We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Poetry by Mirjana Petrović; "1"; "2"; "Marija Magdalena"; "Sveti Georgije".
More...
Poetry by Uroš Kotlajić: "Srugi prozor- Ana grimizno bilje"; Treći prozor: Leopard".
More...
Using the poetics of the avant-garde travelogue as the starting point, we analyse the most significant features of Stanislav Krakov’s travel reports from Poland. Being a journalist by trade, on the one hand, and being conscious of his Polish roots on the other, lead Krakov to Poland, from where he sent the majority of his European travel reportage (a total of sixteen reports). It can be said that, alongside the Mediterranean Basin, Poland takes up the privileged central space in Krakov’s journalistic travel writing. These articles intersect various discourses – namely, the travel narrative of modelling foreign space is realized through the intersection of past and present, visible and invisible, present and concealed, and through the thematic exploration of cultural, historical, economic, political, and social aspects. In Krakov’s Polish travel reportage, we find not only the journalistic striving to highlight the current Polish reality and social climate, but the author’s stance on the significance and status of the newly independent Polish state is clearly manifested as well. Furthermore, the travel narrative expands dispersively towards more comprehensive reflections on European everyday life, as well as the recent and not so recent history. Emphasized is the fact that Krakov does not write from a neutral vantage point as a foreigner, but rather from a standpoint of someone who feels a clear and undisguised closeness to the Polish state and people, not only as a journalist coming from a friendly country but also as someone who partly belongs to it by origin. Describing what is seen, the travel writer’s intention to listen to the echoes of time in the present is clear; that is, to mediate in the travel text the simultaneity of the past and present, which provides that characteristic experience of excitement and enjoyment felt whilst travelling. By modelling a typical image of the Polish mentality, the travel writer will mostly direct the pendulum of his inclinations towards strong national feelings and heroism. It is particularly noted that when these travel reports are considered as a whole, there is an unmistakably negative attitude towards Russians and all things Russian. Polish patriotism is largely determined by pronounced Russophobia and the need to erase all signs of the “Russian past” from the visible part of the Polish present. In addition to the description of what he saw on the journey, historicism and the essayization of travel writing are developed through acquainting readers with various pieces of knowledge regarding history and culture, as well as activating memories of the recently concluded Great War and awareness of the fragility of civilization’s progress. The travel narrative expands towards presenting those forms of foreignness in which processes of modernization and progress of the Polish society are manifested.
More...
This paper deals with Ottó Tolnai’s desert, the Africa of his poetry, the childhood puszta of Old-Kanizsa and the substances (sand, gold and dust) associated with it, based on the collection of 32 poems about Africa. This is an example of Tolnai’s alchemy in an endeavour to create value and autonomy, and represents an exciting attempt at ‘radical and autonomous culture creation’. His book of poems Miquel Barceló’s Shadow was published in 2006 and translated into Serbian by Árpád Vickó in 2019. Although Tolnai himself has never been to Africa, he is able to envision the continent and its deserts in a uniquely fascinating way through interpreting various works of art and literature, such as Barceló’s paintings, Rimbaud’s poetry and biography, Lorand Gaspar’s travel narratives and poems, Camus’ desert narratives, Saint-Exupery’s texts and Deleuze and Guattari’s concept of nomadology. The minority poet incorporates these impressions into his own homeland experience, avoiding at the same time the use of stereotypes, clichés and the colonialist understanding of Africa as a black (unknown, dark) or exotic continent. For Tolnai, the desert becomes the field of (artistic) identification: an existential and aesthetic experience of being in the radically different (Africa) is revealed, while attention is drawn to active solidarity. In the analysis of African poems, the problems of artistic autonomy, political ideology and power are interpreted primarily in terms of Deleuze and Guattari’s theories of minority and nomadology.
More...
From the end of the 1970s, the image of the “border” began to emerge in Kádárera literature, metaphorizing the threatening structure of political boundaries and their existential consequences. The boundary is a philosophical, psychological and at the same time а social-ideological concept that separates and exits, connects and closes, allows and forbids. In its transient nature, it also possesses the contradictory temporal dimensions of the distressed past and of the desired future. Crossing the border is thus a metaphysical liberation, enrichment of self-experiences, fulfilment of personality, and at the same time it provides an opportunity to move from the frozen Eastern European time zone into a teleological time dimension. How does the Eastern European past determine the experience of personal freedom? Can the memory of internal censors be eliminated by the dialogicity of art? Examining the texts of Imre Kertész and Péter Esterházy, the paper analyses the Eastern European heritage of the internalization of political borders.
More...
