavanja tihe ravnoteže i simetrije građanskog sklada: problesi raskoši iz međuratne epohe, vladavina predmeta, vitkih, svetlucavih: porcelan, srebrnina, ogledala, rezbarije, koji kao da odsjajem, kao da tim dodirom svetlosti skrivenog izvora — prelaze preko sopstvenih ivica, napuštaju svoje esteticizovane oblike, i čini ti se, baš kao i onda, samo kada bi znao da ih precizno imenuješ i opišeš — da bi oživeli, razleteli se i raspršili u sutonu. [...]
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Poetry by Jovana Nastasijević ("Oči planete"; "Izgradili smo"; "Toliko reči"; "Birani broj ne postoji"; "Nahraniti pticu"; "(Najstvar)nije tu"; "Neće ona ništa s tobom"; "Povratak"; "Fern"; "Nadzemni naslov: Ne poštuješ oca"; "Najteže mi je bilo kad sam pronalazio djecu")
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Literary Text (monodrama) written by Srećko Marčeta: SVUKUD PROĐI, U BOSNU DOĐI
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Poetry written by Mirjana Štefanicki Antonić: ПЕСМЕ О ПЕСНИЦИМА (Новосадска улица Алексе Шантића; Песникова Емина; Зимски кућни запис; Капљице кише просуле се на портрет уметника)
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