The outstanding contemporary Hungarian prose writer, László Krasznahorkai (born in 1954), with his first two major novels, Sátántangó (Satantango, published in 1985) and Az ellenállás melankóliája (The Melancholy of Resistance, published in 1989) established a completely new tendency within the Hungarian tradition of the allegorico-distopical novellistic sub-genre. With his extremely long, albeit very precise sentences, with his special irony and humour, and with the unique ability to create a specific apocalyptic atmosphere, Krasznahorkai set new standards not only in Hungarian, but in contemporary European prose, as well. When, in 1992, he published his novel Az urgai fogoly (The Prisoner of Urga), it marked an important thematic and philosohical turn in his writing, which we could name as the Far-Eastern Turn of his writing. From this point on, one very important line of his works was going to begin: in many forthcoming books, he would deal with themes strongly in connection with the Far East (Mongolia, China and especially Japan). He slowly allineated himself from the classical fictitious novellistic structures and began writing a prose that looks like a non-fiction travelogue, often with strongly recognizable elements of a lyrical-meditative, question-raising, essayistic narrative. This paper deals with the picture of Japan in Krasznahorkai’s books Északról hegy, Délről tó, Keletről utak, Nyugatról folyó (From the North by Hill, From the South by Lake, From the West by Roads, From the East by River), published in 2003, and in the collection of short stories Seiobo járt odalent (Seiobo There Below), published in 2008. Krasznahorkai’s picture of Japan and Japanese culture is strongly influenced by the writer’s obsession with arts and the concept of beauty. However, instead of sticking to a European-centered view and trying to verbalize and explain every aspect of art, the narrator of Krasznahorkai’s books is trying to see things from a Japanese, mainly zen-Buddhist perspective, by emphasizing the importance of a technically well-done art-producing process: the importance of the technical aspects of producing art must not be underestimated ever, it is this message we seem to be getting when reading this unique stylist’s long and dynamic, pulsating sentences. The other important aspect, from which almost everything seems to be originating in Krasznahorkai’s prose, is the author’s very deep anthropological pessimism, for evil, as he puts it, has come to Earth at the very moment when man showed up. Art, the very technical aspect of it, seems, however, to be the only plausible way to connect with the higher spheres of existence, and the only way to somehow try to get there would be to humbly work within one’s own artistic talents and technical abilities.
More...
In the poetry of János Térey (1970–2019), a prominent Hungarian writer, references to various foreign cities play a crucial role. Spatial allusion is already concretized in the titles of his books The True Warsaw and Dresden in February, and one of the protagonists in the verse novel Paulus travels to Dresden as well as to Kaliningrad. Another story line of the book centers around Marshal Paulus, who led the German offensive deep into the Soviet Union to occupy Stalingrad in World War II. However, besides the motivic coherence of Térey’s oeuvre, poetic changes can also be perceived. The palimpsest-like spatial construction that projected foreign and Hungarian places onto one another has gradually lost its dominance in favor of depicting the otherness of the “Other.” Although – almost paradoxically – this shift resulted in the increasing presence of national stereotypes, it happened in a particular poetic and modal frame that strove to open fixed conceptual boundaries and rigid clichés.
More...
This article examines a specific and unusual instance of the 19th century bardolatry in Serbia. Its focus is on the inter-textual and poetic qualities of celebratory parody as well as on the politically engaged dialogue with Shakespeare in the narrative poem On Shakespeare’s Tercentenary, written by the Serbian romantic poet Laza Kostić in 1864. The argument of the essay is that Laza Kostić authored an original contribution to the 19th century Romantic European admiration of Shakespeare, expressing, at the same time, indebtedness to the German reception of Shakespeare on the one hand, and frustration of a Slavic culture experiencing a strong German cultural influence on the other. This particular East European appropriation of Shakespeare thus forms a transcultural triangle, including English and German centers of cultural dissemination, and an engaged response to them from the Slavic margins of Europe. The vast distance from the Serbian people, whose position could be interpreted as mutatis mutandis ‘subaltern’, to Shakespeare, glorified by the entire world, seems to be traversed by the aesthetic reception and cultural appropriation carried out by Kostić and his likes. In this transcultural exchange, Shakespeare appears as a trustworthy collocutor, with whom, in a ‘presentist’ manner avant la lettre, the Serbian poet discusses his own political and cultural dilemmas. Laza Kostić appears as a sophisticated and original bardolator and, at the same time, mediator between Shakespeare and the Serbian ‘subalternity’
More...
Nell’archivio della Jugoslavia ci sono numerosi fondi e collezioni in cui vengono conservati diversi documenti che testimoniano dei rapporti confidenziali tra la Repubblica Popolare Federale di Jugoslavia e i paesi dell’Europa occidentale. All’interno della cartella dedicata ai rapporti confidenziali con l’Italia si trovano delle informazioni riguardanti la collaborazione dell’immediato dopoguerra tra i due Paesi concernente un progetto culturale di importanza internazionale – la raccolta e il successivo ordinamento del materiale per l’Enciclopedia dello spettacolo del drammaturgo italiano Silvio D’Amico. La preparazione dell’enciclopedia, ideata come tesoro di informazioni su vari spettacoli e forme d’arte autoriali e folcloristici da tutto il mondo, esigeva tanto tempo e un gran numero di esperti o/e critici dell’arte, tra cui anche i periti dei paesi jugoslavi. In base al materiale conservato nell’Archivio di Jugoslavia abbiamo provato a ricostruire, passo per passo, il processo della collaborazione degli ufficiali italiani e jugoslavi alla realizzazione della suddetta enciclopedia, e con l’analisi di alcune voci presenti nell’enciclopedia (consultabile presso la Biblioteca universitaria “Svetozar Marković” a Belgrado) abbiamo provato a mostrare l’importanza culturale e storica del progetto stesso, nonché a far conoscere al pubblico serbo la figura e l’opera di Silvio D’amico, uomo che aveva dedicato tutta la sua vita a lottare per il teatro e l’arte teatrale.
More...